9 trajectoires (9 × CD) Track listing detail

Deconstructing Double District

Ludger Brümmer

  • Year of composition: 2011
  • Duration: 4:53
  • Instrumentation: fixed medium

Glasharfe

Ludger Brümmer

  • Year of composition: 2006
  • Duration: 19:02
  • Instrumentation: 4-channel fixed medium

Premiere

  • March 25, 2006, Multiphonies 2005-06: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

M. É.

Philippe Leroux

  • Year of composition: 1998
  • Duration: 12:43
  • Instrumentation: fixed medium

Premiere

  • April 10, 1998, Son-Mu 98: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

La guerre du faire

Philippe Leroux

  • Year of composition: 1992
  • Duration: 18:07
  • Instrumentation: fixed medium
  • Commission: Ina-GRM

Premiere

  • February 15, 1993, Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Objets trouvés… posés

Philippe Leroux

  • Year of composition: 2009
  • Duration: 14:25
  • Instrumentation: fixed medium
  • Commission: Ina-GRM

Premiere

  • February 27, 2010, Multiphonies 2009-10: Akousma, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Crónicas del tiempo

Diego Losa

  • Year of composition: 2004
  • Duration: 14:55
  • Instrumentation: 5.1-channel fixed medium

Historias de dos mundos

Diego Losa

  • Year of composition: 2007
  • Duration: 13:32
  • Instrumentation: violin, cello and fixed medium

Sortie d’un rêve dans une nuit étrange très loin d’ici…

Diego Losa

  • Year of composition: 2012
  • Duration: 15:15
  • Instrumentation: 5.1-channel fixed medium

Horizons ou le récit d’un voyageur

Diego Losa

  • Year of composition: 2015
  • Duration: 15:13
  • Instrumentation: 8-channel fixed medium

Signes émergents

Mario Mary

  • Year of composition: 2002-03
  • Duration: 14:59
  • Instrumentation: 8-channel fixed medium
  • Commission: Ina-GRM


This text is unavailable in English.

Signes émergents, premier prix au Concours international de musique électroacoustique de Bourges (France, 2003). Pièce électroacoustique en 8 canaux. Commande de l’Ina-GRM. Réalisée au GRM.

Awards

Une bouffée d’air

Mario Mary

  • Year of composition: 2006
  • Duration: 10:30
  • Instrumentation: 5.1-channel fixed medium
  • Commission: Ina-GRM

Premiere

  • March 25, 2006, Multiphonies 2005-06: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Portraits témoins

Mario Mary

  • Year of composition: 1997
  • Duration: 17:03
  • Instrumentation: 8-channel fixed medium
  • Commission: Ina-GRM

Premiere

  • April 10, 1998, Son-Mu 98: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

La sphère et la pierre (Urbana 8)

Luis Naón

  • Year of composition: 1993-94
  • Duration: 17:36
  • Instrumentation: fixed medium

Perspectives (Urbana 20)

Luis Naón

  • Year of composition: 2004, 17
  • Duration: 17:34
  • Instrumentation: stereo fixed medium

Les objets obscurs

Åke Parmerud / Åke Parmerud

  • Year of composition: 1991
  • Duration: 14:40
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T9118616005

Les objets obscurs [Hidden Objects] was composed during an intensive period in the summer of 1991 in the Studio 116 of the Ina-GRM in Paris (France). Since I was invited to do a piece at this very honorable institution, it was natural to do something that related closely to the historical tradition represented by the GRM. The concept as well as material and compositional methods lie within the basic framework of classical musique concrète. Through its lyrics the piece is self-explanatory, but some background information may still come in handy. Les objets obscurs is a set of riddles partly describing the physical object producing the sounding material and partly describing some aspect of the musical content of each movement. The answer to these riddles may be found in each of the four movements. It works like this: a short text is read (in French) presenting the riddle, immediately followed by a movement, the musical equivalent of the riddle. Each movement is based on sounds and transformations of sounds produced by one single everyday object (like a chair, a glass…). One movement — one object. In the end of the last movement the ‘solution’ of all the riddles is presented. These answers, however, set up a new ‘inner’ riddle, to which no answer is given.

“Ladies and Gentlemen, listen to the hidden objects!

The first is the point from which an enigma arises.

The second: A walking landscape. A perpetual displacement. Something that grazes without touching. An aimless movement. An object of rest.

The third: Convex bodies thrown into a series of collisions. Hazardous movements on irregular surfaces. Something that is loved without loving. Something that comes together and scatters immediately.

The fourth: The union between the first and the last. The first being the origin of the enigma. The last, the dissolution of the first.

The solution: the first is a lock; the second is a chair; the third is twenty-two stone marbles; the fourth is both voice and language, and the enigma of hidden objects is… Music.”

[English translation of the original French text.]

