Régis Rousseau


IMED 11113

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Radio // Voix
About Time (2005), 8m32s [excerpt]
Track 6 from Voix
DVD-Audio: empreintes DIGITALes (2011) IMED 11113
  • piste@imed_11113-1
    • 1
      About Time (2005), 8m32s
      stereo fixed medium
      • Commission: OutfrontCBC, NAISA
      • Premiere: May 27, 2005, Deep Wireless — Radio Theatre Performances, The Drake Hotel (Toronto, Ontario, Canada)

      I put together this self-portrait with my old reel-to-reel tape recorder that had been left aside ever since I rather offhandedly traded it for a computer. The use of this piece of machinery, whose performance hasn’t faltered in any way, seemed only natural for this project, considering how crucial it proved to be in my musical evolution. Actually, I find magnetic tape, on which one can “inlay” fragments of time and existence, to be infinitely more potent metaphorically than the hard drive’s immaterial and intangible medium.


      About Time was realized in 2005 at the composer’s studio in Montréal and premiered on May 27, 2005 during the Deep Wireless festival produced by NAISA at The Drake Hotel in Toronto (Canada). The piece was commissioned by the CBC radio program Outfront, and NAISA. Thanks to Carma Jolly, executive producer of Outfront, and Darren Copeland, director of NAISA. Recorded voices: Carma Jolly, and Yves Daoust.

      piste@imed_11113-1.1 oeuvre@18369 ISRC CAD501110153
    • 2
      Objets trouvés (2002), 9m05s
      stereo fixed medium
      • Commission: IMEB
      • Premiere: June 8, 2003, Synthèse 2003: Concert, Palais Jacques-Cœur (Bourges, Cher, France)

      For the most part, my pieces are conceived with “living” sound objects, extracted from the urban environment or originating from the cultural heritage. Here however, somewhat in the manner of still lifes, I brought together a few “inanimate” objects, drawn from my own daily mundane environment (a coffee grinder, an old alarm clock, a pencil sharpener, some music boxes…). I then went on exploring the sonic possibilities of these sources with the help of minuscule microphones, sometimes positioned only a few millimeters apart. A return to roots, so to speak, to the abc of “musique concrète”, as I refrained from using sophisticated manipulations that radically alter sounds, opting instead for a few “natural” transformations, in order to let the objects reveal their innate music. The work essentially unfolds in a series of brief tableaux that successively highlight a particular sound or a category of different objects. A chain of miniature sonic dramas which revolve around the music box’s soliloquy.


      Objets trouvés was realized in November 2002 at the Charybde studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) and premiered on June 8, 2003 during Synthèse, the 33th Bourges International Electronic Music and Creation Festival (France) at the Palais Jacques-Cœur in Bourges (France). The piece was commissioned by the Institut international de musique électroacoustique de Bourges (IMEB).

      piste@imed_11113-1.2 oeuvre@10224 ISRC CAD501110154
    • 3
      Le temps fixé (2004), 9m17s
      stereo fixed medium
      • Commission: Réseaux des arts médiatiques, with support from the CCA
      • Premiere: February 14, 2004, Rien à voir (15): Concert, Espace Go (Montréal, Québec)

      In memory of PM

      The idea for this piece came to me after I went to visit a friend, an opera singer, now very old and living in a care home for people with decreasing physical and intellectual independence. I had not seen him for years, and I was deeply shocked to see how time had changed him. There was an almost unbearable gap between the actual sight of a worn-out man deteriorated by time and how I remembered him from the last mental picture I had fixed in time five years earlier.

      This work is not about death; it is about time that keeps marching on, despite our best efforts to trick it, time that transforms us every second, dragging us inexorably closer to our own dissolution.

      This work consists of two superimposed layers. The first one features the “current” voice of our character, through a few trite words breaking long stretches of silence, words basically related to his daily life, though occasionally evoking a fleeting memory that seems to percolate to the surface. The other layer represents the past, a time when his baritone voice, then at its peak, was frozen in time, fixed on media as if it were freed from the flux of time. He is singing again, though in a strange voice, artificial-sounding, “polluted” by fragmentation techniques (even digital media are affected by the passage of time)…

      [English translation: François Couture, ix-11]

      Le temps fixé [Fixed Time] was realized at the composer’s studio in Montréal, and premiered during the concert series Rien à voir (15) on February 14, 2004, at Espace GO in Montréal. This work was commissioned by Réseaux des arts médiatiques, with support from the Canada Council for the Arts (CCA).

      piste@imed_11113-1.3 oeuvre@10178 ISRC CAD501110155
    • 4
      Chorals ornés (2007-08, 09), 42m08s
      organ, and stereo fixed medium
      • Commission: Orgue et couleurs, Réseaux des arts médiatiques, with support from the CALQ
      • Premiere: October 2, 2008, Régis Rousseau, organ; Yves Daoust, diffusion • Fall Festival (2008): The Classics Remixed!, Église Saint-Nom-de-Jésus (Montréal, Québec)

      Rereading of the 14 chorals from the Orgelbüchlein (1708-14) by Johann Sebastian Bach.

      Chorals ornés [Ornamented Chorals] was realized in 2007-08 at the composer’s studio in Montréal, and premiered by Régis Rousseau, organ, and Yves Daoust, mixing, during the concert Remix de classiques! presented on October 2, 2008 by Orgue et couleurs, as part of their Festival d’automne at Église Saint-Nom-de-Jésus in Montréal. This work was commissioned by Orgue et couleurs and Réseaux des arts médiatiques, with support from the Conseil des arts et des lettres du Québec (CALQ). Texts are taken from the following poems: Matthieu Simard: Je t’écris petit; read by Julie Daoust; Anouk Bereau: Lettre d’amour?; read by Philippe Martin; Gaston Miron: Liminaire, l’Homme rapaillé; read by Vincent Graton and Yves Daoust; Jacinthe Dompierre: Mon bel amour; read by Linda Sorgini, and; Anouk Bereau: Va, mon bien-aimé; read by the author. The 14 chorals are taken from Orgelbüchlein (1708-14) by Johann Sebastian Bach. Chorals ornés was selected for the 2009 Musical Composition Prize of the Prince Pierre Foundation (Monaco), in the Music Composition category, and it was awarded the “Premiere of the Year” at the 13th Prix Opus 2008-09 of the Conseil québécois de la musique (CQM).

      This surround sound recording of Régis Rousseau’s interpretation was made on December 7, 2009 and March 25, 2011 by Carlos Prieto from Studio L’Esplanade at the Immaculée-Conception church in Montréal (Quebec) — Rudolf von Beckerath organ (1961) — with five DPA 4006 microphones, a set of Millenia HV-3D/8 pre-amplifiers and an Apogee Rosetta R800 digital converter. Final mixing of the instrumental and electroacoustic parts was made by Dominique Bassal, with post-production and mastering completed in Montréal (Quebec) in May-June 2011.

      piste@imed_11113-1.4 oeuvre@24390 ISRC CAD501110156