electrocd

Track listing detail

Penmon Point

Andrew Lewis

  • Year of composition: 2002-03
  • Duration: 15:26
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0100741921

Stereo

To Maurice Lock

“A cold, clear Advent day. In the distance, snow-capped mountains appear still and at peace, yet close by the sea relentlessly pounds the Point on three sides. The steep pebble beach is dragged and drawn by waves that crackle and seethe with the mass of moving stone, while frozen pools on the shore splinter and craze in joyful counterpoint. Half a mile distant an island rises up, almost touchable — Seiriol’s Island, home of the hermit, now lifeless yet still echoing with ancient worship. Even the lighthouse, beacon of guidance, tolls in ceaseless praise, as if to continue the songs of men who now sing before God.” (Penmon Point, Isle of Anglesey, North Wales, December 2001)

Penmon Point is a place of extraordinary sights and sounds. This piece draws together its three main sonic elements.

Musica Mundana: The ceramic, roaring scintillation of the waves lifting and perturbing the steep banks of huge pebbles at Penmon is one of its most characteristic sounds. Together with this, the splintering of ice, the cries of birds and the acoustic ambience of the location provide Penmon Point’s natural voice.

Musica Humana: Seiriol’s monastic settlements, founded in the 6th century, are long deserted, but the nearby Priory Church continues his tradition. A 7th century plainchant hymn Conditor Alme Siderum (Creator of the Starry Skies), in various guises and transformations, is the human voice of Penmon Point.

Musica Instrumentalis: The lighthouse, both visually and sonically, is a strikingly artificial presence in an otherwise untamed environment. The tolling of the lighthouse bell every thirty seconds similarly suggests the order and conceit typical of instrumental or ‘machine’ music. Thus this bell provides the overall structural organisation of the piece, both horizontally (it sounds every thirty seconds in the music itself) and vertically (its first eight partials form the pitch structure of the entire work).

All three musics are linked by their periodicity, the ebb and flow of the waves, rise and fall of the voices, and regular tolling of the bell creating a variety of rhythmic interactions.

[xi-07]


Penmon Point was realized in the winter 2002-03 at the Electroacoustic Music Studios of Bangor University (Wales, UK) and premiered on March 22, 2003 during the Electric Spring Festival in Huddersfield (UK). It was awarded First prize at the 5th Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’03, Brazil). Penmon Point was recorded on the compact disc Música Maximalista / Maximal Music 10: V CIMESP 2003 in 2004.

Premiere

  • March 22, 2003, Andrew Lewis, diffusion • Electric Spring 2003: The Welsh Connection, St Paul’s Hall — University of Huddersfield, Huddersfield (England, UK)

Awards

Composition

Cyclo

David Berezan

  • Year of composition: 2003
  • Duration: 10:43
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9017468030

Stereo

Cyclo emerged out of the everyday ritual of the bicycle ride between my home and the studios where I was composing in Birmingham (UK). The sounds from my bicycle, the underlying rhythm of cycling, and the familiar sound spaces of the journey were an accompaniment to my life in England at the time. I decided to exploit this rich sound environment to create something that suggests both the high energy, rapid and harsh movement of cycling and the magic of the ‘journey.’ Cyclo is an abstract and magical sound world that contrasts and merges natural, mechanical, muscular, and delicate qualities. This ‘deconstruction’ and ‘reconstruction’ of the bicycle sound object create a new ‘something’ or object from source recordings of the original, leading to multiple real-world and abstract perspective juxtapositions (close observation, inner contemplation, and open soundscape). Cyclo is concerned with cycling and the journey as much as it is with the inner sound world and workings of the bicycle itself.

The term ‘cyclo’ is the combinational form of circle, cycle, and cyclic and is fundamental to the looping or turning nature of pedaling, breathing, wheels, gears, and the repeated cycle of the daily journey. The word ‘cyclo’ is also used in parts of South East Asia to refer to bicycle rickshaws (essentially unrelated to the piece although acknowledged through the incorporation of the gamelan tuning system in the treatment of some pitched material) and the cyclo driver.

[viii-08]


Cyclo was realized in 2003 at the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered on March 8, 2003 during the “20/20 Re:Vision” series of concerts celebrating the 20th anniversary of BEAST (Birmingham ElectroAcoustic Sound Theatre). Cyclo was awarded Second Prize at the 5th Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’03, Brazil).

Premiere

  • March 8, 2003, David Berezan, diffusion • 20/20 Re:Vision: Present, Concert 2, CBSO Centre, Birmingham (England, UK)

Awards

Composition

Signes émergents

Mario Mary

  • Year of composition: 2002-03
  • Duration: 14:58
  • Instrumentation: 8-channel fixed medium
  • Commission: Ina-GRM

Stereo


This text is unavailable in English.

Signes émergents, premier prix au Concours international de musique électroacoustique de Bourges (France, 2003). Pièce électroacoustique en 8 canaux. Commande de l’Ina-GRM. Réalisée au GRM.

Awards

Time Well / La fontaine du temps

Christian Calon

  • Year of composition: 1999-2002
  • Duration: 16:56
  • Instrumentation: fixed medium
  • Commission: Ina-GRM, with support from the CCA

Stereo

This text is unavailable in English.

«Je comprenais qu’il n’y a pas de mouvement hors du temps, je ne comprenais pas qu’il ne pouvait pas y avoir non plus d’immobilité.»JL Borges, Histoire de l’éternité

«stillness (l’immobilité) in stillness is not the real stillness; only stillness in movement is the real stillness.» — savoir zen

Time Well / La fontaine du temps appartient avec z | s (un essai sur le Temps) (œuvre radiophonique) et Time Corridor (installation sonore) à une série de projets centrés sur la question du temps. De la conscience du temps à travers l’écoute. Cette œuvre ne se situe ni dans la démonstration ni dans l’illustration, mais plutôt dans la mise en scène de faisceaux de possibles ouvrant la voie à l’écoute pour appréhender le passage fugitif, la distortion révélatrice, le miroitement trompeur.

Pas de conclusion, mais savoir reconnaître les signes.

Un filet lancé sur une surface changeante.
Être ici, exactement.

Le présent toujours multiple.


Créée le 4 mai 2002 à la Salle Olivier Messiaen, Maison de Radio France (Paris, France). Commande de l’Ina-GRM, avec l’aide du CAC.

Premiere

  • May 4, 2002, Multiphonies 2001-02: Concert, Salle Olivier Messiaen — Maison de Radio France, Paris (France)

Awards