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electroradio
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Bruits (1997-2001) 29m46s imed_0156-1.1 | 13823 | ISRC CAD500114330Children’s Corner; Nuit; Fête Composer: Yves Daoust This project was born out of a commission from the Sonic Arts Network (United Kingdom), for the realization of an environmental tableau, a type of musical postcard depicting a place that is dear to me. Stunned by the noises of the ‘city,’ and in spite of my resistance motivated by a desire to fulfill the commission, I found myself swept along in a much different direction from that which was expected of me. The sound samples, captured for the most part in the summer of 1997 in the streets and lanes of the city of Montreal, were exploded, mutilated, in order to render them more appropriate to my memory — to my sonic impression of this city, explored in every sense. Noise (‘bruit’ in French) is the dominating feature. ‘Smooth’ noise, a constant and immutable murmur — the sum of human machines. Explosive noises, heterogeneous fragments that invade from all angles like small darts that pierce through the mass in passing, only to melt again into the sonorous ambiance of which they are part: granular noises, infinitesimal parcels of sound that have lost their soul while loosing their cause, and which the wind sweeps away like dust; ‘marked’ sounds, like the long melancholic glissando that comes to earth from planes that pass overhead throughout the day. Everything is ‘spoiled,’ deformed, exploded. Composer: Yves Daoust Commission: SAN with suppport from The Arts Council of England, ACREQ with suppport from CCA Premiere: May 7, 1998, University of Wales Bangor (Bangor, Wales, UK) A series of tableaux, each centered around a relatively homogeneous, diurnal sonic ‘world’: street festivals, markets, outside sports, machines, public gardens, lanes. The fragmentation technique used creates a generally hazy effect: a sort of sonic smog that sometimes clears to reveal the laughter or cry of a child combined with the infant-like squeals of the omnipresent swallows and of the “bip-bip” back up warnings that all types of large delivery and service vehicles with which are equipped (such strange music boxes). Children’s Corner was realized in the composer’s studio in Montréal in 1997 and premiered on May 7, 1998 at the Bangor University (Wales, UK). Thanks to Joseph Hyde of the Sonic Arts Network (SAN, UK) to have ‘triggered’ this work. The stereo version of Children’s Corner was commissioned by Sonic Arts Network (SAN) with the assistance of The Arts Council of England; the octophonic version (realized in 1998) was commissioned by ACREQ with the assistance of the Canada Council for the Arts and premiered in June 1998 in Montréal. Composer: Yves Daoust Commission: IMEB Premiere: June 1999, Festival Synthèse (Bourges, France) (Night) A long linear form, a type of adagio that reuses part of the material from the first movement, treating it in a much more formal and abstract manner. It is as though all the noises accumulated during the day continued, flattened, in the mind of the sleeper, reduced to a tinnitus that becomes confused with the sonic activity of nocturnal insects and with the very real, though distant, hum of the sleeping city. Nuit was realized in the Charybde Studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) in 1998 and premiered in June 1999 during Synthèse, the International Festival of Electronic Music and Creation (Bourges, France, 1999). Nuit was commissioned by the Institut international de musique électroacoustique de Bourges (IMEB, France) Composer: Yves Daoust (Party) It is summer and Montreal transforms itself into an immense outside stage: parades for various causes, political celebrations, festivals of all kinds (fireworks, jazz, comedy). Fête (Party) is a sort of allegro barbaro, a frenetic dance where music of the streets, clamoring voices, cries and whistles combine. A dizzy swirling of musical noises of all styles: fiddler and ‘accordioner,’ bag pipes, African drums, military fanfares, Dixieland, ‘classical’ musicians, electric guitars and rock bands. Fête was realized in the composer’s studio in Montréal during the fall 2000 and winter 2001. Thanks to Christian Bouchard for his help in collecting sounds. 