electrocd

Track listing detail

Phonurgie

Francis Dhomont

  • Year of composition: 1998
  • Duration: 12:34
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: DAAD
  • ISWC: T0031232139

Stereo

ISRC CAD500114570

To Inés Wickmann and her found objects

Phonurgie — “making, working, and creating sound” — presents, fifty years after the first gropings, and at the verge of the century under examination, one of the current states of this new art, which has become an independent art of sounds.

Unlike the other pieces in the Cycle, Phonurgie quotes no more than a passing subject of Schaefferian study, bringing the sound of this legacy to a close; on the other hand, the first part, Objets retrouvés, draws all of its material and its structure from it. Paraphrased elements from Novars can, of course, be found — elements that themselves paraphrase Étude aux objets, making them commentaries on commentaries — while the opening and conclusion make reference to AvatArsSon. Nevertheless, in this fourth homage, the allusions to the origins melt away before the original propositions; filiation is not renounced, but here the child, finally grown, reveals its identity.

While technology may have changed considerably and the “sound color” may no longer be the same, morphological thought and writing still remain, in all of their many forms, true to the ‘spirit’ of the first “concerts de bruit” (Noise concerts).

[English translation: Tom Carter]


Phonurgie — 4th of the 4 works in the Cycle du son — was realized in 1998 in the Syter studio of Ina-GRM (Paris, France) and at the composer’s studio, and it premiered on September 25, 1998 as part of the Inventionen ’98 festival (Berlin, Germany). The piece was commissioned by Deutscher Akademischer Austauschdienst (DAAD). Phonurgie won First Prize at CIMESP 1999 (São Paulo, Brazil) and First Prize at the 1st Concurso Internacional de Creación Electroacústica Ciber@RT (Valencia, Spain, 1999). In 1998 Phonurgie was included on the Inventionen ’98: 50 Jahre Musique Concrète disc (RZ 10009/10) and in 1999 on the Musica Maximalista 6: III CIMESP 1999 disc (CD 199008708).

Premiere

  • September 25, 1998, Inventionen ’98: Concert concret, 1, Parochialkirche, Berlin (Germany)

Awards

Composition

Unsettled Line

Maurizio Martusciello

  • Year of composition: 1998-99
  • Duration: 7:01
  • Instrumentation: stereo fixed medium

Stereo

To Francis Bacon

Lines of articulation, segmentation, layers, territoriality; but also lines of escape, contractions, spasms, precipitation and breaking actions on the bodies of invisible forces. A body without organs, a significant totality that transmits directly without any device on the nervous wave, inside the living flesh.


Awards

Point de passage

Gilles Gobeil

  • Year of composition: 1997
  • Duration: 11:45
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • Commission: ACREQ, with support from the CCA
  • ISWC: T0704807419

Stereo

(Crossing Point) Free adaptation of The Time Machine (1895) by HG Wells (1866-1946).


Point de passage was realized at the composer’s studio in Montréal (Québec) in 1997 and premiered on May 1, 1997 during the concert “Haute tension” presented by ACREQ at Usine C in Montréal. This work was commissioned by ACREQ with support from the Canada Council for the Arts (CCA). Point de passage was awarded the Pubic Prize at the 3rd Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’99, Brazil) and was finalist at the 25th Bourges International Electroacoustic Music Competition (France, 1998). Point de passage was recorded on the compact disc Musica Maximalista 6: III CIMESP 1999 in 1999.

Premiere

  • May 1, 1997, Haute tension, Usine C, Montréal (Québec)

Awards

Composition

Stumbling Dance

Elainie Lillios

  • Year of composition: 1998-99
  • Duration: 14:44
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T7001754743

Stereo

Stumbling Dance imitates life’s occasionally tumultuous progress — starting, stopping, lurching forward, and tumbling backwards. The time-span of our existence can seem to simultaneously expand, contract, breathe, gasp, elongate, and shorten. This unpredictable life dance takes us on journeys of our choosing and sometimes takes us places never imagined.

[iii-11]


Stumbling Dance was realized in 1998-99 at the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered on October 29, 1999 at the Finalist Concert of the III Concurso International de Música Electroacustica de São Paulo at Teatro Laura Abrahão in Brazil. Thanks to Larry Austin for compositional guidance. Stumbling Dance was awarded Honorable Mention in the III Concurso Internacional de Música Electroacústica de São Paulo (São Paulo, Brazil, 1999) and was a finalist in the Luigi Russolo International Competition (Varese, Italy, 1999).

Premiere

  • October 29, 1999, Concerto de Premiação das obras eletroacústicas finalistas do CIMESP ’99, Teatro Laura Abrahão — Faculdade Santa Marcelina, São Paulo (Brazil)

Awards

Composition