Amore

Compact-compact 1
IMED 9413
1994
CD
1 disc
15.00 CAD -7%

If radio doesn’t appear, it means you haven’t installed the Flash plugin or that your version is too old. You must also activate Javascript.

Radio // Amore
Amore
Amore: L’amore: préambule, 5m25s [excerpt]
Track 1 from Amore
CD: empreintes DIGITALes (1994) IMED 9413
1 September 2001
By François Couture in All-Music Guide (USA), September 1, 2001

Text

“… her style of cinema for the ear relying strongly on synthesized music and sound collage.”

Roxanne Turcotte’s activities are diversified, to say the least. Yet, even with a resume that includes a keyboardist role in a rock group, electroacoustic composer and children music composer, she barely made a dent in the music world. Her first album, Amore, was released in 1994.

Born in Montréal in 1960, Turcotte always stayed in the big city. First and foremost a keyboardist, she began in rock and jazz groups, recording an LP with Kaméléon in 1982. Not shy of genre crossings, she entered the Master program in electroacoustic music at the Université de Montréal, studying its secrets with Marcelle Deschênes and Francis Dhomont while also studying piano and composition with Serge Garant. She began creating electroacoustic music, but also music for multimedia projects and, surprisingly, children music, each aspect of her career permeating the others. In 1994 the prestigious record label empreintes DIGITALes released her first CD of electroacoustic music, Amore. The reception was mixed, her style of cinema for the ear relying strongly on synthesized music and sound collage. She participated to the 1999 and 2000 editions of the Futura Festival in Crest (France) and the 2001 Bourges Festival.

blogue@press-438 press@438
8 November 1999
By George Zahora in Splendid E-Zine (USA), November 8, 1999

Text

“… an impressionistic love story with voices, sound effects, samples and rhythms…”

Roxanne Turcotte spins an impressionistic love story with voices, sound effects, samples and rhythms, based upon Roland Barthes’s book A Lover’s Discourse. Newcomers to electroacoustic music may find Amore particularly appealing; it uses many identifiable, untreated “real world” sounds and employs a more structured, linear narrative than other empreintes DIGITALes releases, grounding even its most experimental moments in comforting familiarity. It’s still a lot of fun—especially the conversational T’es le fun téléphone.

blogue@press-322 press@322
1 February 1996
By Stephan Dunkelman in Les Cahiers de l’ACME #170 (Belgium), February 1, 1996

Press Clipping

blogue@press-908 press@908
1 June 1995
By Ned Bouhalassa in CEC, Contact! #8:2 (Canada), June 1, 1995

Text

[Translation] The second disc, Turcotte’s Amore, contains the six parts of a single piece (with the same title as that of the CD) that necessitated four years of work (1988-92) in various studios. Featuring the spoken and sung voices of Judith Bergeron, Daniel Leduc and the composer herself, Amore is an electroacoustic tale, ‘seasoned with passion, humor and… love’ (CD booklet notes). Though Turcotte’s approach to storytelling brings to mind the work of other francophone composers, like France’s Pierre Henry and Michel Chion, she does not shy away from pop-influenced composition and timbres. While some of her instrumental writing suffers from the limitations of her tools (RAM-limited samplers), the spoken texts are witty and focused on the main theme (love). Relating the telephone dialogues and subsequent preparation rituals of two would-be lovers planning a date at the movies, T’es le fun téléphone is unquestionably the strongest section of Amore.

blogue@press-186_702 press@186_702
1 February 1995
By Rick MacMillan in SOCAN, Paroles & Musique #2:2 (Canada), February 1, 1995

Text

Inscrit dans un recueil de six CD de musique électroacoustique canadienne, ce disque de 35 minutes se divise en cinq tableaux dépeignant des thèmes sur l’amour. Récipiendaire de deux prix de composition de la CAPAC dans les années 80, la compositrice montréalaise Roxanne Turcotte réalise un écran imaginaire à l’aide de matériaux sonores tels la sonnerie d’un téléphone, les sons de synthèse et la voix humaine pour représenter «la séduction, la passion et.. un souffle de vie.»

blogue@press-184 press@184
1 June 1994
By Albert Durand in Revue & Corrigée #20 (France), June 1, 1994

Text

“Manipulée, transformée, elle touche souvent à une dimension quasi-sacrée.”

Dans cette série “compact-compact”, on trouve aussi Amore de Roxanne Turcotte: de l’électro branché avec une tendance musique de danse, un univers proche du clip rempli d’anecdotes et d’images du quotidien amoureux. Claire-voie de Wende Bartley: la voix est au centre du travail, qu’elle soit en direct, dans une pièce mixte, ou enregistree. Manipulée, transformée, elle touche souvent à une dimension quasi-sacrée. Alchimie de Mario Rodrigue: cinq pièces d’une même facture.

blogue@press-174_502 press@174_502

Other texts in

  • Circuit #5:2 (Québec), June 4, 1994

Some Recommended Items

  • UCC 771028941322
  • Canada Council of the Arts