4. Impromptu [mixte] (1995) 16m19s imed_0156-1.4 | 13827 | ISRC CAD500114360piano, synthesizer / sampler, and tape Composer: Yves Daoust Jacques Drouin, piano; Lorraine Vaillancourt, keyboard Commission: SMCQ, with support from the CALQ Premiere: January 30, 1996, Live from Lyon, SMCQ, Salle Pierre-Mercure (Montréal, Québec) I completed this piece thanks to the help of Chopin, who for the occasion loaned me his Fantasie-Impromptu in C sharp minor, Opus 66 for piano. I have taken all material for this work from it (aside from a brief allusion to Schumann): the harmonic colors, the pitches, but also the agitation of the writing, the overly abundant energy, the tension. A sort of cry expressing the ‘tortures of the soul’ that continue to plague contemporary human beings, in spite of the myth of a liberating technology. We remain unabashed Romantics… Impromptu [mixed version, 1995] premiered on January 30, 1996 by the Grame musicians (France) during a concert produced by SMCQ at Salle Pierre-Mercure in Montréal. Impromptu was commissioned by SMCQ with the assistance of the Conseil des arts et des lettres du Québec (CALQ). The present performance was recorded at the Conservatoire de musique de Montréal by Jean Landry in December 2000 and mixed at the composes’s studio. Impromptu [tape version, 1994] was recorded on the compact disc Musiques naïves, empreintes DIGITALes [IMED 9843] in 1998. Composer: Yves Daoust Commission: GMEB Premiere: June 1981, Festival Synthèse (Bourges, France) (The Scale) April 1981. The Charybde Studio (IMEB, Bourges, France) has become my refuge. I am surrounded by electronic equipment. All these electron twisters make me feel a little dizzy. I open the window for some fresh air. From the courtyard, faint sounds from the adjoining music school come to me. Rising and descending scales, slow and meticulous, fast, restless, hesitant, naïve, virtuosic. The sounds mingle, overlap, and yet are drawn together by a single desire: order. A stranger, so to speak, to the ‘electronic’ tradition, I first tackled this complex apparatus of analog synthesis at the Charybde Studio with the naïveté of a child practicing scales. Invited to this studio by the Groupe de musique expérimentale de Bourges (GMEB, now IMEB), I was fascinated and awestruck by the rich raw sound produced by these machines. I took the oscillators at their word: I made these little producers of ‘pure’ sound sing, groan, scream, and mostly spin in a sort of staggering and frenetic dance of electronic scales and arpeggios: techno music before its time… The present version does not constitute an actual re-writing of the work, but rather a revision of the ‘orchestration’ by the addition here and there of supplemental colors and a reworking of the mix. La gamme was realized in the Charybde Studio of the Groupe de musique expérimentale de Bourges (GMEB — now the IMEB — France) in 1980 and premiered on June 1981 during Synthèse, the Festival international de musique expérimentale de Bourges (France, 1981). La gamme was commissioned by GMEB (now IMEB). The current version was revised in 2000. Composer: Yves Daoust Commission: GMEB Premiere: June 1989, Festival Synthèse (Bourges, France) 1760: The end of New France, the colony passes into the hands of the British. Thus this small French colony in America begins a new course, along a path that it will have to discover for itself. 1793: The beheading of Louis XVI. The high clergy of Lower Canada (Québec), under British authority, profits from the tremendous impact of this news on the population, and persists in its attachment to the image of a monarchist France in order to solidify its undertakings. 1837: Inspired by the American Revolution and the Declaration of the Rights of Man and of the Citizen (1789), a group of patriots from Lower Canada attempt to provoke civil disobedience with the aim of breaking ties with England and creating the Republic of Canada. 1839: The Durham report, advocating the union of the Canadas as well as the assimilation of French Canadians. 1976: Sovereignist forces, lead by René Lévesque, come to power in Quebec and attempt, by democratic means, to obtain independence. Failure of the first referendum, in which the “yes” side is defeated by more than 20% of the vote. Fifteen years later, separatists loose a second referendum in which there is only a 1% difference between the two sides. History continues… Recorded voices: Philippe Lavalette (Philippe Aubert de Gaspé, father); Simon Finn (Lord Durham); Pierre Mollet (Mgr Plessis); Louis Verdy (Robert Nelson). Ouverture was realized in the composer’s studio in Montréal in 1989 and premiered in June 1989 during Synthèse, the Festival international de musique expérimentale de Bourges (France, 1989). This work was commissioned by GMEB for the Bicentenaire de la Révolution française. electrocd.com Yves Daoust: Bruits: track detail |
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