Métamorphoses 2016 (2 × CD) Track listing detail

Inside and out… again

Adrian Moore

  • Year of composition: 2016
  • Duration: 12:41
  • Instrumentation: 7.1-channel fixed medium

Inside and out… again is a concert work stemming from the How Many Sounds project. This project set about investigating the use of multichannel audio to manage musical complexity through the creation of plausible environments. As I began to create more intricate sonic environments I noticed that increased complexity often led to the sensation of one environment, one that could be ‘explored’ — a polyphony of sources coalescing to form a monophony of environment. Whilst works like The Battle and Counterattack led to questions, Inside and out… again began to stretch the limits (whilst necessarily being musically coherent).

Inside and out… again draws heavily upon Bernard Parmegiani’s Dedans-dehors and the metaphor of inside / outside, within / without, unreal (unknown, interior), real (known, exterior). I began with environmental sounds; typical recordings that have we have heard before. There are some passing cars (metaphor for moving on), recording from my back garden. These sounds proved to be the most profitable. Microphones set in my gooseberry bush 50cm from my bird feeders captured flight sounds and this fluttering of wings is a key sound throughout. Also, we have bees (so it’s a birds and the bees piece), buzzing around the microphone and as a consequence the bees were brought into the studio via a pyrex bowl with microphones stuck in holes made in a sheet of A3 paper. Finally we have water, both outside at Creswell Crags and inside — water draining from my sink (another inside-outside metaphor).

And we have transformations: the buzz of bees becomes a drone; their angular flight becomes exaggerated spatialisation. The birds in flight become an exaggerated sweep that drives momentum; a single flutter gets mechanised. Real and virtual environments with reverberation become anecdotes or reminiscences. The bees grow to a swarm that literally shakes the room. Pitch is used to bind sections together. Repetition of material is used to solidify structure.

By taking us from real to unreal within a virtual environment, both are allowed to exist at the same time. It is this construction of environment that continues to fascinate me.


Inside and out… again was a finalist at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Premiere

  • May 28, 2016, Música Viva 2016: Encontro X: Orquestra de Altifalantes, O’culto da Ajuda, Lisbon (Portugal)

Awards

Ressort spiral

Sophie Delafontaine

  • Year of composition: 2014-16
  • Duration: 10:49
  • Instrumentation: stereo fixed medium
To Cyril

Everything is small in the world of watchmaking. So small sometimes that things barely make any noise; so small your eyes hurt.

The spiral spring [“ressort spiral”] is the centrepiece of the watch. It is attached to the pendulum to which it relays the energy that makes the watch turn. In this tiny part is stored all the energy the watch needs to operate. The spiral spring is energized when the watch is wound up, then it relaxes gradually, making the hands rotate for days.

I am fascinated by this contradiction. How can such a tiny thing have such strength?

While creating this music I immersed myself in my grandfather’s universe. With the help of my second cousin, an apprentice in fine watchmaking, I was able to discover a part of a world that I had only glimpsed.

[English translation: François Couture, iii-19]


Ressort spiral [Spiral Spring] was realized in 2014-16 at the composer’s studio in Brussels (Belgium) and was premiered on March 23, 2016, during the concert ÉlectroBelge at Espace Senghor in Brussels (Belgium). Thanks to Maxime Tissot and the Manufacture de Haute Horlogerie Cartier (La Chaux-de-Fonds, Switzerland). Ressort spiral won ex æquo the Public Award at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016) and was selected as the compulsory work for the 2017 spatial performance competition Espace du son. Ressort spiral was created with the help of the Fédération Wallonie-Bruxelles.


Premiere

  • March 23, 2016, ÉlectroBelge, Espace Senghor, Brussels (Belgium)

Awards

Che-toi

Demian Rudel Rey

  • Year of composition: 2016
  • Duration: 8:09
  • Instrumentation: stereo fixed medium

Che-toi is an electroacoustic work inspired in the French and Argentinian culture. This is represented with the use of monosyllabic words like che, no, toi, moi, temp, etc. Moreover, there are quotes and fragments of French Baroque music and Argentinian tango. There are also referential sounds of instruments such as bandoneon and accordion which interact with more abstract materials.

