Artistes Frans de Waard

Frans de Waard

Nimègue (Pays-Bas), 1965

Résidence: Nimègue (Pays-Bas)

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  • Interprète

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Articles écrits

  • Frans de Waard, Vital, no 1137, 20 juin 2018
    … most enjoyable…
  • Frans de Waard, Vital, no 1106, 13 novembre 2017
    This was altogether an excellent release.
  • Frans De Waard, Vital, no 1037, 20 juin 2016
    It makes indeed a wonderfully [sound journey], across continents, from cities to nature and back.
  • Frans de Waard, Vital, no 863, 1 janvier 2013
    … sustaining, insect like sounds, pulsating beats of a minimal nature, and throughout the music is spooky and mysterious.

Review

Frans de Waard, Vital, no 1137, 20 juin 2018

Here we have a composer from Montréal, where she got a doctorate in composition at the University in [2016]. Besides working with others in composing and performer, Ana Dall’Ara-Majek organises computer music programs and has a duo with Ida Toninato called Jane/KIN. “Nano-Cosmos is a cycle of acousmatic pieces dedicated to insects, small arthropods and microorganisms”, it says on the cover. There are five pieces on this release, usually created for a multi-speaker set-up, but here traveling from two speakers to your ears. The microscopic look at insects, bacteria and other hardly visible creatures lies at the basis of the music, which in all five pieces seem to consist of lots of small sounds. Sometimes these are heavily clustered together, thus from some drone like pattern (or two), but the can also appear like a swarm, all appearing seemingly random and chaotic, although they probably are not. It seems as if some of these sounds are voice like, almost singing, like in Bacillus Chorus, but surely the title of that piece was perhaps leading me on. Dall’Ara-Majek doesn’t seem to be using all these granular processes that sound like slides, going up and down that some of the composers who record for this label are known for, but throughout she seeks an extremer sound, with deep bass bumps and high end hiss, such as in Pixel Springtail Promenade, yet she also never betrays her roots in serious electronic music. She uses quite a bit of field recordings, although not always recognizable as from the land of microcosmos. In the final piece, Xylocopa Ransbecka one recognizes the sounds of wood doors; in the text she explains how sees that relation and yes, that works well. Also within the context of the whole CD it works pretty well. Throughout a most enjoyable, me thinks.

… most enjoyable…

Review

Frans de Waard, Vital, no 1106, 13 novembre 2017

Here’s someone who was born in the USA, now official inhabitant of France, but who refers to himself as a nomad. Although he dropped out of the conservatory, he taught at IRCAM and now in Mons, Belgium. He creates music for loudspeakers and has a duo with Jean-François Laporte, called Rust and as Les Frères Bobine with Stefano Bassanese and with cellist Benjamin Carat as Fluid Identities. “He thinks that music is not a language but a lived visceral experience, and that is not the art of sound but the art of the transcendence of sound”.

On his CD we find seven pieces, four of Still (2007-2009) and three that make up Pulse (2010-2015). In the first one “all the sound are recordings of common objects, used without transformation; the only processes applied are equalization, compression and reverberation”. It is not easy to say what these common objects are. In the three of the four parts it sounds like wind blowing down pipes, along with some amplified string object, set up in a hollow, reverb setting and in the other the amplified sound of rubbing objects over carpet; a very subdued, low, bass like sound.

I thought these were great pieces, especially because they didn’t sound for a change like something on Empreintes Digitales; no endless amount granular synthesis here. On Pulse he uses the sounds of Buchla 200 Modular analogue synthesizer and it’s all about small fragments forever changing. This too is quite the different kind of music than we know from the label; it is much more an analogue feeling that we get from this piece of music, with the second part being a particular harsh one, even when more feedback like sounds are part of all three. Maybe this is Empreintes Digitales entering the domain of modular synthesizers? The third part of Pulse is a particular beautiful, shimmering piece of delicacy but also with that much needed edge that makes you sit up and listen closely. This was altogether an excellent release.

This was altogether an excellent release.

Review

Frans De Waard, Vital, no 1037, 20 juin 2016

As far as I recall the only other time the name Jonty Harrison came up in Vital Weekly was when I reviewed a release by a student of his, Peter Batchelor (Vital Weekly #929). Much of the work composed by Harrison is simply not designed to be played on a stereo system, but to be experienced in places; places where they have a whole bunch of speakers, anything from a couple more than two up to an immense lot. Harrison is aware himself of the problem that presents this when reducing it to stereo for a CD release. Joseph Anderson suggested to use Ambisonics, which “is a full-sphere surround sound technique: in addition to the horizontal plane, it covers sound sources above and below the listener” (and you can read lots more on wiki, I’d say). Much of Harrison’s work deals with field recordings and ever since the 90s he’s been carrying around devices to do these recordings, usually when traveling. On this release we have two pieces. The fourteen-minute Espaces cachés and the one-hour long Going / Places. The first piece seems to be overlapping field recordings together, so that multiple sounds come together and create a new place; one recognize some of the sounds, and sometimes we don’t. There are cicadas, city sounds, farmyard and nature recordings — and no doubt lots more. It seems to be having mild processing, but surely it hasn’t.

The other piece, Going / Places contains [twenty-three] separate pieces of music, which create the sense of journey. There is lots of railway stations, tourists, harbours, boats in here, along with a geothermal pool in both Iceland and New Zealand, crickets, people playing music, a call for prayer and many more. Here too some of it is cut together, but then sounds that are from a similar group, like the aforementioned pools, or bells from various countries at the same time. It makes indeed a wonderfully [sound journey], across continents, from cities to nature and back. Sometimes it seems there is some kind of processing going on but I’m sure there is none. This release works best when one uses a pair of headphones in order to hear this ambisonics work best; in a more normal situation with speakers it worked a bit less in that respect.

It makes indeed a wonderfully [sound journey], across continents, from cities to nature and back.

Review

Frans de Waard, Vital, no 863, 1 janvier 2013

[…] Along similar lines — electronic music and texts read in the French language is to be found on the release by Vromb and Lucien Francoeur. Vromb we obviously know from his various releases on Ant-Zen, but also from Hushush from his home town Montréal. He has quite a following I am told. Lucien Francoeur is a writer from Montréal, who has been active since the mid 60s. In his performances of the past he worked with musicians from the world of improvisation and as such has released a couple of LPs. Here we have twelve pieces, and unlike the release by Bruyas/Julliard, it’s not easy to escape from it; one can not play this a nice backdrop. The voice of Francoeur is more demanding in it that it is more present, and perhaps also because he skips occasionally back and forth between French and English, so you pick up sometimes something. The electronic music by Vromb is also more present and up front. Not in a disturbing way loud or anything, but more piercing at times and also more demanding. He has sustaining, insect like sounds, pulsating beats of a minimal nature, and throughout the music is spooky and mysterious. Certainly indeed one that requires full attention but if you fail to speak the language, like I do, it’s also a bit more complicated to grasp. We may return to what I said about the CD by Petit/Robinson in Vital Weekly 858: “it’s also something that I like to hear once or twice, but would not return to all too easily. Now I was thinking: maybe this is perhaps something to be seen live, seated in the dark and let it all come? I could imagine that would do well.” Especially this spooky stuff would do well in such places.

… sustaining, insect like sounds, pulsating beats of a minimal nature, and throughout the music is spooky and mysterious.

Autres textes

Vital no 1058, Vital no 863, Vital no 672, Vital no 614

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