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imed_0891-1 |1. Verb Tales (2002) 5m01s imed_0891-1.1 | 17235 | ISRC CAD500810170 Listen (excerpt)
Composer: Laurie Radford Premiere: December 11, 2002, University of Alberta (Edmonton, Alberta, Canada)
This short work began as a study in the exclusive use of the reverberant final portions (tails) of a variety of vocal recordings. The metaphoric nature of the title and the discovery and elaboration of the opening trumpet material lead the work in other directions. [xi-07] Verb Tales was realized in 2002 in the composer’s studio and was premiered on December 11, 2002 at the University of Alberta in Edmonton (Canada). The trumpet material — also used in les ponts de l’espace II, and à la cire perdue — is drawn from a recording of musician Franzl Fabijan made by Miriam Fabijan in 1992 in Slovenia. 2. les ponts de l’espace I (2001) 7m14s imed_0891-1.2 | 17187• line I • triangle • point I • circle • point II • line II Composer: Laurie Radford Commission: Edmonton Symphony Orchestra Premiere: February 7, 2001, rESOund Festival of Contemporary Music (Edmonton, Alberta, Canada) les ponts de l’espace I consists of six short movements which originally served as a series of brief electroacoustic interventions between acoustic chamber works on a festival concert program. Each movement of les ponts de l’espace I is a miniature study of two compositional processes or strategies: each movement explores the spatial movement of sounds in predefined geometrical shapes and trajectories and is, in addition, a study in the combination and integration of natural environmental recordings with contrasting sound materials transformed and generated by various processes in the electroacoustic studio. A collection of sounds were captured from an invented instrument (Primordium) built by Tom Nunn and installed at Concordia University (Montréal) and consisting of a large, hollow wall panel adorned with various metal jangles, strings, protrusions and membranes. These sound materials, in addition to some synthesized granular synthesis textures, are arranged in such as fashion as to set up a variety of sonic relationships with an unprocessed recording of the sounds of a wintry urban street, sometimes as a parallel stream of activity, sometimes fused with the sounds of the environment that they have entered. [xi-07] les ponts de l’espace I was realized in 2001 in the composer’s studio and was premiered on February 7, 2001 during the rESOund Festival of Contemporary Music at the Winspear Centre in Edmonton (Canada). The piece was commissioned by the Edmonton Symphony Orchestra. 2. line I 1m07s imed_0891-1.2.2 | 21419 | ISRC CAD500810180 Listen (excerpt)
Composer: Laurie Radford 3. triangle 1m02s imed_0891-1.2.3 | 21420 | ISRC CAD500810190 Listen (excerpt)
Composer: Laurie Radford 4. point I 1m05s imed_0891-1.2.4 | 21421 | ISRC CAD500810200Composer: Laurie Radford 5. circle 1m23s imed_0891-1.2.5 | 21422 | ISRC CAD500810210Composer: Laurie Radford 6. point II 1m07s imed_0891-1.2.6 | 21423 | ISRC CAD500810220Composer: Laurie Radford 7. line II 1m30s imed_0891-1.2.7 | 21424 | ISRC CAD500810230Composer: Laurie Radford 8. les ponts de l’espace II (2003) 12m01s imed_0891-1.8 | 19507• point I • triangle • line I • grainDrone • line II • circle+point Composer: Laurie Radford Commission: Happening New Music Festival Premiere: January 27, 2004, Happening New Music Festival, Rosza Centre — University of Calgary (Calgary, Alberta, Canada) les ponts de l’espace II continues an exploration of the confrontation between raw environmental sounds and those produced and sculpted by a variety of techniques in the electroacoustic studio. Points of coincidence as well as opposition between these two sound groups were sought and a variety of paradigms for spatial assignment and movement were applied. It extends the concept of sonic ‘ponts’ (bridges) into the domain of cultural exchange with the use of sounds of a festive gallery opening in Lublijana (Slovenia) as well as of traditional bell ringing in Bresovica (Slovenia). The recordings were made by Miriam Fabijan in 1992. In addition, the use of a selection of sounds drawn from the electroacoustic parts of several of my earlier mixed works offer a bridge between different contexts. [xi-07] les ponts de l’espace II was realized in 2003 in the composer’s studio and was premiered on January 27, 2004 during the Happening New Music Festival at the Rosza Centre, University of Calgary (Canada). The trumpet material — also used in Verb Tales, and à la cire perdue — is drawn from a recording of musician Franzl Fabijan made by Miriam Fabijan in 1992 in Slovenia. The piece was commissioned by the Happening New Music Festival. 8. point I 2m02s imed_0891-1.8.8 | 21425 | ISRC CAD500810240 Listen (excerpt)