The formal structure of the piece is composed of five sections and a Coda. In the first section, the reference sounds from the whispered voice and bowed string prevail. In the second section, the vocal and spoken words as che and toi predominate. These words activate more complex and chaotic sounds that reach to the climax. In the third section, there are fragments of baroque music. Subsequently, the fourth section that functions as a transitive passage is composed of white, gray and brown noise, merged with urban soundscapes and torrential rains from field recordings of the City of Buenos Aires. This passage symbolizes the absence of the Vocal, the instrumental and everything that refer directly to the concept. Then in the fifth section, fragments of Argentinian tangos and bandoneon solos are heard. Finally, a Coda condenses most of the materials perceived previously during Che-toi and there are clears quotes of Rameau (Regne Amour) and of the tango which are followed by whispers and monosyllabic words.


Che-toi was a finalist at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Awards

While the Sun Shines

John Coulter

  • Year of composition: 2013-16
  • Duration: 15:42
  • Instrumentation: multichannel fixed medium (Klangdom)

It took me until my mid-forties to recognise the wisdom contained in the farming-related ethics I grew up with. I now fully appreciate what my father was trying to pass on in exposing his family to a life in the country. There is a richness of wellbeing that is all — but unattainable in the melee of urban sprawl, and he, having spent his own childhood holidays on a farm in Milburn Otago New Zealand, intimately knew the value of this experience. This piece, which has taken several years to complete, is a gift for my wonderful parents Brian and Clare Coulter, who in 2016 celebrate their 75th and 70th birthdays (respectively), as well as their 50th (Golden) wedding anniversary.

The saying “make hay while the sun shines” expresses an attitude that can be literally translated as: “if you have an opportunity to do something, do it before the opportunity expires.” This code reflects a small part of the lifetime of learning and discovery that comes from living and working in a farming community.


While the Sun Shines was a finalist at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Awards

Portrait d’une manifestante

Theodoros Lotis

  • Year of composition: 2014
  • Duration: 11:04
  • Instrumentation: 8-channel fixed medium
  • Commission: Musiques & Recherches


Commissioned by Musiques & Recherches. Composed at the studio of Ionian University, Corfu, Greece and the studio Métamorphoses d’Orphée, Musiques & Recherches, in Ohain, Belgium. Many thanks to Esther Lamneck for the clarinet samples and to Tery Vakirtzoglou and Olga Vasiou for their voices. Portrait d’une manifestante was a finalist at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).

Awards

L’ermitage au toit de chaume

Mirtru Escalona-Mijares

  • Year of composition: 2014-15
  • Duration: 15:25
  • Instrumentation: stereo fixed medium
  • Commission: Ina-GRM

This piece is a modest tribute to the Buddhist monk Ryōkan (1758-1831) and to the impression left by some of his poems. L’ermitage au toit de chaume takes as a starting point the poetic image of five tankas (a rhymeless Japanese poem composed of 31 syllables spread over 5 lines) written by Ryōkan during various periods of his life.


L’ermitage au toit de chaume was awarded the First Prize at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Premiere

  • January 25, 2015, Multiphonies 2014-15: Akousma, Auditorium Saint-Germain — MPAA, Paris (France)

Awards

Le fil ébréché

Nicolas Nuyens

  • Year of composition: 2016
  • Duration: 8:36
  • Instrumentation: stereo fixed medium

A slow, fateful downfall, brimming with crack-ups, shards and ruptures, as a long bow stroke punctuated by accidents.

The grain, the friction, here developed in several forms, as well as the title, are inspired by the memory of a Romanian gypsy, a griot of sorts, who used a piece of horsehair detached from his bow and tied to one of the violin strings to produce an incredibly fragile rattle, downward moving and iterative, in order to accompany a rather sad piece of news.

Articulated around this notion of fall and of asperities in trajectories are composed figures, an abstract, damaged narrative that proposes an escape from the strictly morphological frame of support-based writing.


Le fil ébréché was composed with support from the Fédération Wallonie-Bruxelles (Direction générale de la culture, Service de la musique). Le fil ébréché was awarded the prize ex æquo (student category) at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Premiere

  • March 23, 2016, ÉlectroBelge, Espace Senghor, Brussels (Belgium)

Awards

Apax

Alexis Langevin-Tétrault

  • Year of composition: 2015
  • Duration: 8:02
  • Instrumentation: 8.1-channel fixed medium

Apax reflects a creative process marked by a desire to confound my habitual compositional reflexes. The piece is essentially composed of different variations on one single sound. It illustrates a research on variation within continuity through the progressive modification of timbre and of spacialization.


