Lauréats, Bourges 1988 (2 × CD) Track listing detail

In the Natural Doorway I Crouch

Paul Dolden

  • Year of composition: 1986-87
  • Duration: 14:56
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: GMEB

In the Natural Doorway I Crouch is inspired by the interaction of the two distinct sound worlds: plucked metal strings, and wind instruments. The composition is divided into three sections of 3, 5 and 7 minutes, each of which explores the relationship between the sound worlds as they are constantly changing. This movement in sound is evoked by the title which suggests the transformations from one state to another, as in a doorway that acts as a passageway between areas of sound. In most cases, the crouching is only momentary as we spring from one area to another. The tuning of the composition involves a system of Just Intonation, developed by the composer, in which the harmonics of the fundamental(s) are systematically changing register in relation to each other.

Recorded musicians:
Clemens Rettich: recorders
Ken Newby: oboe, bassoon, soprano saxophone
Paul Dolden: acoustic guitar, double bass, piano, percussion, tubular bells, vibraphone, slenthem, saron, marimba

In the Natural Doorway I Crouch was realized in 1986-87 at the composer’s studio and at the Sonic Research Studio of Simon Fraser University (SFU) (Vancouver, BC). Research was completed in the Groupe de musique expérimentale de Bourges (GMEB — now IMEB — France) studios and at the EMS (Stockholm, Sweden). The work was premiered on January 31, 1988 during the international festival En Torno a los Sonidos Electrónicos in Mexico City (Mexico). The piece was commissioned by the GMEB. A further commission from the Vancouver New Music Society resulted in Measured Opalescence, a mixed version of this work for piano, percussion and tape. In the Natural Doorway I Crouch won 1st prize in the Electroacoustic category of the Bourges International Electroacoustic Music Competition (Bourges, France, 1988).


  • January 31, 1988, En Torno a los Sonidos Electrónicos, Museo Tamayo, Mexico City (Mexico)


Rumeurs (Place de Ransbeck)

Robert Normandeau

  • Year of composition: 1987
  • Duration: 12:13
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Rumeurs… (Rumors) — A rumor is a sound in the air. Elusive, we seek to capture it, fearing that it may concern us, that it may hold a part of shameful truth. Fleeting, it cannot be caught. As soon as it materializes, it vanishes, leaving only traces in our memories. Here, nothing is certain. Where does this sound come from? What is it made of?

The piece endlessly oscillates between pure sound and meaning, without ever resolving to one or the other. The piece is at the limit between texture and image, between material and anecdote. And rumors go by, always surrounding us. Here and there, sounds reach us like faint echoes of the world. If you believe hearing things about you, why worry? After all they’re only rumors… and if you listen carefully, you may find the key.

(Place de Ransbeck) — A small square in Ohain (Belgium), home of the studio Métamorphoses d’Orphée where the piece was produced in June, 1987.


Rumeurs (Place de Ransbeck) was premiered on September 24, 1987 at Concordia University, Montréal. The residency in Belgium was the outcome of the prize received at the 1st Phonurgia Nova International Competition in Arles (France, 1986) the previous year and was made possible by a grant from the ministère des Affaires culturelles du Québec. Rumeurs (Place de Ransbeck) was awarded the 2nd Prize of the Electroacoustic Category of the 16th Bourges International Electroacoustic Music Competition (France, 1988) and consequently was released on the Cultures électroniques 3 compact disc produced by the Groupe de musique expérimentale de Bourges (GMEB) on the Le chant du monde label (LDC 278046/47).


  • September 24, 1987, Series 6 — Spectra, Concert 1, Campus Loyola — Université Concordia, Montréal (Québec)



Åke Parmerud

  • Year of composition: 1986
  • Duration: 10:10
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Repulse (Repulsion) was composed with the material that became ‘outcast’ in the process of creating Isola, a mixed work for chamber orchestra and tape commissioned by Asko Ensemble from The Netherlands. Large parts of Repulse were concieved as a complementary layer to Isola, but somewhere along the compositional process things went very, very wrong… The layers clashed, invariably argueing, fighting and generally misbehaving in relation to each other. Helplessly watching the approaching disaster, I saw no other way than to cut all links and set each layer to live its own respective life.

Thus expelled from the process, Repulse later became a ‘pure’ tape composition, free of all agonizing terrors imposed by the demanding presence of the instrumental paths of composing.

Repulse can be regarded as the first piece in which I explored multiple layering of textural processes. Up to five simultaneous layers of sound from time to time creates a dense sound image, although transparent at all times due to techniques such as spatial simulation, frequency displacement and clear texture identity.

Repulse was realized in 1986 at the composer’s studio and premiered on September 3, 1986 at Berwald Hall (Stockholm, Sweden). Repulse received the First Prize at the 16th Bourges International Electroacoustic Music Competition (France, 1988).


  • September 3, 1986, Concert, Berwaldhallen — Sverige Radio, Stockholm (Sweden)


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