Composer: Laurie Radford 9. triangle 1m38s imed_0891-1.8.9 | 21426 | ISRC CAD500810250Composer: Laurie Radford 10. line I 2m20s imed_0891-1.8.10 | 21427 | ISRC CAD500810260 Listen (excerpt)
Composer: Laurie Radford 11. grainDrone 1m16s imed_0891-1.8.11 | 21428 | ISRC CAD500810270Composer: Laurie Radford 12. line II 2m24s imed_0891-1.8.12 | 21429 | ISRC CAD500810280 Listen (excerpt)
Composer: Laurie Radford 13. circle+point 2m22s imed_0891-1.8.13 | 21430 | ISRC CAD500810290 Listen (excerpt)
Composer: Laurie Radford 14. à la cire perdue (2004) 15m27s imed_0891-1.14 | 19508 | ISRC CAD500810300 Listen (excerpt)
Composer: Laurie Radford Commission: Réseaux des arts médiatiques Premiere: February 14, 2004, Rien à voir (15), Réseaux, Espace GO (Montréal, Québec) ‘Cire perdue’ is a time-honored sculptural technique still in use today. It involves the covering of an initial sculptural model with wax prior to casting the object in bronze. During the casting, the wax melts and disappears, is lost, leaving the finished bronze statue as the final reflection of the artist’s work. This concept serves in à la cire perdue as a metaphor for the source materials employed which are submerged and often lost amid the ‘casting’ of transformations and reshaping of audio materials in the composition studio. More specifically, it involves the use of my own instrumental music as the source materials for these sonic experiments. The previous electroacoustic work, les ponts de l’espace II, reclaimed electroacoustic elements from some of my works for instruments, voices and electroacoustic music, and integrated them into new sonic environments. As in les ponts de l’espace II, à la cire perdue also offers fragments from my mixed works, albeit in disguise, to the electroacoustic world. The shapes and gestures of my instrumental music are lost in the processes of convolution, spectral mutation and cross-synthesis. They sometimes appear to emerge and give clear impetus to the music; more often, they pulse beneath the surface, and leave only a ghostly yet tantalizing echo of their origins. [xi-07] à la cire perdue was realized in 2004 in the composer’s studio and was premiered on February 14, 2004 during the Rien à voir (15) concert series at Espace GO in Montréal. The trumpet material — also used in Verb Tales, and les ponts de l’espace II — is drawn from a recording of musician Franzl Fabijan made by Miriam Fabijan in 1992 in Slovenia. The piece was commissioned by Réseaux des arts médiatiques. 15. Mining Inference (2003) 3m05s imed_0891-1.15 | 19506 | ISRC CAD500810310 Listen (excerpt)
Composer: Laurie Radford Commission: GEMS Premiere: October 23, 2003, GEMS’s 20th Anniversary, Université McGill (Montréal, Québec) To alcides lanza Mining Inference is a short variation (or ‘remix’) based on portions from a recording of interferences III (1983-IV), a mixed work for ensemble and tape by alcides lanza. [xi-07] Mining Inference was realized in 2003 in the composer’s studio and was premiered on October 23, 2003 during the Group of the Electronic Music Studio (GEMS)’s 20th anniversary celebrations at McGill University in Montréal. The piece was commissioned by GEMS. Thanks to the performers Meg Sheppard, Group of the Electronic Music Studio Ensemble, and alcides lanza, and to Shelan Publications and McGill Records for the use of excerpts from the work by lanza. 16. Terms of Occupancy (2004, 05-06) 10m08s imed_0891-1.16 | 19509 | ISRC CAD500810320 Listen (excerpt)
Composer: Laurie Radford Premiere: September 11, 2004, Harvest Moon Festival, Salle de concert Oscar-Peterson — Université Concordia (Montréal, Québec) Terms of Occupancy began as an eight-channel variation and extension on the earlier work à la cire perdue. The title refers to the strategies and methods that bind me to the sounds I deploy as well as a preoccupation with multi-spatial determination for these sonic objects. It continues a line of work that seeks to bring together sounds and characteristics from seemingly disparate areas of my sound and music making activities. The challenge posed by the expanded possibilities for spatial placement and trajectory, first in eight channels, and then for the 5.1 format led to a substantial reshaping of the original sounds as well as a recasting of their compositional possibilities. [xi-07] Terms of Occupancy was first realized in 2004 in the composer’s personal studio and was premiered on September 11, 2004 during the Harvest Moon Festival at the Oscar Peterson Hall at Concordia University in Montréal. The revised 5.1 version was realized in 2005 at the studios of Université de Montréal and in 2006 at the City University in London (England, UK), and premiered on February 13, 2007 at the latter. electrocd.com Laurie Radford: Les ponts de l’espace (DVD-A): track detail |
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