Métamorphoses 2004 (2 × CD) Track listing detail

Cercle des rythmes vitaux

Ondřej Adámek

  • Year of composition: 2003-04
  • Duration: 15:22
  • Instrumentation: 5.1-channel fixed medium

Ritual, invasion
To a silence, loneliness of drops
Nebulous pulsation, cut line
And new invasion
Too much pressure, the small space
To obscure shadows
Presence of voices
And the pulsation comes again
Incessant mechanism
All the weight falls
Towards a shadow
The last door closes…


  • January 15, 2004, Cycle acousmatique 2003-04: 3 — Quelques œuvres du répertoire réalisées au studio Métamorphoses d’Orphée, Petit théâtre Mercelis, Brussels (Belgium)


Underwater Theories

Theodoros Lotis

  • Year of composition: 2002
  • Duration: 15:34
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

“When I look through the density of the water, at the paving in the depths of a swimming pool, I do not see it in spite of the water and its reflections. On the contrary, I see it through the reflections, because of them. If these deformities, these stripes of the sun were not there; if I were glancing at the paving’s geometry without the interference of this flesh, then I would stop regarding it the way it really is; there, where it really is: beyond every identical space.” — Maurice Merleau-Ponty, L’œil et l’esprit (Eye and Mind), 1964

The sonic world of Underwater Theories combines electronic sounds created by software synthesizers, with acoustic instruments, such as human voice and doublebass treated by the software Max/MSP. Although my original intention was to explore and emphasize the “rivalry” between electronic and acoustic, or “concrete,” sounds, surprisingly, these two sonic worlds were blended together in a concordant way, creating sonic environments where no confrontations between artificial and natural exist.


Underwater Theories was realized in 2002 at the composer’s studio in London (UK) and premiered on October 20, 2004 during the 11th International Acousmatic Festival L’Espace du son (Brussels, Belgium). Underwater Theories was a finalist at the 3rd Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2004). It has been recorded on the compact disc Métamorphoses 2004 (MR 2004, 2005).


  • October 20, 2004, L’Espace du son 2004: Finale du concours international de composition acousmatique, Théâtre Marni, Brussels (Belgium)



Martin Bédard

  • Year of composition: 2003
  • Duration: 14:12
  • Instrumentation: fixed medium

Check-point is first-and-foremost a metaphor for night… A statement between reality and fiction. It depicts possible locations, convincing landscapes. A piece based on the dialectic of time and space, Check-point is specifically a discourse of form and structure. A series of crystallized moments leading to the final destination… A point you cannot go beyond.


Evidence of Things Unseen

António Ferreira

  • Year of composition: 2003
  • Duration: 10:42
  • Instrumentation: fixed medium

Electroacoustic or acousmatic music is an established aesthetic that one can define as admitting any sound as potential compositional material, frequently referring to acoustic phenomena and situations from everyday life. Most fundamentally of all it relies on perceptual realities rather than conceptual speculation to unlock the potential for musical discourse and musical structure from the inherent properties of the sound objects themselves. Using both the reconstructing powers of our memory and the tension between reproduction and abstraction, acousmatic music still has a critical potential regarding our aural relation to the world. Evidence of Things Unseen is both an aural reminder of the evocational power of sound in a society too much flooded by images and a gentle critique of the consequent reduced time span attention. This is in part motivated by the barrage of sound bites produced by audio visual industry — an industry that uses much the same technology and the same techniques used to produce this piece. Playing on this slight irony, this piece uses dramatic gestures, pitch distraction tactics and virtual space, an invitation to go from “this” side of the acousmatic curtain into music, from embodied experiences into intentional, poetic experience.


Les forges de l’invisible

Elizabeth Anderson

  • Year of composition: 2002-03
  • Duration: 13:50
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média

Les forges de l’invisible is inspired by the spirit of the 18th-Century English poet, engraver, and visionary, William Blake (1757-1827), who wrote of the indestructibility of innocence, the necessity of seizing life and the awakening of the imagination. Many instances of dual imagery can be found in Blake’s poetry, notably in The Tyger (1794), where the twin themes of destruction and creation are explored, the former being a necessary prelude to the latter. From this came the idea of translating these contrasting notions into sound through the electroacoustic medium, which, in its endless malleability, is ideally suited to their transmission.

In the first movement the listener is invited to promenade through a world of almost entirely transformed sounds that alternate between diaphanous webs and moments of almost violent force. The second movement centers on the concept of the forge and the duality inherent to its function: melt down in order to reconstruct.


Les forges de l’invisible was realized in 2002-03 at the multitrack electroacoustic studio of City University London (England, UK) and the Studio Akousma of the Academy of Soignies (Belgium), and premiered on February 25, 2003 during the Electroacoustic Concert at City University London. Much of the sound material for Les forges de l’invisible was created in April 2000 during a residency at the Centre de création musicale Iannis Xenakis (CCMIX) in Paris (France) with support from the Service of Cooperation and Cultural Action of the French Embassy in Belgium. Thanks to Thomas Gardner. Les forges de l’invisible was awarded the First Prize and the Public Prize at the 3rd Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2004) as well as an Honorable Mention at the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’03, Brazil).


