Pete Stollery: Un son peut en cacher un autre: track detail

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Un son peut en cacher un autre
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1. Onset/Offset (1996) 7m21s imed_0678-1.1 | 18750 | ISRC CAD500619090

MP3 Real

Composer: Pete Stollery

Premiere: June 25, 1996, Filmhouse (Edinburgh, Scotland, UK)

“Onset — beginning; attack; articulation; impulse; an event marking a notable change of state.

Offset — displacement; perceptible delay in time; measurable distance in space; dislocation.

Onset/Offset explores the interplay between the real-world connotations of recognisable sounds and their spectromorphological characteristics (their purely sonic qualities). The resulting ambiguities lead to some startling displacements and dislocations between events/articulations and their continuations/extensions.” —Jonty Harrison

Onset/Offset was realized in summer 1996 in the Electroacoustic Music Studios of the University of Birmingham (UK) and the studios of Northern College (Aberdeen, Scotland) and was premiered on June 25, 1996 at the Filmhouse (Edinburgh). It received Honourable Mentions at the Stockholm Electronic Arts Award (Sweden, 1996) and the 1st Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (Pescara, Italy, 1998). This version was mastered by Dominique Bassal in 2005 in Montréal.

2. Peel (1997) 12m09s imed_0678-1.2 | 18751 | ISRC CAD500619100

Composer: Pete Stollery

Commission: BEAST with support from West Midlands Arts

Premiere: April 5, 1997, Midlands Arts Centre (Birmingham, England, UK)

“Peel back the layers — what’s under the surface?

The roulette wheel spins and we follow, flying headlong into the frantic, fragmentary world beneath.

As we travel deeper, are we outside? What’s underfoot? Twigs cracking, water running, creaking, scurrying?

Rest for a moment — we’re in a real world whose reality is scarcely less surreal than before.

The crystal turns, the light scatters again, magnifying splinters of a microscopic frenzy.

Children play, voices shimmer in a haze.” —Alistair MacDonald

Peel was realized in April 1997 in the Electroacoustic Music Studios of the University of Birmingham (UK) and the studios of Northern College (Aberdeen, Scotland) and was premiered on April 5, 1997 at the Midlands Arts Centre (Birmingham, UK). It was commissioned by the Birmingham ElectroAcoustic Sound Theatre (BEAST) with funds provided by West Midland Arts. This version was mastered by Dominique Bassal in 2005 in Montréal.

3. Shioum (1994) 9m42s imed_0678-1.3 | 18752 | ISRC CAD500619110

MP3 Real

Composer: Pete Stollery

Premiere: December 4, 1994, Midlands Arts Centre (Birmingham, England, UK)

“An archetypal phrase; falling melodic contour, slow movement through the harmonic spectrum. Created from an apparently simple feedback loop, this archetype is explored in a kaleidoscope of extended phrases, sometimes fading away, sometimes abruptly interrupted, sometimes gradually disintegrating into constituent parts, always concerned with gradual evolution and changes of state.” —Simon Atkinson

Shioum was realized in the autumn of 1994 in the Electroacoustic Music Studios of the University of Birmingham (UK) and the studios of Northern College (Aberdeen, Scotland) and was premiered on December 4, 1994 at the Midlands Arts Centre (Birmingham, UK). This version was mastered by Dominique Bassal in 2005 in Montréal.

4. Altered Images (1995) 11m52s imed_0678-1.4 | 18753 | ISRC CAD500619120

Composer: Pete Stollery

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

“From the title, I’m prompted to think of both Claude Debussy and Ken Russell: Debussy’s various sets of Images for piano (and yet another for orchestra), Ken Russell’s film Altered States.

Rather than Reflets dans l’eau (Reflections in water), the composer reflects, among others, on spinning bicycle spokes (Mouvement?) — a banal sound of childhood play and ecological transport refracted, reflected and re-imagined: re-imaged.

The composer as conjurer — Russell’s modern man in a darkened room seeking a sacred, primal experience. Here, it is music… and the composer is in the role of shaman-magician.

