The entire sound-world of Isthmus is derived from solo and ensemble performances of three string instruments: the violin, viola and cello. Transformations in the first movement maintain a close relationship to the timbre and performance techniques of these instruments, extending both natural morphologies and textures, yet often regressing to reveal the source recordings. On these occasions physical spaces, and the performer’s position within them, can be identified along with references to Modern and contemporary string music. Transformations become more complex in the second movement, offering a variety of timbral, rhythmic and sonic interactions, which digress from the original performances. The physical spaces become virtual, and instruments lose their static positions, developing abstract spatial movements. References to the source material become less frequent and transformed sounds establish distinct pulses and morphologies that evolve independently. As the third movement begins, Isthmus has become a purely virtual space with few references to its source. The title of the piece refers to this progression but suggests that the intimacy of Isthmus is beset at both ends by an immense and impending mass.

Distinctions

• Prix, Prix Résidence, 33^e Concours international de musique et d’art sonore électroacoustiques de Bourges 2006, Bourges (Cher, France)

À Rosie Rodway

Early Morning provient de cinq interprétations au piano enregistrées en différents endroits sur une période de sept ans. Ces interprétations utilisent aussi bien des techniques instrumentales classiques que dérivées, générant un large éventail de gestes et de textures. Bien que ces matériaux donnent substance à l’unité de la pièce, les transformations sonores tendent à rendre méconnaissable le piano en tant que source. Au contraire, l’accent est mis sur une accumulation et une dispersion graduelle du détail spectral. Les vastes contours augmentent l’impression spatiale, suggérant les formes étendues d’un paysage physique. La structure de la pièce est inspirée par un réveil paisible au petit matin aux premières lueurs du jour.

Distinctions

• 1^er prix, Étudiant, 4^e Concours biennal de composition acousmatique Métamorphoses 2006, Ohain (Belgique)

In this short work I attempted to articulate energy and speed through the accumulation and dispersal of noise-based phrases. This piece subsequently represents a brief digression from my usual compositional output and this inspired my choice of the title, Parenthesis.

The formal character of Point of Departure was largely predetermined, being based upon a single (sonic) shape that has simple geometric features, such as points, lines, planes, curves, and so on. The shape emerges gradually — at the start of the piece disparate micro-sounds slowly gather, eventually fusing to establish a unified spectral mass. Later on, the apparent dimensions of the mass start to fluctuate; defined pitch-centres emerge and spatial boundaries are articulated by shifting spectral contours. Ultimately, I wanted to transcend these boundaries and I spend a considerable time searching for an appropriate Point of Departure…

Point of Departure was realized in 2009 in the Studio Circé of the Institut international de musique électroacoustique de Bourges (IMEB, France).

Composition

• 2009, Circé — Institut international de musique électroacoustique de Bourges (IMEB), Bourges (Cher, France)

Escapade was composed using tiny fragments of sound. At the start of the piece, the individual fragments are not perceived. Instead, they are so densely packed that they (perceptually) fuse into much larger structures; one hears the source recordings, which are largely, but not entirely, orchestral. As the piece progresses, the individual fragments become increasingly prominent; they no longer fuse into larger structures and are subsequently perceived as discrete units or entities. In this respect, Escapade was inspired by pointillistic painting — a technique in which small, distinct points of colour are used to form a larger image.

Escapade was realized in 2010 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium). Thanks to Annette Vande Gorne for her hospitality and support.

Composition

• 2010, Métamorphoses d’Orphée — Musiques & Recherches, Ohain (Belgique)

Création

• 21 avril 2010, Concert de créations, Le Senghor, Bruxelles (Belgique)

Distinctions

• 1^er prix, Support, 3^e Concours Destellos 2010, Mar del Plata (Argentine)
• Sélection, Musica elettroacustica, Concorso Internazionale di Composizione Città di Udine 2010, Udine (Italie)