Prix Quadrivium, Bourges 1993 (2 × CD) Track listing detail

L’impatience des limites

Bernard Fort

  • Year of composition: 1992-93
  • Duration: 18:09
  • Instrumentation: stereo fixed medium
  • Commission: Ina-GRM

Felt more than ever since Mady, to whom this piece is dedicated, was suddenly taken away from my corporeal eyes: the impatience of limits.

At first, it was meant to be a musical reflection on time. The one that moves forward, along which evolutions, proofs of passing time, are inscribed and the still one that stands the test of time. Now, memories have become the proofs of passing time, standing the test of time for he who suffers its attacks. And most of all, the presence of she to whom, in the garden of sleep, past, present and future are all the same state — and still she watches her children grow up.

[English translation: François Couture, ix-03]


L’impatience des limites [The Impatience of Limits] was realized in 1992-93 in the studios of the Groupe de recherches musicales (Ina-GRM) and premiered on 25 January 1993 at the Salle Olivier Messiaen of the Maison de Radio France (Paris, France). It was commissioned by the Ina-GRM. Thanks to Dominique Saint Martin for his assistance during the mixing stage. L’impatience des limites was awarded Second Prize for Electroacoustic Tape Music at the 21st Bourges International Electroacoustic Music Competition (France, 1993). L’impatience des limites was recorded on the album 12 Haïku [GMVL CD 010] in 1993 and on the album Les prix du 21e Concours international de musique électroacoustique / Bourges 1993 [LDC 278056/57] in 1994.


Premiere

  • January 25, 1993, Son-Mu 93: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)

Awards

Moll, opéra lilliput pour six roches molles

Marcelle Deschênes

  • Year of composition: 1976
  • Duration: 22:55
  • Instrumentation: 2 clarinets, 3 trombones, 3 percussions sets, toys and stereo fixed medium
  • Commission: SMCQ, with support from the CCA
To our “fleeting body, neither lasting nor stone.” — Roger Caillois

A transposition of children’s dreams of sea, earth and sky from a research project in music teaching (Université Laval, 1975), this suite of 17 miniatures is the result of long, obsessive hours spent looking at the ordinary gray pebbles found on the Bas-Saint-Laurent beaches.

No one knows quite why, but the fascinating force of the Origins and memories of a lost paradise rule the tiny world of pebbles and grains of dust. All these forgotten, undecipherable signs look strangely like the sea, the stars, an insect, the red moon, the mountain, the thunderstorm, human dramas, and abstract points, lines and spirals. The wonders of children? If you shrink down and mineralize yourself, they offer a sanctuary or vertigo, vague daydreaming or initiation, “hearing the sounds of the hermetic stone under a tiny spot on the inside of the heart” (Mahmoud Shabistari). I also wanted to express the revelation of a crazy itinerary through the slow grind of Time. Exploring the underside of tiny things, introspecting in the world of childhood, the infinitely big littleness, hardness turning into something soft, tender, flexible, inert becoming alive, drama turning to wonder, sadness becoming sweet madness.

[English translation: François Couture, viii-06]


Moll, opéra lilliput pour six roches molles [Moll, Lilliput Opera for Six Soft Rocks] was realized in 1976 in the studio of the Université Laval (Québec City) and premiered on March 18, 1976 at McGill University’s Pollack Hall in Montréal by the Société de musique contemporaine du Québec (SMCQ). It had been commissioned by the SMCQ with support from the Canada Council for the Arts (CCA). Thanks to Stéphane Clark for the dreamy narrative. Moll, opéra lilliput pour six roches molles won First Prize (Mixed Works) at the Bourges International Electroacoustic Music Competition (France, 1978) and it was later awarded an Euphonie d’or in 1992 “as one of the twenty most significant works from two decades of the Bourges Awards.”


Premiere

  • March 18, 1976, Concert 75, Salle Pollack — Pavillon Strathcona — Université McGill, Montréal (Québec)

Awards


About this recording

This recording was realized and mixed in 1978 by Jean Corriveau at Studio Jean Sauvageau in Montréal.

Anchorings / Arrows

Jens Hedman, Erik Mikael Karlsson

  • Year of composition: 1992
  • Duration: 13:19
  • Instrumentation: fixed medium

The composers write that this piece, “is built up of sounds from a number of different acoustic instruments, computer-processed and then re-mixed in the studios of EMS (Institute for Electro-acoustic Music in Sweden) in Stockholm. . . we tried out a particular acoustic idea, that of a continually varying acoustic space, where no sound stays at any fixed point. Anchorings/Arrows may be seen as a tribute to music, anchored in music’s history but, we hope, also pointing forwards to the wonderfully mysterious and mythical future.”

[source: Réseaux des arts médiatiques]


Awards

By continuing browsing our site, you agree to the use of cookies, which allow audience analytics.