  • February 25, 2003, Electroacoustic Concert, Performance Space — College Building — City, University of London, London (England, UK)


Hamlet-Machine with Actors

Robert Normandeau

  • Year of composition: 2003
  • Duration: 15:58
  • Instrumentation: 16-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Vancouver New Music (VNM)
To Marc Béland

Adapted from the music composed for the play Hamletmachine (1979) by Heiner Müller (1929-1995), staged by Brigitte Haentjens in Montréal in 2001. The actors were Marc Béland, Céline Bonnier, Annie Berthiaume, Louise de Beaumont, Gaétan Nadeau, Line Naud, Guy Triffero, and François Trudel.

The music was omnipresent during the play, one hour and fifteen minutes of music. Around thirty different themes were used. For the concert version, I reworked every sound and recomposed every sequence to produce an autonomous work. For the first time in a while, I used electronic sounds in the piece. And to this musical material I added the sounds made by the actors, as recorded in three documents I shot: two rehearsals — the rehearsal building, as anyone can hear, was located in an industrial neighbourhood — and the show of the first public performance. By doing this, I have the feeling that I preserved not only the musical material of the play, but also its spirit, thanks to the sonorous presence of the actors. The music, like the play, tries to describe the oppression society exerts on Man, the representation of taboos — including sexual taboos — through the show and the end of art.


Hamlet-Machine with Actors was realized in 2003 at the composer’s studio and premiered on October 11, 2003 at the Scotiabank Dance Centre, Vancouver (Canada). Hamlet-Machine with Actors was commissioned by Vancouver New Music (VNM). The work was finalist at the 3rd Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2004).


  • October 11, 2003, Concert, Scotiabank Dance Centre, Vancouver (British Columbia, Canada)



Apostolos Loufopoulos

  • Year of composition: 2002
  • Duration: 11:08
  • Instrumentation: fixed medium

The title means darkness, dusk in Greek. In ancient Greek and Roman (Erebus) mythology Erevos is mentioned as a place between the earth and the underworld, a place where day and night went in turns. The work reveals a world of imagination, in wich relationships and analogies differ from the reality. The idea of the piece refers to a journey between “natural” and “supernatural,” which is presented in the musical context through the combination of recognisable and non-recognisable sounds. Throughout the work, nature adopts different colours and characters: its materials are sonically placed in unfamiliar territories, while they are successively combined, revealing hybrid forms of matter and life. Erevos was completed in September 2002 at the composer’s private studio and at City University Electroacoustic Studios in London.


… sans quoi les imperméables jaunes existeront…

Nicolas Bernier

  • Year of composition: 2004
  • Duration: 8:00
  • Instrumentation: stereo fixed medium

… sans quoi les imperméables jaunes existeront… (… without which yellow raincoats would not exist…) is based on organic and impulsives movements while learning. It is born from an ongoing desire to plunge in things that I dislike and ovoid simplicity. I like calm, soft music with long static track. This piece is an attempt to avoid this direction. And so I plunged myself in a tight montage with well articulated movements. The inspiration come from childhood. The yellow raincoat (“imperméable jaune” in French) is the symbol of childhood, a symbol of the games and of the excitement of jumping both feet in a puddle of water.



Panic, Melancholy

Vera Ivanova

  • Year of composition: 2002
  • Duration: 11:12
  • Instrumentation: fixed medium

“Panic“ (5:12) stands on the border between “serious” electroacoustic music and its exaggeration. It reflects the way of living in today’s metropolis with its rush hours, lack of time and noise pollution, its everyday stress and loneliness. The result? Panic. The initial material of “Panic” is the filtered beginning of my Night Music for large ensemble. The first two bars repeat throughout the piece, each time transformed through different filters and plug-ins, disappearing in the end, leaving pulsating sine waves as a shadow. The main sources of the piece are graphic patterns used as filters for the Metasynth software, transforming graphic images into sound objects and filters.

“Melancholy” (6:01). The title reflects the mood of the piece; it is a lyric composition based on the pre-recorded voice of Judith Caplan (UK, Soprano). The voice samples were transformed in different ways. Certain partials of words were extracted to create new spoken letters and vowels, as well as rich textures (or ‘fields’) of voices. The two sung notes, E and D-sharp, are repeated throughout the piece. These are the ‘central interval’ of “Melancholy” (the Major seventh), unstable by itself, but not dissonant. The interchange of these two notes creates a balancing effect, associated with a children’s ‘seesaw.’


The Fragment of Glass

Saburo Ubukata

  • Year of composition: 2004
  • Duration: 8:27
  • Instrumentation: fixed medium

The tale which drifts the interval of reality and non-reality. The glass sound is the motif of piece which serves as the undercurrent. A variation is carried out the glass sound, it appears frequently, and it leads music to 2 part form as a result. The relation nature of reality and non-reality is made distorted soon.

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