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.
piste@imed_9421-1
“… here, on the roof of the world, I feel a shadow of uneasiness… It’s not at all the height, nor the kind of suction exerted by the abrupt depths and its emptiness which troubles me. It’s an altogether different emptiness which affects an altogether different sense… the essence of solitude…”
— Paul Valéry, Le solitaire
[vi-95]
In memory of Serge Garant (1929-1986)
This dramatic piece brings together one of the earliest electronic instruments and one of the most recent developments in digital audio technology. The instrumentalist occupies a well-defined space in this universe of sound on tape. However, her role is not that of the traditional soloist. The tones of the ondes Martenot, supple and expressive, approach the strains of the human voice, and seek to meld with the highly intense material on tape.
[English translation: François Couture, iii-05]
This piece was born of the desire after fifteen years, to collaborate with the guitarist René Lussier. Using his talent for improvisation, I have employed the wide variety of timbres and sound matter from his interpretation. The tape consists of a succession of very dense and expressive scenes onto which the guitar’s living and playful gestures are placed.
Gilles Gobeil [xi-90]
Associations libres was produced at the studio Ondes in Montréal in July, 1990. It premiered on November 2nd, 1990 at the Les Loges theater during the New Music America/Montréal musiques actuelles festival. It was commissioned by René Lussier with the assistance of the Canada Council [for the Arts]. Associations libres is recorded on the discs Électro clips [IMED 9004, IMED 9604] and, in a revised mix, La mécanique des ruptures [IMED 9421] on the label empreintes DIGITALes (IMED 9004). [v-94]
“When the act is committed, when the threat is carried out, reason dictates the impossible. They believed it, all of them.” La ville machine (The Machine City) is an electroacoustic drama on the subject of sound ecology.
[v-94]
Rivage (Shore) utilizes unretouched sounds from our urban environment (the noise of traffic, of industry, of business transactions…) bordered by electronic sounds. The title refers to the antinomy created by the clash of these two elements, a continual conflict, and symbolizes the interplay of contrasts, the shifting of a delta, which underlie the work.
[v-94]
To Suzanne Binet-Audet
In this piece, the ondes Martenot is linked to a MIDI converter, enabling the performer to play, in addition to her instrument, other MIDI instruments (synthesizer, sampler, and the entirety of the processing). This ’super-instrument’ gives access to a profusion of sounds — simple and complex — which surround and accompany the timbre of the ondes Martenot while remaining responsive to the nuances imparted by the performer.
[v-94]
The impression of an expression, the faint trail left upon passing. The shards of reality emerge here and there, furtively, at the center of an abstract universe, concise and articulate, to be immediately absorbed and transformed in sudden, erratic swinging movements.
[v-94]