Kaleidos (CD) Track listing detail

Mimetismo

Stéphane Roy

  • Year of composition: 1992
  • Duration: 10:36
  • Instrumentation: guitar and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Arturo Parra, with support from the CCA
  • ISWC: T0708475119

Stereo

ISRC CAD509612220

  • 44,1 kHz, 16 bits

I worked out the initial ideas for this work with the firm intention of producing a mixed music based on compositional processes which draw closely from acousmatic music. The search into new articulations, timbres and styles possessing distinctive morphologies, which characterizes my own approach to electroacoustic processing of the instrument, is the outcome of exploratory work in close collaboration with the performer. Imitation between an acoustic and an electronic source is the basis of this process.

The acoustic and electronic components of Mimetismo call out to and mimic each other, at times becoming one, within a sound material in constant evolution. The guitar abandons its traditional role as soloist: its timbre merges with the electronic materials. Homophony, homorhythm, and above all the similarity of the timbres blends the sonority of the instrument into that of the tape. The usual predominance of pitch is replaced by variations of intensity and of harmonic spectrum which give to the instrumental writing an extraordinary and unpredictable character. An adequate amplification of the instrument allows for the exploration of new guitaristic utterances.

Mimetismo is the result of a genuine collaboration between a performer and a composer. The traditional role of interpreter, handed down to the performer, needs in this case to be redefined. In effect, Arturo Parra contributed to the realization of the work by his exploration of new instrumental sonorities during improvisation sequences guided by verbal instructions. This process allowed him to generate, throughout the compositional process, a palette of rich and subtle sonorities from which I chose in accordance with my creative plans.


The electronic materials of Mimetismo were generated with the assistance of the SYTER system during a period of work at the Groupe de recherches musicales (GRM) in Paris, as well as at the composer’s studio; the work was completed in the studios of the Faculty of Music of the Université de Montréal. Mimetismo, a mixed work, composed with the collaboration of guitarist Arturo Parra, was commissioned by the latter with support from the Canada Council [for the Arts] (CCA). Mimetismo received First Prize in the 14th International Luigi Russolo Competition (Varese, Italy, 1992) as well as a Mention at the Prix Ars Electronica competition (Linz, Austria, 1992). Mimetismo was included, in 1993, on the compact disc Presence One (DIV 2) produced by Divided (Chicago, USA).


Awards

Paysages intérieurs

Stéphane Roy

  • Year of composition: 1988
  • Duration: 12:26
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0708478118

Stereo

ISRC CAD509612230

  • 44,1 kHz, 16 bits

I wanted to oppose the affirmative and energetic conception of the musical discourse which emerges from Ondes / Arborescences with a sinuous and obsessive sound world, interrupted by silence and by the sporadic appearance of menacing events, such as the numerous minute interior interruptions which bombard the spirit, taut with anguish.

In these landscapes, where the unspoken reigns, a thousand fears suddenly emerge under the pressure of an interior murmur. The mysteries of our spirit open up ancient, fratricidal debates, nourished by our entire existence. Certain among these reveal themselves to our consciousness in order to better continue their muted struggle; nothing is resolved. There are intimate landscapes on the condemned horizons, in the delicate, feverish atmospheres, landscapes consisting of sinuous shadows, even tremulous among a few fleeting glimmers.


Paysages intérieurs [Interior Landscapes] was realized in 1988 in the studios of the Faculty of Music of the Université de Montréal and premiered in May 1988 during a public concert at the Université de Montréal. Paysages intérieurs was awarded 2nd Prize at the 8th CBC National Competition for Young Composers (Ottawa, 1988), 2nd Prize at the NEWCOMP International Computer Music Competition (Boston, USA, 1989), and a Mention at the 11th Luigi Russolo International Competition (Varese, Italy, 1989).


Premiere

  • May 1988, Concert, Faculté de musique — Université de Montréal, Montréal (Québec)

Awards

Ondes / Arborescences

Stéphane Roy

  • Year of composition: 1987
  • Duration: 9:36
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0710532163

Stereo

ISRC CAD509612240

  • 44,1 kHz, 16 bits

Ondes / Arborescences (Waves/Arborescences) sets in opposition two types of poetic discourse which follow a progression strewn with contrasts and expressive ruptures. The discourse of the interior upheaval, telluric and violent, produces a frenzy of emotions. It takes form within unstable materials, vigorously dislocated, which spring forth abruptly from bottomless registers. The first discourse begins to collide with a second, characterized by long elegies consisting of materials at the fringes of translucent harmony and sustaining melismas which evoke voices afflicted by a piercing interior sadness.


Ondes / Arborescences was realized in 1987 at the Faculty of Music of the Université de Montréal and premiered in May 1987 during a public concert at the Université de Montréal.


Premiere

  • May 1987, Concert, Faculté de musique — Université de Montréal, Montréal (Québec)

Crystal Music

Stéphane Roy

  • Year of composition: 1992-94
  • Duration: 14:43
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: ACREQ, with support from the CCA
  • ISWC: T0710252348

Stereo

ISRC CAD509612250

  • 44,1 kHz, 16 bits
To Claudine

Material substances and sound substance have never been so closely associated as in the acousmatic genre. Crystal Music, which originates in this genre, is a music of forms, colors and materials shaped by kinetic energies and perspectives in the inner space of the work. Like glasswork, the material has been expanded, moulded, transmuted in the fiery furnaces of experimentation. Like crystal, it has been worked upon by the imagination which imbues its transparency with the power of illusion.

Beyond pure matter, there still remain certain sham voices lost in factual collages, but also rhetorical phenomena of ruptures and antagonistic relationships between musical characters, strained nodes, suddenly subjugated by the whimsicality of an arabesque. The work is permeated by a bountiful style employing sound material as others use flat areas of color which they scratch with a nervous, angular graphism: it thus reveals a desire for plasticity which soon enough betrays a dramatic expression.


This work, composed largely with Bill Schottstaedt’s Common Lisp Music program, could not have been realized without the technical support and exceptional conditions I enjoyed at CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University (California, USA) during the year 1992-93, as well as in the studios at the Faculty of Music of the Université de Montréal in 1994. The work premiered on March 3, 1994 at the Chapelle historique du Bon-Pasteur in Montréal during the 15th anniversary concert of ACREQ (Association pour la création et la recherche électroacoustiques du Québec). Crystal Music was commissioned by ACREQ with support from the Canada Council [for the Arts] (CCA). I wish to thank the Faculty of Music of the Université de Montréal for having lent me its studios in order to complete the piece. Crystal Music was awarded the First Prize at the 3rd Prix international Noroit-Léonce Petitot (Arras, France, 1994). Crystal Music previously appeared on the compact disc Prix international Noroit-Léonce Petitot 1993 (NOR 3).


Premiere

  • March 3, 1994, 15e anniversaire, Chapelle historique du Bon-Pasteur, Montréal (Québec)

Awards

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