Am I hallucinating? Am I hearing? Am I dreaming? I am listening… ” —Joseph Anderson

Altered Images was realized in summer 1995 in the Electroacoustic Music Studios of the University of Birmingham (UK) and the studios of Northern College (Aberdeen, Scotland) and was premiered on January 23, 1996 at Concordia University (Montréal). It was awarded the 2nd prize at the 2nd Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’97, Brazil). This version was mastered by Dominique Bassal in 2005 in Montréal.

5. Shortstuff (1993) 9m42s imed_0678-1.5 | 18754 | ISRC CAD500619130

MP3 Real

Composer: Pete Stollery

Premiere: October 21, 1994, The Lemon Tree (Aberdeen, Scotland, UK)

“This piece does exactly what it says on the tin!

Short… — not long in duration; small.

The sounds in Shortstuff are brief, crisp and fleeting. They gather together to form exquisite gestures and subtle textures.

… stuff — the material a thing is made of.

The momentum of this work is derived from the dynamic timbres of the material, whether powering to a full-spectrum climax or glistening in a distant light.

The sound-world is crisp and sharp with clear spatial trajectories and tight gestures in counterpoint with dark spaces and the small textural sounds of the night.” —Adrian Moore

Shortstuff was realized in the spring and summer of 1993 in the Electroacoustic Music Studios of the University of Birmingham (UK) and the studios of Northern College (Aberdeen, Scotland) and was premiered on October 21, 1994 at The Lemon Tree (Aberdeen, Scotland). It received Special Prize in the Musica Nova 1994 International Competition of Electroacoustic Music (Prague, Czech Republic). This version was mastered by Dominique Bassal in 2005 in Montréal.

6. ABZ/A (1998) 5m02s imed_0678-1.6 | 18755 | ISRC CAD500619140

Composer: Pete Stollery

Commission: BBC

Premiere: February 10, 1999, Université Concordia (Montréal, Québec)

“The first two letters of Aberdeen’s postcode (AB) imply a latent episodic musical structure to the Granite City that is made explicit in this piece. We are thrown from sonic encounter A to acoustic ambience B (via moments of dangerous articulation that seem to have the energy to provide such propulsion) and so ever onward towards Z. Whether we arrive is open to question (the lengthening nature of the episodes working against such a goal), and we most certainly never return to A. It is as if our journey has been somehow interrupted, like an accordion player assassinated in mid-squeeze…” —Andrew Lewis

ABZ/A was realized in the early part of 1998 in the composer’s own studio and was premiered on February 10, 1999 at Concordia University (Montréal). It was was commissioned by the BBC. This version was mastered by Dominique Bassal in 2005 in Montréal.

7. Vox Magna (2003) 12m36s imed_0678-1.7 | 18756 | ISRC CAD500619150

Composer: Pete Stollery

Premiere: March 21, 2001, Rien à voir (13), Réseaux, Musée d’art contemporain de Montréal (Montréal, Québec)

Vox Magna comprises a set of fragmented recollections, a piecing together of the failing memory of an industrial era involved with the taming of the chemical, the electrical and the mechanical; an era of large machines housed in immense, purpose built spaces. It is at once evocative of something very British: an industry whose decaying remains still mark numerous landscapes and people within the north of England and Scotland.

Many images presented are vast, suggesting height as well as depth, as though taken with a wide-angle lens looking up. The listener is pulled rather than invited into the image, sometimes dangerously close to massive, unknown forces, sometimes at a more reflective distance.

It is the very rhythm of the machines, their perpetual motion, which sets the pacing for Vox Magna. Behind the abrupt changes, guttering and fading of the sonic vistas there is still the relentless pulse of the machine.” —Robert Dow

Vox Magna was realized in the studios at the University of Aberdeen (Scotland) and the composer’s own studio and was premiered on March 21, 2003 during the Rien à voir (13) festival produced by Réseaux at the Musée d’art contemporain de Montréal. It received Special Prize in the Musica Nova 2003 International Competition of Electroacoustic Music (Prague, Czech Republic) and was pre-selected for the 32nd Bourges International Electroacoustic Music and Sonic Art Competition (France, 2005). This version was mastered by Dominique Bassal in 2004 in Montréal.

Pete Stollery: Un son peut en cacher un autre: track detail

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