Métamorphoses 2014 (2 × CD) Track listing detail

Replica

Martin Bédard, Marie-Hélène Breault

  • Year of composition: 2013
  • Duration: 10:02
  • Instrumentation: stereo fixed medium

The Replica project is inspired by the existential opposition between continuity and transformation as comprised in the sentence “Eadem mutata resurgo,” or “I am reborned changed as identical.” The work is built exclusively from flute sounds, mainly old recordings of the performer and new materials generated during a first instrumental writing. The replica of these materials in a second writing on support creates various sceneries in which are interpreted on one hand the instrument and its expressive potential and on the other hand the performer and her history. In Replica, the dichotomic relation between continuity and transformation is made of 4 compositional modalities: contrast between pure instrumental sound and re-built sound; creation of new material on the basis of old recordings; progressive transformation of motives and sound objects based on repetition; and duplication of the instrumental by the electro. On the road towards instrumental utopia, the project took the form of an acousmatic work.


Premiere


Awards


About this recording

10-minute short version.

The Battle

Adrian Moore

  • Year of composition: 2013
  • Duration: 14:24
  • Instrumentation: 5.1-channel fixed medium

Stereo

ISRC CAD501510021

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits
To my mother and her fighting spirit

This work began very traditionally, developing stereophonic materials towards something abstract in early January 2013. I took these developments to the Visby International Centre for Composers (VICC, Sweden) in April 2013 and developed them further still, deciding that the work would exist primarily in 5.1. Fate played its hand mid way through the residency and everything was brought back to my office in Sheffield (England, UK) where the work was completed in July 2013. During this time, I searched for a title for the work and completed further chapters of my course book, Sonic Art: an introduction to electroacoustic music.

The Battle is clearly a programmatic title. The abstract work is in two large sections filled with pulsed activity, accelerating gestures, granular textures, swift cut-aways, natural and forced spatialisation in 5.1 often with heavy reverberation. However, the way I now “see” the work is as follows: The Battle conjures a number of battle “scenes,” often cloaked in darkness and mist (a well used acousmatic analogy). It comprises a number of clearly marked attacks, reinforced by skirmishes and feints, large-scale phalanx movements and close-quarter hand-to-hand combat. There are times when we feel we are on the offensive and times when we are on the run. We are placed in a medieval battlefield where, as the mist clears and spaces open out to reveal the aftermath of the battle, we feel the enormity of the fight. As we become more “involved” in the action, so we feel increasingly drained by the uncertainty and battered by the inevitability of the battle.

[v-15]


The Battle was realized between January 2013 and July 2013 at the Visby International Centre for Composers (VICC, Sweden) and the composer’s studio and premiered on October 26, 2013 as part of the Akousma X festival presented by Réseaux des arts médiatiques at Usine C (Montréal, Québec).


Premiere

  • October 26, 2013, Akousma X: Espace strié, Usine C, Montréal (Québec)

Awards

Far bollire piano per 8 minuti

Stijn Govaere

  • Year of composition: 2013
  • Duration: 8:03
  • Instrumentation: fixed medium

The title of this acousmatic work is a game of words. Translated into English that would read “Boil slowly for 8 minutes,” a looser translation could be “Boil a piano for 8 minutes.” The inspiration for this work came to me one day cooking whilst listening to some piano music on the radio. The contrast of the granular sound of boiling water or oil and the rich, harmonious sounds of the piano appealed to me. As we are boiling the piano (for 8 minutes), the piano sounds are rather dark and at some point melancholic as if it gave up any hope of escaping the boiling oil… The sound sources for this piece are: piano recorded at the studios of Musiques & Recherches (Ohain, Belgium) and boiling water/oil and cutlery from my kitchen.


Far bollire piano per 8 minuti was awarded an Honorable Mention in the Musica Nova 2013 International Competition of Electroacoustic Music (Prague, Czech Republic).


Premiere

  • March 19, 2014, ÉlectroBelge et nouvelles productions de M&R, Espace Senghor, Brussels (Belgium)

Awards

Balloon Theories

Dimitris Savva

  • Year of composition: 2013
  • Duration: 14:16
  • Instrumentation: fixed medium

The extra musical motivation for this composition was a personal realization about the way we create mental images about ourselves and how these images, that most of the times are false and fake, affect negatively our everyday life. We blow balloons and as soon as we do it we pop them, or at least we try. But the air inside the balloon, symbolizing the negative thoughts, beliefs and insecurities, is blown. Hence, the source of this uncomfortable situation is no one else but us. This is a realization that might motivate us to finally stop blowing balloons. The composition takes this idea as a starting point. It is influenced by it, developing its own and abstract narration allowing the listener to imagine his own unique story.


Awards

Sense

Panayiotis Kokoras

  • Year of composition: 2013
  • Duration: 8:20
  • Instrumentation: stereo fixed medium

Sense for electroacoustic sounds was composed in 2013 at CEMI Studio, University of North Texas. The main theme of the piece is the water as a sound object but also as a force or material that affects other sounding objects. For the piece I mainly used procedural audio techniques, music information retrieval tools, physical modeling as well as traditional audio editing techniques. It is a story of a man pouring liquor in a glass.


Awards

Catabolisms

Erik Nyström

  • Year of composition: 2011-12
  • Duration: 12:15
  • Instrumentation: 8-channel fixed medium

“[…] all sorts of agents and events that act in an unpredictable, disorderly fashion and have in common the fact that they all grind things into pieces.”

Rudolf Arnheim, Entropy and Art (1971)

The title alludes to phases where sound is undergoing a process of molecular milling, fragmenting into its most primitive constituents, not unlike the ‘catabolic processes’ Rudolf Arnheim described in his essay Entropy and Art. Arnheim argued that all aesthetic or functional objects are results of the opposing ‘anabolic tendency’ — a universal force of shape-building, instilling in all objects a structural theme.

