Musiques & Recherches poursuit sa série de concerts des pionniers avec un concert portrait consacré à Beatriz Ferreyra le 23 janvier 2013 à l’Espace Senghor à Bruxelles (Belgique).

Subtlety is also a keyword to bring into the classroom as we approach Scènes (empreintes DIGITALes, IMED 11111) by Pete Stollery, an electroacoustic composer who studied under the great Jonty Harrison and is now a Professor at the University of Aberdeen, where he is a strong advocate for new music in Scotland via the agency of InvisiblEARts. Since Radiophonic Music is never out of fashion, readers may initially be drawn to the six minute track Serendipities and Synchronicities, which was composed for a stage play about Delia Derbyshire. In it, Stollery attempts to express his personal affinities with Delia’s work, by refracting it through his own very similar compositional methods. There are also two pieces excerpted from his ongoing Gordon Soundscape project, which is a plan to compile an aural map of Aberdeenshire, through collaging field recordings and processing of same; his chief aim as gazetteer in this instance is to identify and record endangered sounds, such as certain activities found within the dying distillery industry. He also aims to map Paris in like manner, on scènes, rendez-vous which has its origins in his childhood memory of a 1967 Claude Lelouch documentary, and uses information from the film as rules to govern his sound-gathering and compositional actions. Fields of Silence is also based on field recordings, themed around the intriguing idea that a field of grain falls silent “after it has been harvested”. This very much reminds me of a Ray Bradbury story 3. Or that Roald Dahl story where an inventor is able to hear the cries of plants being cut by secaturs 4. Stollery somehow manages to discover sound events and textures within the mown stubble itself, as well as collaging in “before and after” sound events from combine harvesters. In all ind value="Pete Stollery">Stollery seems to be a thoughtful and gentle composer, one who wouldn’t want to impose anything on the landscape, but rather cares to ask interesting questions about our relationship to our sonic environment. In some cases I find his explanatory notes more interesting than the sounds he produces. This is particularly so with Back to Square One, where he writes with something approaching passion about the excitement he feels when listening to the “musicality” of sports commentators on the radio and telly, yet very little of that passion or excitement has found its way into the muffled, pedestrian music.

Le 13^e concours de composition électroacoustique Música Viva a couronné l’œuvre Buoy de David Berezan.

Carole Rieussec et J-Kristoff Camps sont les Kristoff K.Roll qui œuvrent depuis 1990 dans le domaine de ce qu’on appelle l’art sonore. Compositeurs et improvisateurs, voyageurs aussi, militants, ce sont de doux rêveurs électroacoustiques efficaces comme le démontre une discographie sans faille et dont le contenu traduit l’avancé permanente de leurs pratiques et de leurs pensées. Il s’agit ici de la transposition en disque de l’expérience que vous pourriez vivre dans le contexte de leur dispositif des siestes, avec chaise longue et casque d’écoute. Une invitation au voyage de l’autre, celui qui parle, celui qui a mixé… invité d’étranges sonorités. D’ailleurs, il vous est fortement conseillé de vivre chez vous l’expérience telle qu’elle a été pensée: avec un casque sur les oreilles, assis dans une chaise longue… Ainsi vous devenez créateur de votre propre voyage; autorisez-vous à dormir, à rêver le rêve de l’autre… Belle expérience fortement recommandée qui vaut bien des thérapies…

Alors qu’il est en résidence de composition au Lab for Electroacoustic Creation (LEC) du Miso Music Portugal, Gilles Gobeil aura trois pièces au programme du concert de saison produit par Miso Music Portugal le 7 décembre 2012 au Centro Cultural de Cascais (Portugal). Aussi au programme des œuvres de Cândido Lima, António Ferreira et Miguel Azguime.