The piece was designed for an octophonic system equipped with spatialization tools developed at the Université de Montréal by a research group on spatial immersion led by Robert Normandeau. Apax was awarded the first prize ex æquo (student category) at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Awards

Regression

Bihe Wen

  • Year of composition: 2013-15
  • Duration: 8:01
  • Instrumentation: stereo fixed medium

Regression is an acousmatic composition exploring multiple potential of spectromorphology by using single material. The sounds in Regression are entirely derived from the “Udu”. This African clay instrument had its origins as a water and food container withceremonial functions, and so still serves to evoke the primordial texture. In composing this work, I was searching for an organic musical language with which I could compose a piece whose structure resembled a living organism in all its dynamism. On the smallest scale, the textures of sounds that may at first seem very different often reveal close relationships. I have sought to reveal these relationships in my composition through various transformations of these different sounds. I have also attempted to embody in this work an improvisational spirit that reflects the rhythmic freedom of the original sound material.

Finally, the philosophic and poetic motivation for this piece was my desire to have the sounds of the “Udu” regress back to their watery origins, not only to evoke the water that the instrument was originally made to carry, but also to honor the water and earth that together made its construction possible.


Regression was a finalist at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Awards

Odissea

Enrico Fiocco

  • Year of composition: 2015
  • Duration: 8:06
  • Instrumentation: 4-channel fixed medium

The odyssey is the ultimate expression of travel. It is a succession of events and of expectations, in which time alternately expands and retracts. Here, the various stages of the journey are punctuated by the development of an electroacoustic gesture. With the use of a man/machine interface, the performance of this very gesture takes on the same fluidity and expressivity as an instrumental gesture.


Odissea was awarded a Honorable Mention at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Awards

Stuck

Rafael Muñoz Gomez

  • Year of composition: 2013
  • Duration: 10:57
  • Instrumentation: stereo fixed medium

Be stuck. Try. Try. Be stuck again. Search. Continue being stuck. Find. Oh, no, still stuck. Finally, compose, with a tense mind, a stuck music.


Stuck was awarded the Public Prize ex æquo at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Awards

Topophilia

Nikos Stavropoulos

  • Year of composition: 2016
  • Duration: 8:25
  • Instrumentation: 5.1-channel fixed medium

The concept of topophilia relates to attraction or affinity to place, the bond between a person and a specific locality. Topophilia is understood to be the result of the perception of a particular environment. In this case the term is borrowed to suggest the allure of a type of place — a space instilled with musical meaning — which displays characteristics of intimacy and closeness. An abstract musical topos, which exists in the intimate and personal zones and is rooted in the concrete materiality of the sound objects inhabiting it. The work is not only an artistic interpretation of the notion of aural micro-space but also an attempt to work with the reality of such a notion in a way that the latter permeates the former.

[ii-19]


Topophilia was realized at the composer’s studio in the first half of 2016 and was premiered on October 8, 2016 during the Visiones Sonoras festival in Morelia (Mexico). Topophilia was awarded the 1st prize at the Iannis Xenakis International Electroacoustic Composition Competition (Thessaloniki, Greece, 2017), the 1st prize in the acousmatic category at the 9th Destellos Electroacoustic Composition Competition (Mar del Plata, Argentina, 2016), the Prize of the electronic music category at the USF New-Music Consortium Competition (Tampa, FL, USA, 2017), the ICST Residency Prize at the Concours international de composition électroacoustique de Monaco (2016), the 2nd prize at the Klang! competition (Montpellier, France, 2017), and a special mention at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Belgium, 2016).


Premiere

  • October 8, 2016, Visiones Sonoras 12 — 2016, International Conference of Electroacoustic CIME / ICEM 2016: Concierto CIME 2, Escuela Nacional de Estudios Superiores — UNAM Campus Morelia, Morelia (Mexico)

Awards

Contemplating Larry

Elainie Lillios

  • Year of composition: 2015
  • Duration: 12:12
  • Instrumentation: multichannel fixed medium
  • Commission: Larry Austin

Contemplating Larry presents an abstract “portrait” — in three movement: Articulations; Drones; Portraits — of composer Larry Austin. The piece was created exclusively from samples of Larry’s compositions, which span fifty-five years and numerous mediums. None of the samples were reprocessed; they are all Larry’s sounds (with three exceptions at the end of the 3rd movement) that have been “recontextualized” and recombined to illustrate the composer’s rich and varied sound world.


Contemplating Larry was commissioned by Larry Austin and is (of course) dedicated to him with admiration and gratitude. Contemplating Larry was awarded a special mention at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016).


Premiere

  • September 29, 2015, Elainie Lillios, diffusion • ICMC 2015: Concert 20, Lyric Theater — Murchison Performing Arts Center — University of North Texas, Denton (Texas, USA)

Awards

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