In Catabolisms, an anabolic tendency is found also in destructive forces, as implosions and corrosions become aesthetic phenomena in their own right. Energy dissipating among these textures builds a momentum which breeds new formations in a continual morphogenesis. Thus the work shapes its own destiny, as lumpy, powdery, sticky, porous aggregations of particles are strung up into spectral clouds, strata, and cascades in an interaction among turbulent forces. As in our physical world, crises occur where creation and decay are in synergy; entropic byproducts become a fertile terrain for a self-propagating universe of sound.

[vi-14]


Catabolisms was realized in 2011-12 in the Electroacoustic Studio of City University London (England, UK) and premiered on April 17, 2012 during the SuperCollider Symposium 2012 at City University London.


Premiere

  • April 17, 2012, SuperCollider Symposium 2012: Electroacoustic Concert, Performance Space — College Building — City University London, London (England, UK)

Awards

Endroit / envers

Paul Ramage

  • Year of composition: 2013
  • Duration: 7:29
  • Instrumentation: fixed medium

Music can be conceived as segments bearing a temporal signification because of their kinetic and morphologic organization. Here are studies putting those ideas into perspectives and striving to sort out right side up from upside down, but starting from one same material, one same sound and perceptive unit…


Awards

The Relentless Hole

Lucas Felipe Alves de Oliveira

  • Year of composition: 2013
  • Duration: 7:18
  • Instrumentation: fixed medium

The relentless hole intended to work with the idea of boredom and monotony through the long sustain pedal during the first three minutes of the work. The initial sound material is synthesized and gradually gives way to recorded sounds, especially the voice, referring to the body as a hole within the meaning of empty space, a cavity through which something flows.


Awards

Fragile Butterfly

Irene Pacini

  • Year of composition: 2014
  • Duration: 11:45
  • Instrumentation: stereo fixed medium

The opera Madama Butterfly is the starting point of this work. A new music is built from there, by exploring the expressive possibilities of sounds resulting from torn and crumpled paper, from tip frictions, from the path and the rhythms of writing with a pencil or a pen. What is the relationship between these musical sources? The idea of fragility, which is common to paper, butterfly wings and ultimately, the character of Madame Butterfly. The vehement wrenching of paper bits are ripping up the image of a mysterious world far away. A world where dreams and illusions of Madame Butterfly shape sound waves coming closer or drawing away, in a space full of expectations. Among the torn out spaces, other images, other worlds full of anxiety, where tension is growing, are emerging. The fragile paper is ripping up, just like the fragile wings of a butterfly caught among walls of paper. Shall the butterfly find its path to heaven?


Awards

Helena

Roeland Luyten

  • Year of composition: 2014
  • Duration: 8:47
  • Instrumentation: stereo fixed medium

The intention for this piece is to create a quantum planetary universe of splintered sounds. This can easily result in just chaotic randomness. Therefore I clot separate short soundclips into groups. In turn, those new groups clot into bigger clusters. This way I gain massive individual sound objects with high granular density. Polyrhythmical structures are enclosed by repeating short granular patterns, like frozen mechanisms. These loops connect the bigger sound objects in time. Some things are too big to control, others too small. In between I compose.


Premiere

  • March 19, 2014, ÉlectroBelge et nouvelles productions de M&R, Espace Senghor, Brussels (Belgium)

Awards

Respiro

Andreas Vorwerk

  • Year of composition: 2013-14
  • Duration: 10:37
  • Instrumentation: 8-channel fixed medium

The 8-track piece Respiro examines the question of musical meaning unit of respiration. It describes temporal, spatial, dynamic and spectral processes. The structuring of the piece also focuses on the method of breathing as a musical term.


The piece was realized at the studio for electroacoustic music — SeaM in the Franz Liszt Academy of Music Weimar. Thanks to: Daniel Osorio (quotations from the text by Faraòn Meteosès) and Franziska Erdmann (soprano).


Premiere

  • June 28, 2013, next_generation 5.0 akusmatik: SEAM Weimar, ZKM_Kubus, Karlsruhe (Germany)

Awards

Bleu, blanche, rouges

Maxime Barthélemy / Dana Mbé

  • Year of composition: 2014
  • Duration: 6:05
  • Instrumentation: stereo fixed medium

Unlikely sky and bouquet of things are addressed here and correspond — to my first attempt of music that fades… around its author. The listener is invited to follow suggestions of poetic images by simple associations (phenomenon/color), allowing a non-linear and evolutive perception of time. Accordingly, the range of musical material is purposefully concentrated, preferring solutions by writing for the work, in balance with the assumed sounds’ anecdotic potential. The voice is particularly important on several levels, needless to mention, but its meaning is perhaps the least important. The form follows the framework of the original text (the pretext?), sometimes interwoven in itself or sometimes set aside. Finally, I wish to exploit the functionality of a title —read out of the listening field— without which these three words would have sadly remained without gender or number. [Lost in translation: Bleu: Blue masc. sing., Blanche: white fem. sing., Rouges: red masc/fem. plur.]


With the voice of Jutta Wernicke. Composed at Studio Pierre Schaeffer (Paris Conservatory) and composer’s studio. Premiered: March 3, 2014, Musique à réaction 5.3, Auditorium of the Conservatoire à rayonnement régional de Paris by the composer on acousmonium Motus.


Premiere

  • March 3, 2014, Musique à réaction 5.3, Auditorium — Conservatoire à rayonnement régional de Paris, Paris (France)

Awards

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