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1. Ce qu’a vu le vent d’Est (2003) 7m59s imed_0890-1.1 | 10038 | ISRC CAD500810010Commission: Monumenti Pianistici (Cagliari, Sardinia) Premiere: June 7, 2003, Monumenti Pianistici, Exma’ (Cagliari, Sardinia) Composer: Annette Vande Gorne Ce qu’a vu le vent d’Est is a threnody for the civil victims of ideological-economic wars. Claude Debussy’s highly varied writing and composition techniques find a strong echo in electroacoustic writing techniques and sound processing. For example, in his music we can hear ‘looped’ repetitions of short cycles often transposed, with or without speed variation (fast high notes, slow low notes) or coloured differently each time they occur, dynamic contrasts, sudden changes in tempo through transition-less sections (abrupt editing), overlaying of figures in a continuous weft, oppositions of masses, of movements (mobile/tension, still/release)… His 3rd movement of La mer — Dialogue du vent et de la mer —, the 7th Prelude from the First Book for Piano — Ce qu’a vu le vent d’Ouest —, and his orchestral work Jeux are all fine lessons. There is also the special relationship with nature as a model. Here, nature is perceived in a diversity of energetic movements and spectral colours by the ear of a musician who tries not to describe it with anecdotal sounds, but to reread it and transpose the energy that drives natural phenomena. In turn, Debussy is taken as a model of energetic and musical behaviour, not as a sound source, but as a stylistic and dialogue reference point, one hundred years later. Ce qu’a vu le vent d’Est makes playful use of the opacity or transparency of a moving curtain that hides or lets us peak at a few fragments and reminiscences of Debussy, who would no doubt have participated in the adventure of electroacoustic music, and would conceivably have integrated space as a musical parameter… [English translation: François Couture, ix-07] Ce qu’a vu le vent d’Est (What the Eastern Wind Saw) was realized in 2003 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), and was premiered on June 7, 2003 during the Monumenti Pianistici concert series, for the concert “Intorno a Debussy: nuove composizioni elettroacustiche su materiali del passato” (Cagliari, Sardinia). The piece was commissioned by the same organization that premiered it. Thanks to Lucio Garau. Ce qu’a vu le vent d’Est was awarded the 2nd prize at the 4th Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (Pescara, Italy, 2003) and was recorded in 2005 on the compact disc 4° Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (AMP 2004). Vox Alia (1992-2000) 21m22s imed_0890-1.2 | 17133 |Commission: Ina-GRM Composer: Annette Vande Gorne Lamento; Giocoso; Amoroso; Innocentemente; Furioso; Parola Volante Is it because it is the signature, the audible trace by which each living being identifies itself and by which it marks others and detects their intentions? The voice remains the prime emotional and musical vehicle. It is the ancestral medium of all direct communication. Vox Alia is a suite of five short studies based on the voice which, via electroacoustic processing, retains the traces of the melodic, rhythmic and timbral qualities of this marvelous medium so immediately at the service of a particular character or feeling. Giocoso, which mixes vocal music from every non-European continent with the ‘Western past,’ is constructed in binary form and is contrasted and reinforced by eight-channel composition. Amoroso attempts the experience of an ornamental and contrapuntal compositional style, in the perspective of sound as well as space, using a Gregorian phrase for template. Innocentemente rediscovers immediate temporality with its contrasting, elusive nature and the diffuse, internal sense of space of childhood. Furioso eructates its violence within a linear and directed space with rising, rhythmical, explosive energy. Parola volante is a short tribute to Pierre Schaeffer’s revolutionary thinking on sound, its morphological description, its perception in reduced listening, its contribution to space, in a few sentences using Schaeffer’s voice. This polyphonic composition is reminiscent of Johann Sebastian Bach, a great favourite of Schaeffer’s. [English translation: François Couture, ix-07] Vox Alia was realized from 1992 to 2000 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) with sound material obtained from the SYTER and MARS systems of Ina-GRM. The first movement Lamento, not reproduced on the disc Exils, was premiered on October 29, 1992 during the "Binary Era: New Interactions" exhibition at Musée d’Ixelles (Brussels, Belgium). Giocoso was premiered on June 20, 1996 at Théâtre de L’L (Brussels, Belgium). Amoroso and Innocentemente were premiered on April 10, 1998 during the Cycle acousmatique produced by Ina-GRM in the Salle Olivier Messiaen of the Maison de Radio France (Paris, France). Furioso was premiered on October 18, 2000 during L’Espace du son festival at Chapelle de Boondael (Brussels. Belgium). The complete work — including Parola volante — was premiered on September 9, 2001 at Centre culturel de Rixensart (Genval, Belgium). The piece was commissioned by the Groupe de recherches musicales (GRM) (Paris). Thanks to François Bayle and Daniel Terrugi. 