[va]: Six Winners: track detail

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Six Winners

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Six Winners

The Stockholm Electronic Arts Award 1991-1996

Fylkingen | FYCD 1014 | 1999, 2005

CD not in catalogue

1. Ray Guillette: Hommage à Pollock No 2 (1991) 6m35s fycd_1014-1.1 | 18229 |

Composer: Ray Guillette

2. Mark Wingate: Ode to the South-Facing Form (1992) 10m21s fycd_1014-1.2 | 18230 |

Composer: Mark Wingate

3. Åke Parmerud: Jeux imaginaires (1993) 10m50s fycd_1014-1.3 | 17331 |

Composer: Åke Parmerud

4. Gilles Gobeil: Le vertige inconnu (1993-94) 8m23s fycd_1014-1.4 | 14212 |

Composer: Gilles Gobeil

Commission: GMEB, with support from the CCA

Premiere: June 1993, (Bourges, France)

“… here, on the roof of the world, I feel a shadow of uneasiness… It’s not at all the height, nor the kind of suction exerted by the abrupt depths and its emptiness which troubles me. It’s an altogether different emptiness which affects an altogether different sense… the essence of solitude…”

Paul Valéry, Le solitaire

[vi-95]

Le vertige inconnu (The Mysterious Vertigo) was produced in 1993 at the studios of the Groupe de musique expérimentale de Bourges (GMEB, France). It premiered in June 1993 at the 23rd Bourges International Electroacoustic Music Festival (France). Le vertige inconnu received the 1994 Stockholm Electronic Arts Award (Sweden) and was selected for the 1994 World Music Days (Stockholm, Sweden) and the 1994 International Computer Music Conference (ICMC’94) in Danmark. The piece was commissioned by the GMEB, with the assistance of the Canada Council [for the Arts].[v-94] Since, Le vertige inconnu was awarded the prize of international competition Stockholm Electronic Arts Award (Sweden, 1994) and the 2nd prize of the international competition Prix Ars Electronica (Linz, Austria, 1995).

5. Mathew Adkins: Melt (1994) 11m41s fycd_1014-1.5 | 18231 |

Composer: Mathew Adkins

Premiere: June 1995, Festival Synthèse (Bourges, France)

This work initially grew out of my daily travels to the studio in Birmingham, from my then home some thrity kilometers away. Melt is a poetic depiction of a train journey and draws on Turner’s painting Rain, Steam, and Speed (1844). By its very subject matter, it makes reference to Schaeffer’s early work Étude aux chemins de fer (1948). The quality of Turner’s later work that appeals most to me is the sense that more definable objects have been painted over, how hard lines have been dissolved. There is a sense of implication and suggestion. The work is based on the mediation between extremes: smooth to pulsed motion and raw to processed sonic material. The sonic material for this piece comprises unprocessed recordings of trains, station announcements and station concourses, synthetic materials which are modelled after the motion and characteristics of the raw source materials and finally, synthetic materials of a dream world. Throughout the work, sounds of the real world melt/morph into their dream-world equivalent as a traveller lapses in and out of a daydream.

[iii-06]

Melt was realized in 1994 in the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered in 1995 at the Synthèse Festival in Bourges (France). The work was awarded a Prix Résidence at the 22nd Bourges International Electroacoustic Music Competition (France, 1994) and the First prize of the Stockholm Electronic Arts Award (Sweden, 1995). This version was mastered by Dominique Bassal in 2005 in Montréal.

6. John Young: Inner (1995) 11m54s fycd_1014-1.6 | 13867 |

Composer: John Young

Premiere: February 23, 1996, Université Concordia (Montréal, Québec)

Inner extends out of the sound and sensation of human breath — from a visceral and magnified perspective. The starting point was concentrated listening to some straightforward electroacoustic transformations of breath sound. Because the spectrum of the sound is rich and noisy, as well as capable of being articulated with seemingly infinite variety, it felt almost as though a whole world of new sound identities might be heard ‘within’ a single breath sound itself. So following that idea I tried to draw attention to the way vowel-like colourations and the rhythmic contours of the breath can be developed and related across a range of noise-based gestures and textures. In seeking to anchor the sound transformations against recognizable sound, the gesture of the opening intake of breath became a key figure, hinting at a surface of realism during some of the more abstract extensions of the material. But perhaps one of the most important motivations for me as composer was the innate potential of the electroacoustic medium to exaggerate the apparent physical scale and presence of such a very intimate and personal sound.

Along with Virtual, and Time, Motion and Memory, this work forms an integrated sequence of three electroacoustic works exploring movement between sound sources which are ‘internal’ and ‘external’ to human sensibility.

 

Inner was realized in 1995 in the Electroacoustic Music Studios of Victoria University of Wellington (New Zealand) and premiered at Concordia University (Montréal) on February 23, 1996. The work was awarded first prize in the 1996 Stockholm Electronic Arts Award.

[va]: Six Winners: track detail

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