electrocd

Track listing detail

Points de fuite

Francis Dhomont

  • Year of composition: 1982
  • Duration: 12:21
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0030395824

Stereo

ISRC CAD509612520

  • 44,1 kHz, 16 bits

To Jean-Louis Ostrowski

Term of perspective. The point of convergence of parallel lines.

Audition/reading on many levels:

  1. technical (kinetic study: glides in tessitura, mutations of masses, of densities; modifications of timbre; energetic eruption/dispersion; spatial mobility);
  2. impressionistic (encounters, crossings, fusion of heterogeneous events which carry similar connotations; trajectories, velocities, displacements; the near and the distant; the passage);
  3. symbolic (flight: running away; departure, wandering, lapse, obliteration. The horizon, Kafka: Disappearing — America);
  4. ad libitum…

[ix-91]


Points de fuite [Vanishing Points] was realized at the composer’s studio in Montréal in 1981-82 and premiered on June 13, 1982, at the 12th Bourges International Experimental Music Festival (France). Points de fuite was awarded 2nd Prize at the 12th Bourges International Electroacoustic Music Competition (France, 1984), 1st Prize at the Brock University Tape Music Competition (St Catharines, Ontario, 1985), and was selected by the international jury of the International Society for Contemporary Music (ISCM) for the 1984 World Music Days in Montréal.


Premiere

  • June 13, 1982, Synthèse 1982: Compendium France 3, Théâtre Jacques-Cœur, Bourges (Cher, France)

Awards

Composition

Scores

… mourir un peu

Francis Dhomont

  • Year of composition: 1984, 87
  • Duration: 44:52
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: French State (Music Office), GMEM
  • ISWC: T0030461983

Stereo

To Marthe Forget

Where one speaks once again of departures, journeys, farewells (“Leaving is already dying a little…”); and also of escape, pleasure, initiatory journeys, imaginary space and again of absence, of the ‘petite mort’ (post-ecstatic physical collapse) and of the ‘grand voyage’.

It is not surprising that … mourir un peu (… dying a little) was premiered in Marseille, amongst the relics of the ancient Phocæan harbor; the first movement, Marine, is a quick allusion to this voyage in time.

The sea nearby — a symbol both inexhaustible and pluralistic — had to be present. It is, certainly, persistently; the wave lends its energetic law to the whole and to the part: ebb/flow, growth/decline, apparition/disappearance.

The concrete slides into abstraction and then re-emerges; anchoring points in reality and furtive evocations (heard or guessed?) appear sporadically.

This piece originates from Points de fuite (Vanishing Points) further developing it, and directly draws elements for the fourth movement, Thème de la fuite (Theme of Flight). This movement is the ‘peak of the wave’ made from curves of the increasing and decreasing durations of the nine movements.

[ix-91]


… mourir un peu was realized at the studio of the Groupe de musique expérimentale de Marseille (GMEM, France) and at the composer’s studio in Montréal in 1984, and premiered on June 21, 1984 at the Jardins des vestiges in Marseille (France). The fourth movement, Thème de la fuite, was ‘recommended’ at the 2nd International Rostrum of Electroacoustic Music (IREM) in Stockholm (Sweden, 1988) and was first released on the Anthology of Canadian Music: Electroacoustic Music 4-compact disc set on the Radio Canada International label (ACM 37). Three other movements — Transfert I [Transfer 1], En abîme [In the Abyss], and Thème de la fuite — were selected by the 1986 International Computer Music Conference (ICMC ’86), Den Haag (Netherlands). Thanks to Pierre Schaeffer and Pierre Henry who have kindly allowed the brief but pregnant quotations from Érotica (from Symphonie pour un homme seul, 1959), as well as to Laurent Lafran for certain sound recordings, not forgetting Gesualdo, Mauduit, and Schubert for their involuntary participation. … mourir un peu was commissioned by the French State (Music Office) and the GMEM.


Premiere

  • June 21, 1984, Concert-promenade, Jardin des Vestiges, Marseille (Bouches-du-Rhône, France)

Composition

… mourir un peu, 1: Marine

Francis Dhomont

  • Duration: 2:07
  • Publisher(s): Ymx média
  • ISWC: T9248205949

Stereo

ISRC CAD509612530

  • 44,1 kHz, 16 bits

Overture. Massalia/Marseille.

[ix-91]


… mourir un peu, 2: Cartographie liminaire

Francis Dhomont

  • Duration: 3:35
  • Publisher(s): Ymx média
  • ISWC: T9247707046

Stereo

ISRC CAD509612540

  • 44,1 kHz, 16 bits

Opening credits, first drafts, articulation of volume.