[viii-18]


Les objets obscurs was realized in July of 1991 in the Studio 116 of the Groupe de recherches musicales (Ina-GRM) in Paris (France) and premiered on October 27, 1992 in the Grand Auditorium of the Maison de la radio in Paris (France). The piece was commissioned by the Ina-GRM. Thanks to: Dominique Andrieux (recorded narration). Les objets obscurs was awarded 2nd Prize at the 2nd Prix international Noroit-Léonce Petitot (Arras, France, 1991) and a Prize at the Bourges International Electroacoustic Music Competition (France, 1993).


Premiere

  • October 27, 1992, Son-Mu 92: Concert, Grand Auditorium — Maison de la radio, Paris (France)

Awards

Renaissance

Åke Parmerud

  • Year of composition: 1994
  • Duration: 12:16
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T0001063860

Having lived and worked with electronic instruments over a period of twenty years, my attention was lately drawn to the tendency of retrospect interest in old analog synthesizers. These instruments represent to me not only a different quality of sound but also a different mode of composing. This in turn deeply affects the musical structures coming out as the final result. Digital systems have a greater flexibility in terms of time and spectral control on a point to point basis. Analog systems on the other hand offers a way to create complex structures with a direct physical control coupled with a unique ‘raw’ quality of sound lacking in digital instruments.

Composing with ‘old’ analog systems is a rare phenomenon in todays world of computers, harddisc recorders and digital synthesizers. With increasingly few exceptions, analog synthesizers are more often missing than present in modern electroacoustic workspaces. The transition from analog to digital systems as the main composing tool in electroacoustic studios has taken about ten years. The development of medevial instruments to their modern counterparts took several centuries.

I have felt an urge to work with ‘old’ instruments for some time — the last time I worked with analog systems was in 1986, more than ten years ago — and the invitation from the Groupe de recherches musicales (GRM, Paris) to make a piece gave me the opportunity to explore a renaissance of the analog in the digital domain. The piece is based on sounds from a Serge modular synthesizer and some additional sounds from renaissance instruments like drums, lute, krumhorns and viola da gamba. My intention has been to create a virtual meeting between the sounds, composing methods and aestethics of the analog and digital worlds, painted on a remote canvas of medevial timbres and rythms.


Renaissance was realized in 1994 at the composer’s studio and premiered on January 31, 1995 in the Salle Olivier Messiaen of the Maison de Radio France (Paris, France). It was commissioned by the Ina-GRM. Renaissance received a Honorable Mention at the Prix Ars Electronica (Linz, Austria, 1997).


Premiere

  • January 31, 1995, Åke Parmerud, diffusion • Son-Mu 95: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Awards

Dreaming in Darkness

Åke Parmerud

  • Year of composition: 2005
  • Duration: 11:29
  • Instrumentation: 6-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T2050131171

What does someone who cannot see dream about? What happens during sleep in a mind to which images of the world are primarily perceived through sound? Dreaming in Darkness is an attempt to create surrealistic fragments of a blind person’s dreams. The piece gradually develops from a starting point which resembles the soundtrack of a film where ambiences and situations change through the opening and closing of doors. Gradually the “representative” sounds are replaced by more abstract and musical material, displacing the character of realism towards an acoustic “in-between” where the boundary between the representative and the imagined is erased.

This piece originated as an experimental collaboration with composer Natasha Barrett. We decided to compose with sounds that we would exchange with each other. The idea was to see how the compositional process is affected by not being able to choose the sounds yourself but rather having to develop a relationship based on another person’s choice and preferences. For various reasons, both pieces went astray from the concept. However, we both ended up using sound sources from each other. In this piece, the sounds from Natasha enter the stage as the piece progresses into the more abstract part of its development.

[xi-14]


Dreaming in Darkness was realized in 2005 at the studio of the GRM in Paris (France) and premiered on March 25, 2006 in Salle Olivier Messiaen of Maison de Radio France (Paris, France). The piece was commissioned by the Ina-GRM. Thanks to Natasha Barrett.


Premiere

  • March 25, 2006, Multiphonies 2005-06: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Electric Birds

Åke Parmerud

  • Year of composition: 2014
  • Duration: 11:13
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T9138579256

At some point in time I promised myself never to make a piece based on bird sounds; maybe one of the most overexploited sound material in electroacoustic music. I have also promised myself never to write a piece for guitar, never ever a piece for harpsichord and a couple of other no-no projects. I have broken all of those solemn promises for one reason or another.

So now I have broken the “no birds piece” promise as well… because I met a New Zealand visual artist in Colombia who introduced me to recordings of bird sounds from his native country. Those were amazing. Some of these birds sounded completely electric or maybe like an animal from another planet. I simply could not resist!

In the first half of the piece, almost all sounds are unaltered. Even the bass sounds in the beginning are natural and are from an apparently quite small bird. How that is acoustically possible is a mystery. Nature is indeed awesome. It is only towards the second half of the piece that I started to push the original sounds into the processing universe.

[iv-15]


Electric Birds was realized in 2012 at the studio of the GRM in Paris (France) and premiered on January 14, 2014 as part of the Multiphonies series presented by the Ina-GRM at the Auditorium Saint-Germain of the MPAA (Paris, France). The piece was commissioned by the Ina-GRM.


