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piste@cec_92cd-1
To Arturo Parra
Imitation is the basis of this work. Imitation of an acoustic source by an electronic source opens the interior space of this work - a space composed of multiple networks and internal reinjections, of abstract compositional games between pure structural entities. The acoustic and electronic components of Mimetismo interact and imitate each other, at times they blend with a sonic material in constant evolution. In this work, the guitar abandons its traditionnal role of soloist and its timbres are mixed with unpredictable materials. This work is a commission from guitarist Arturo Parra, with support from the Canada Council.
[92]
The electronic materials of Mimetismo were generated with the assistance of the SYTER system during a period of work at the Groupe de recherches musicales (GRM) in Paris, as well as in the composer’s studio; the work was completed in the studios of the Faculty of Music of the Université de Montréal. Mimetismo, a mixed work, composed with the collaboration of guitarist Arturo Parra, was commissioned by the latter with support from the Canada Council [for the Arts]. Mimetismo received First Prize in the 14th International Luigi Russolo Competition (Varese, Italy, 1992) as well as a Mention at the Prix Ars Electronica competition (Linz, Austria, 1992). Mimetismo was included, in 1993, on the compact disc Presence One (DIV 2) produced by Divided (Chicago, USA).
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oeuvre@14306
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oeuvre@12985
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piste@cec_92cd-2
When fact abolishes deed, when threat becomes expectation, thought compels the impossible. They believed in it. All of them. An electroacoustic drama. With the voices of François Godin and Hélène Mondoux. Thanks to the students of Nouvelles Querbes School. La ville machine was commissioned by ACREQ for the 7e Printemps électroacoustique with support from the Canada Council. La ville machine was composed in collaboration with writer Lyette Limoges.
La ville machine was produced in the composer’s studio. It was presented at the 7e Printemps électroacoustique de Montréal during the radio program Sons d’esprit on CKUT FM in Montréal. It was also presented in concert on June 20, 1992 at the Musée d’art contemporain de Montréal. La ville machine was commissioned by the Association pour la création et la recherche électroacoustiques du Québec (ACREQ) with support from the Canada Council [for the Arts]. Thanks to Hélène Mondoux and François Godin (narration) and to the children of the École nouvelle Querbes in the city of Outremont. In 1993, La ville machine was awarded the Grand Prize at the competition of the SOCAN (the Canadian preforming right society).
piste@cec_92cd-2.9
oeuvre@14215
Hsüan was commissioned by Zhang Yan with financial assistance provided by the Alberta Foundation for the Arts. The tape part was realized at the University of Calgary Electroacoustic Music Studio using a Macintosh IIcx computer with SampleCell.
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oeuvre@12997
The tape portion of Physics of Seduction. Invocation #2 was produced in the composer’s studio in 1991 and the recorded harpsichord part was realized in the DIEM studio in Aarhus (Denmark) in 1992. The final mix of the tape and live part was done in the composer’s studio in 1993. It was commissioned by Vivienne Spiteri with assistance from the Canada Council for the Arts. The work was premiered by Vivienne Spiteri on August 1st, 1992 at the NEMO festival in Aarhus (Denmark). Physics of Seduction. Invocation #2 was recorded by Vivienne Spiteri for the compact disc comme si l’hydrogène… the desert speaks on J&W Records (J&W 931).
New recordings of the drum parts (performed by Philippe Keyser) were made for the remastering process. This work was reprocessed, remixed and remastered in the composer’s studio in 2001-02.
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Here we surprise the acousmotrope, engaged in his rituals and his creations, in a half-real, half-dreamed moment of nocturnal composition for Figures de la nuit / Faces of the Night, a work for radio commissioned by David Olds for the program Transfigured Night, on CKLN-FM in Toronto.
Along with the voice of the artist, we hear (in order of vocal appearance) those of Laurie Radford, Pierre Daboval, Justice Olsson, Marie Pelletier, Jean-François Denis, and Pierre Louet.
Studio de nuit (Studio at Night) was realized in the composer’s studio in 1992 and premiered on 2 September 1995 as part of the Festival international d’art acousmatique Futura (Crest, France). Studio de nuit was recorded on the 1992 disc DISContact! 6.2 (CEC 92CD).
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oeuvre@13916
To Gilles Tremblay
This miniature was premiered on October 27th, 1992 during a concert dedicated to the 60th anniversary of the composer.
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To my love Brenda
Produced through the use of digital editing, this is the first part of a work that has yet to be completed. Do not look for any music or plot (unless it’s of your own invention). My goal in this piece is to shape precise and complete forms, resembling those found in the work of certain visual artists.
Attraction was realized in the studios of Concordia University and various personal studios. This piece could not have come to be without the voice of Edgard-Émile Hudon, and the help of Gregory Fine, Pierre De Gagné, Frédéric Roverselli and Claude Schryer. Attraction was premiered in the Fall of 1993 at Concordia University and was awarded 3rd Prize — solo tape category — of the 15th Luigi Russolo International Competition (Varèse, Italy, 1993)
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Tablao was composed in the fall of 1991 at the Laboratorio de Informatica y Electronica (LIEM) from the Centro de Arte Reina Sofia in Madrid, Spain and at my studio in Vancouver. Flamenco music had been around my ears since my childhood, on the radio, recordings, TV, the readings and plays of Garcia Lorca and the stories of old relatives in Cuba, and later on during my visits to Andalusia. The place where Flamenco music is performed is usually called Tablao. Originally written for guitar and electronics, the piece contains the essence of different instrumental elements of Flamenco music in a dissected way. The piece was commissioned by Spanish guitarist Flores Chaviano with the assistance of a grant from The Canada Council. The present is an excerpt without the guitar part.
Tablao was realized in the Fall of 1991 at the Laboratorio de Informática y Electrónica Musical (LIEM) from the Centro de Arte Reina Sofía in Madrid (Spain) where I was invited to work with my old friend guitarist Flores Chaviano. The piece was completed at Ireme Studio in Vancouver (British Columbia, Canada). It was commissioned by Flores Chaviano with the support of the Canada Council [for the Arts] and premiered by him in Madrid in February, 1992. The Canadian premiere was presented by Montréal-based Colombian guitarist Arturo Parra in 1994 in Montréal.
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