Nous vous invitons à découvrir Revue & corrigée #118 par Artistes divers, le plus récent article ajouté à notre boutique.
Ana Dall’Ara-Majek es una compositora, artista sonora e investigadora parisina que vive en Montréal. Se dedica al estudio de cómo interactúan los enfoques instrumental, electroacústico y el pensamiento computacional en la composición musical. En 2016, obtuvo un doctorado en composición en la Université de Montréal, donde también impartió varios cursos en la sección de música digital.
Abrimos esta noche su álbum Nano-Cosmos, publicado con el prestigioso Empreintes DIGITALes (CD / DL) un disco de cinco piezas compuestas entre 2012-17 que explotan con exuberantes e innovadoras florituras que hacen cosquillas en los tímpanos más delicados. Un ciclo de piezas acústicas dedicadas a los insectos, pequeños artrópodos y microorganismos.
Hemos elegido para esta noche el tema Bacillus Chorus creado en 4 canales en el Blue Spider Studio en Montréal (Québec) en 2016 y se estrenado el 7 de agosto de 2016 en la Internationale Ferienkurse für Neue Musik en Darmstadt (Alemania).
Esta es una pieza perturbadora llena de una modificación de pitch chillona y cortante de la frase “for The Birds” sobre una percusión muy diseñada y efectos de láser espacial. Las interminables complejidades experimentales producen aquí efectos antagónicos: el oyente puede sentirse calmado o excitarse al mismo tiempo.
[…] The only other work of substance in this concert was Pierre Alexandre Tremblay’s Bucolic & Broken. And what substance! Here, and only here, was a true demonstration of the surround capabilities of HISS. But it wasn’t just the positioning of sounds, Tremblay’s choice of sources – ranging from a scratching pencil to a boiling kettle to birdsong to a tinkling piano gesture to a woman walking her dog – were superbly imaginative, and the way these were juxtaposed into a strange structural form was unconventional but completely convincing. It wasn’t in the usual sense acousmatic, Tremblay instead presenting these sounds as found sound objects arranged into a kind of spacialised collage. But what set the piece apart from almost everything else in this concert (and, perhaps, most concerts) was its demonstration of Tremblay’s very obvious playfulness and a palpable sense of wonder at the sounds he’s working with. For electronic music to be as accomplished as this while being so much fun is a rare combination. […]
[…] In Pierre Alexandre Tremblay’s electroacoustic Un fil rouge the electronics were for the most part uncannily present – which is to say that they felt like a tangible yet invisible additional performer on stage. They manifested most prominently in a recurring motif, extending the ensemble’s tutti accents into an accelerating (and occasionally decelerating) sequence of impacts. This motif recurred so often, in fact, that it became in essence a refrain, between which were a number of episodes providing a contrast to its impetus and momentum. Though they exhibited far less energy, these episodes were the most striking moments of the piece, Tremblay more prepared to let the material drift and linger, resulting in beautiful, dreamy sequences. Even when they were pushed along, though, this episodes remained distinct in the way they seemed more ragged, the result of playful spontaneity driven by an exciting bubbling sense of abandon. […]
French improviser and composer eRikm is one of the few artists whose work has been a consistent element in my journey into experimental music. His collaborative CD with Jérôme Noetinger, What a Wonderful World, was one of the first Erstwhile releases I heard and introduced me to the field of electroacoustic improvisation, and Zygosis made me realize the power of the turntable as an instrument in an avant-garde context. Mistpouffers, consistent with Empreintes Digitales’ focus on acousmatic music, collects three pieces that were composed and arranged from 2013 to 2016. Draugalimur, commissioned by the French music office, incorporates several spoken word segments within its immersive ambient soundscapes, including excerpts from traditional Icelandic folk writings. Poudre and L’aire de la Moure 2 are both explorations into a very physical stereo space; the former’s treated recordings of firework explosions and the latter’s electric whirring and airplane engines are equally breathtaking.