electrocd

Track listing detail

Dreamlike Shudder in an Airstream Part 1: for a crumpled woman

Stephan Dunkelman

  • Year of composition: 2000
  • Duration: 13:50
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9247796801

Stereo

How can natural energy impart the dynamic of the unreal to the real, and of the real to the unreal? What are the points of contact that make free-flow between the two possible? These are some of the questions that this piece raises.

[English translation: Tom Carter]


Dreamlike Shudder in an Airstream Part 1 was realized, with support from the Communauté française de Belgique, at the composer’s studio in 2000 and premiered in March 2000 during a concert produced by ARTeM (Art, recherche, technologie et musique [Art, Research, Technology, and Music]). I would like to thank Charo, Axel and Wim for the part they played in the creation of the work. Dreamlike Shudder in an Airstream Part 1 received a jointly awarded Public’s Prize at the Biennial Acousmatic Composition Competition, Métamorphoses 2000 (Brussels, Belgium) and was recorded in 2000 on the disc Métamorphoses 2000, Musiques & Recherches (MR 2000).

Premiere

  • March 19, 2000, Mouvements croisés, Théâtre Les Tanneurs, Brussels (Belgium)

Awards

Composition

Midong

Suk-Jun Kim

  • Year of composition: 1999
  • Duration: 9:58
  • Instrumentation: fixed medium

Stereo

A study about movement and gesture. Their interior/exterior relationship built around the easily discernible sound objects. “Mi-dong” (korean) can be translated as a word “Flickering” or “the state of a being whose movement is so small that you cannot tell.”


Realized in composer’s private studio. Technical notes: Sounds manipulated with the use of various programs such as SoundHack, Lemur pro, MarcoHack, MacPod, SoundEffect… and K2000. Edited and mixed in Peak LE, Digital Performer.

Awards

Aspavientos

Jorge Sad Levi

  • Year of composition: 1998
  • Duration: 7:38
  • Instrumentation: fixed medium

Stereo

Imaginary recording of a John Dowland song.

I conceived this composition as a piece for voice and percussion “in real-time” which was recorded in an imaginary world with physical laws different from ours, or in a dream where things are organized in an impossible yet logical fashion. In this piece, I try to create the sensation that it has been played somewhere and that one is hearing a recording and not an electroacoustic work. Nevertheless, this “poietic” aspect may remain hidden from the listener or may not be evident to him/her.


Awards

Tropisme

Aliocha Van der Avoort

  • Year of composition: 1998
  • Duration: 7:33
  • Instrumentation: fixed medium

Stereo

From the Greek “tropos.” The growth of a plant in a particular direction under the influence of an external stimulus (light, matter, gravity, etc.) Botany is the most quoted model in composition. The energy ratio undergone by a plant during its birth, growth and life can be compared to the acoustic beings which we attempt to give birth to, make live and die. In this piece, this being, this hatched sound body grows in the strata of the earth, spreads its roots and, in an ultimate effort, is born into the sudden void of the immense space of the surface. There, it coexists with the infinitely small, travels through the life rhythms of the insect world. But this premiss of existence is very quickly destroyed by the elements.


Awards

Papillon, abîme, nuit

Ingrid Drese

  • Year of composition: 1999
  • Duration: 12:06
  • Instrumentation: fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9006613010

Stereo

“Butterfly flutters dancing // Startled from its dream // Hums, shudders, trembles // Travels through underground worlds // Wondrous dream // Flying here and there, to the whims of the wind // Wings beating // The shadow of the butterfly, colour of its wings // Autumn light // Crosses the corner of shadow // Teeming, countless numbers beating their wings thus” — Ingrid Drese

[vi-09]


Papillon, abîme, nuit [Butterfly, Abyss, Night] was realized in 1999 at the composer’s studio and premiered on November 17, 1999 during the 6th international acousmatic festival L’Espace du son, at XL Théâtre du Grand Midi (Brussels, Belgium). Papillon, abîme, nuit was a finalist at the 1st biennial acousmatic composition competition Métamorphoses (Brussels, Belgium, 2000). It has been previously released on the compact disc Métamorphoses 2000 (MR 2000).

Premiere

  • November 17, 1999, L’Espace du son 1999: Concert, XL Théâtre du Grand Midi, Brussels (Belgium)

Awards

Composition

Les flûtes en feu

Åke Parmerud

  • Year of composition: 1999
  • Duration: 10:22
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: GMEB
  • ISWC: T0001307772

Stereo

Les flûtes en feu (Flutes on Fire) is based on the concept of the composer as an alchemist. With the use of computers and modern studio facilities, the composer of acousmatic music or sonic art, is able to treat the acoustic material as if it was a substance with a constantly redefinable morphology. In the piece the basic sonic ‘substance’ is some simple sounds of flutes. They are transformed and recomposed in various ways as to give a glimpse of their virtual potential. As the piece evolves, the relatively simple structures reveals new and sometimes surprising sides of their original gestures. There is also another element reccuring throughout the composition. A short metallic sound, reminiscent of the sledge hitting the anvil, signals the presence of a force that is about to change the shape of things. Finally, in the end of the piece, the sound of fire, representing the catalyzing process of the four elements present as the basis of all alchemy, breifly enters the sonic stage to confirm the process that has been taking place. As in many other instances where the ambitions of art touches upon the old idea of metamorphosis, working with this piece definitely made me realize that “all that glitters ain’t gold.” However, as usual when working closely with some sound material, my relation to the flute as a source of sound and as an instrument in general got a lot deeper, witch in itself is a golden experience.


Les flûtes en feu was realized in 1999 at the Charybde studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) and at the composer’s studio and premiered on June 14, 2000 during the Synthèse festival (Bourges, France). Les flûtes en feu was awarded the First Prize ex æquo at the 1st Biennial Acousmatic Composition Competition, Métamorphoses 2000 (Brussels, Belgium) and was first recorded in 2000 on the Métamorphoses 2000 CD (MR 2000).

Premiere

  • June 14, 2000, Synthèse 2000: Concert, Bourges (Cher, France)

Awards

Composition

Images

Bernat Vivancos

  • Duration: 11:35
  • Instrumentation: fixed medium

Stereo

This piece is my first electroacoustic work. After a year of experimentation and discovery of the equipment and computer software at the Conservatoire de Paris, I did several recordings of the cymbalum, the piano and various percussion instruments and processed these sounds using several plugins. My work is about contrasts, about the “images” I wanted to reflect, sometimes quite brusquely, sometimes closely or distantly and gently, but always with great force and inner power.


Awards