2. Giocoso (1995) 5m00s imed_0890-1.2.2 | 10334 | ISRC CAD500810020Composer: Annette Vande Gorne 3. Amoroso (1998) 4m54s imed_0890-1.2.3 | 18367 | ISRC CAD500810030Composer: Annette Vande Gorne 4. Innocentemente (1998) 4m16s imed_0890-1.2.4 | 10335 | ISRC CAD500810040Composer: Annette Vande Gorne 5. Furioso (2000) 4m52s imed_0890-1.2.5 | 10336 | ISRC CAD500810050Composer: Annette Vande Gorne 6. Parola volante (2000) 1m56s imed_0890-1.2.6 | 10337 | ISRC CAD500810060Composer: Annette Vande Gorne 7. Fragments de lettre à un habitant du Centre (2002) 12m13s imed_0890-1.7 | 10110 | ISRC CAD500810070Commission: Éveline Legrand with support from the Ministère de la Communauté française de Belgique Composer: Annette Vande Gorne Writer: Kamal Ben Hameda Speed, channel-hopping, agitation, indifference, fragmentation: the image of Western urban civilisation as seen through the eyes of an immigrant Arab poet. The fragments are also those of the inner being, fractures that each of us experience and carry with us as we leave childhood behind. A cry of revolt and a hand held out towards the Other, so similar to oneself. The last stage of a series of works using the human voice, these fragments allow the text, the sound of the text, to occupy the whole field of the work. The narrator’s voice and expressiveness is at its centre. The musical moments, a series of mini-forms marked by a few discreet reference points to give the thread of memory, are the fragments of a longer poem, which, in the live version, dialogues and resonates with the performer. [English translation: François Couture, ix-07] Fragments de lettre à un habitant du Centre (Fragments from a Letter to a Resident of the Centre) was realized in 2002 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), and was premiered on October 1, 2002 during the festival L’Espace du son at the Théâtre Marni (Brussels, Belgium). The text is excerpted from the book Fragments de lettre à un habitant du Centre / Brieffragmenten aan een inwoner van het Centrum by Kamal Ben Hameda (L’Harmattan, 2001). The recorded reader is Éveline Legrand. The piece was commissioned by Éveline Legrand with support from the Ministère de la Communauté française de Belgique. Thanks to Hans Tutschku for his precious support. 8. Exil, chant II (1983, 2006) 22m34s imed_0890-1.8 | 10097 | ISRC CAD500810080Premiere: July 30, 1983, Stalker (Brussels, Belgium) Composer: Annette Vande Gorne Writer: Saint-John Perse This admirable poem by Saint-John Perse has everything: rhythm, speed, movement, space, matter, numbers and form. The music provides the text with natural images/movements, their synthetic imitation and transformation being chosen for their expressiveness. The mix is symphony-like in its great variety of sound sources and creates standardised energetic textures, which either blend into each other vertically, or on the contrary, form contrapuntal chains. [English translation: François Couture, ix-07] Exil, chant II was realized in 1983 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) and was premiered on July 30, 1983 at Stalker (Brussels, Belgium). The text is excerpted from the poem Exil (1942) by Saint-John Perse (© Éditions Gallimard, 1945). The recorded reader is Annette Vande Gorne. The new version of the piece realized in 2006 received the support of the Fonds d’aide à la création radiophonique (FACR) of the Ministère de la Communauté française de Belgique. 9. Folie de Vincent: Crise (1983) 5m27s imed_0890-1.9 | 21325 | ISRC CAD500810090Composer: Annette Vande Gorne In parallel to two plays — Henri IV by Luigi Pirandello and Sulphur Sun by Philippe Marannes, the latter about Vincent Van Gogh — I tried to express various states of madness, as expressed through the characters: scream, revolt, delusion, escape, confusion… Technical means are limited and I used poor, stripped-down materials. Everything resides in the near-improvised musical gesture, felt in psychological identification to the various states of the characters. The musician becomes an actor. Folie de Vincent — the incidental music for the play Sulphur Sun by Philippe Marannes — was realized in 1983 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), with sounds from the VCS3 analogue synthesizer by Electronic Music Studios (EMS), and was premiered on January 13, 1984 at Stalker (Brussels, Belgium). The piece was commissioned by Philippe Marannes. Figures d’espace (2004) 13m49s imed_0890-1.10 | 10101 |Commission: Noise Watchers Unlimited Premiere: November 19, 2004 Composer: Annette Vande Gorne Aerial or blocked space, in movement or static, in contrasting colours, materials and movements… but what does ‘space’ mean? Here, each part requests a ‘complimentary soul’ from the performer at the mixing board, a certain virtuosity. In the tradition of the classical study or prelude, the piece has been designed as an instrumental gesture, as space figures conditioning the gestural answer of the performer. [English translation: François Couture, ix-07] Figures d’espace was realized in 2004 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), and was premiered on November 19, 2004 during the Rainy Days festival at Villa Louvigny (Luxembourg). The piece was commissioned by Noise Watchers Unlimited. Thanks to Claude Lenners. 10. Vide et Plein (2004) 1m21s imed_0890-1.10.10 | 21384 | ISRC CAD500810100Composer: Annette Vande Gorne 11. Texture (2004) 2m19s imed_0890-1.10.11 | 21385 | ISRC CAD500810110Composer: Annette Vande Gorne 12. Ritournelle 1 (2004) 38s imed_0890-1.10.12 | 21386 | ISRC CAD500810120Composer: Annette Vande Gorne 13. Vagues (2004) 3m34s imed_0890-1.10.13 | 21387 | ISRC CAD500810130Composer: Annette Vande Gorne 14. Ritournelle 2 (2004) 46s imed_0890-1.10.14 | 21388 | ISRC CAD500810140Composer: Annette Vande Gorne 15. Contrastes (2004) 4m23s imed_0890-1.10.15 | 21389 | ISRC CAD500810150Composer: Annette Vande Gorne 16. Ritournelle 3 (2004) 48s imed_0890-1.10.16 | 21390 | ISRC CAD500810160Composer: Annette Vande Gorne electrocd.com Annette Vande Gorne: Exils: track detail |
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