[ix-91]


… mourir un peu, 3: Un certain embarquement

Francis Dhomont

  • Duration: 5:27
  • Publisher(s): Ymx média
  • ISWC: T9247707217

Stereo

ISRC CAD509612550

  • 44,1 kHz, 16 bits

Yes, yes, the one with all of its transports…

[ix-91]


… mourir un peu, 4: Thème de la fuite

Francis Dhomont

  • Duration: 8:55
  • Publisher(s): Ymx média
  • ISWC: T9247707115

Stereo

ISRC CAD509612560

  • 44,1 kHz, 16 bits

To escape, to disappear: the flight and the take off; “A rolling stone…”

[ix-91]


… mourir un peu, 5: Transfert I

Francis Dhomont

  • Duration: 6:30
  • Publisher(s): Ymx média
  • ISWC: T9247707159

Stereo

ISRC CAD509612570

  • 44,1 kHz, 16 bits

Passage from a place, from one order to another. From the earth’s center to its surface.

[ix-91]


… mourir un peu, 6: En abîme

Francis Dhomont

  • Duration: 5:14
  • Publisher(s): Ymx média
  • ISWC: T9247707068

Stereo

ISRC CAD509612580

  • 44,1 kHz, 16 bits

Mirror games, asymptote. The fall to the bottom of the sky.

[ix-91]


… mourir un peu, 7: Transfert II

Francis Dhomont

  • Duration: 4:10
  • Publisher(s): Ymx média
  • ISWC: T9247707182

Stereo

ISRC CAD509612590

  • 44,1 kHz, 16 bits

New crossing. From earth to sky and beyond the looking glass.

[ix-91]


… mourir un peu, 8: Palimpseste

Francis Dhomont

  • Duration: 3:26
  • Publisher(s): Ymx média
  • ISWC: T9247796594

Stereo

ISRC CAD509612600

  • 44,1 kHz, 16 bits

Strata and holes of the memory, deletion, blanks. Death and mourning go on, furtively. Recapitulation.

[ix-91]


… mourir un peu, 9: Il ritorno [sections 1 & 2]

Francis Dhomont

  • Duration: 5:08
  • Publisher(s): Ymx média
  • ISWC: T9247707206

Stereo

ISRC CAD509612610

  • 44,1 kHz, 16 bits

In the steps of Ulysses.

[ix-91]


Espace / Escape

Francis Dhomont

  • Year of composition: 1989
  • Duration: 19:24
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: The Banff Centre for the Arts (Claude Schryer), with support from the CCA
  • ISWC: T0030754234

Stereo

ISRC CAD509612620

  • 44,1 kHz, 16 bits

To Jean-François Denis and Claude Schryer

“As soon as we become immobile, we are elsewhere; we dream in a vast world. Immensity is the movement of immobile man. Immensity is one of the dynamic aspects of peaceful daydreaming.”

Bachelard, The Poetics of Space

Space.

Open, intimate, confused spaces. Broken spaces, whirling.

Indecisive edges of the space.

Space-refuge, enclosed, maternal, space of reminiscence and of associations.

Tumult or murmur in the space of a thousand reflections.

Escape.

The flight engenders a vertigo of multiple elsewheres.

Here… There…

Attempted encounter of heterogeneous elements related by two criteria: one is sonic and denotative (the place of sound in space), the other symbolic and connotative (referring to the theme of wandering), both alluding to movement. These criteria determine the form and are its cement. The multiplicity of materials embody the ideas of ‘space’ and ‘mobility.’ This work integrates into its structure active elements of spatialization which have a semantic value.

[ix-91]


Espace / Escape was realized at the composer’s studio in Montréal in 1989 and premiered on November 10, 1989 during the CEC Electroacosutic Days, >convergence< at The Banff Centre for the Arts (Alberta, Canada). Espace / Escape was selected by the 1991 International Computer Music Conference (ICMC ’91) in Montréal. A short sound recording — authentic ‘sound shooting’ (Michel Chion) — used in this piece was offered by composer Christian Calon; Dhomont thanks his friend for the gift, hoping to have made good use of it. This piece was commissioned by Claude Schryer / The Banff Centre for the Arts, realized with support from the Canada Council [for the Arts] (CCA).


Premiere

  • November 10, 1989, >convergence<: Concert 1, Margaret Greenham Theatre — The Banff Centre for the Arts, Banff (Alberta, Canada)

Awards

Composition