Premiere

  • January 14, 2014, Multiphonies 2013-14: Akousma, Auditorium Saint-Germain — MPAA, Paris (France)

Axe rouge V

Elżbieta Sikora

  • Year of composition: 2011
  • Duration: 13:16
  • Instrumentation: 4-channel fixed medium

Premiere

  • January 25, 2013, Multiphonies 2012-13: Akousma, Auditorium Saint-Germain — MPAA, Paris (France)

Chicago al fresco

Elżbieta Sikora

  • Year of composition: 2009
  • Duration: 19:28
  • Instrumentation: fixed medium

Premiere

  • December 6, 2009, Multiphonies 2009-10: Akousma, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Chatoyance 2

Kees Tazelaar

  • Year of composition: 2013
  • Duration: 14:19
  • Instrumentation: fixed medium
  • Commission: Ina-GRM

Premiere

  • January 14, 2014, Multiphonies 2013-14: Akousma, Auditorium Saint-Germain — MPAA, Paris (France)

Sternflüstern

Kees Tazelaar

  • Year of composition: 2003
  • Duration: 20:20
  • Instrumentation: fixed medium

Serenade

Kees Tazelaar

  • Year of composition: 2016
  • Duration: 16:01
  • Instrumentation: fixed medium
  • Commission: Ina-GRM

Premiere

  • January 21, 2017, Multiphonies 2016-17: Akousma: Concert de créations, 1, Auditorium Saint-Germain — MPAA, Paris (France)

extrémités lointaines

Hans Tutschku

  • Year of composition: 1998
  • Duration: 16:24
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: French State (Music Office), Ina-GRM
  • ISWC: T8015545128

extrémités lointaines uses recordings I made during a four-week concert tour in Asia in the summer of 1997. I recorded city sounds, the music of churches and temples, and the songs of children in Singapore, Indonesia, the Philippines and Thailand. These unexpectedly rich sound worlds, quite different from ours, remain inscrutable even if they open doors for us.

For many years, I have been integrating vocal and instrumental sounds into my electroacoustic compositions with the esthetic concern to maintain the cultural context of the source. Even though in extrémités lointaines I use a wide variety of sounds resulting from travels through four countries, these connections remain very strong. The piece is structured in 15 sections describing different locations. The intensity of the impressions I experienced during the trip has resulted in a dense compositional structure.

[xii-99]


extrémités lointaines was realized in 1998 in the studios of Ina-GRM (Paris) and first performed in the original 8-channel version on 23 February 1998 during the Cycle acousmatique Son-Mu of GRM. The piece was commissioned by the French State (Music Office) and the Ina-GRM (Paris). extrémités lointaines has obtained a Mention in the Bourges International Electroacoustic Music Competition (France, 1998) and a Distinction at the Prix Ars Electronica (Linz, Austria, 1998).


Premiere

  • February 23, 1998, Son-Mu 98: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Awards


About this recording

Thisstereophonic version was realized in 1998 at the Ina-GRM (Paris, France).

Distance liquide

Hans Tutschku

  • Year of composition: 2007
  • Duration: 13:02
  • Instrumentation: 8-channel fixed medium
  • Commission: Ina-GRM
  • ISWC: T8024219851

Premiere

  • January 13, 2007, Multiphonies 2006-07: Akousma, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Monochord

Hans Tutschku

  • Year of composition: 2008
  • Duration: 12:14
  • Instrumentation: stereo fixed medium
  • ISWC: T8028015604

Premiere

  • September 20, 2008, Concert, Hôtel de ville, Saignelégier (Switzerland)

Migration pétrée

Hans Tutschku

  • Year of composition: 2001
  • Duration: 13:33
  • Instrumentation: 8-channel fixed medium
  • Commission: French State (Music Office)
  • ISWC: T8017138681
This text is unavailable in English.
À Herbert Velasquez

Deux images sont à la base de Migration pétrée: des pierres volantes et des oiseaux encagés. Elles sont toutes deux utilisées comme modèles, d’énergie et de densité — et quelques rares moments mis à part, les sources enregistrées sont difficilement reconnaissables.

Nous retrouvons l’énergie des pierres à la plage, sous le poids des pieds, leurs craquements dans la main et même, à l’intérieur d’un piano. Durant plusieurs années j’ai enregistré des sons venant de petits cailloux, oscillant jusqu’aux bruits impressionnants des blocs de pierre tombant. Ils se confrontent avec l’image sonore des milliers d’oiseaux, enfermés dans des cages au marché de Porto, qui n’ont guère l’occasion de prendre leur envol. L’expression de leur énergie vivante se heurte à la contradiction de l’enfermement. Nous rencontrerons des pierres de la légèreté d’un oiseau et des groupes d’oiseaux migrant lourdement.


Composition électroacoustique en 8 canaux. Commande de l’État (France).


Awards

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