Cycle de l’errance

Cycle of Wanderings
IMED 9607
1996

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Radio // Cycle de l’errance
Cycle de l’errance
Points de fuite (1982), 12m21s [excerpt]
Track 1 from Cycle de l’errance
CD: empreintes DIGITALes (1996) IMED 9607
  • piste@imed_9607-1
    • 1
      Points de fuite (1982), 12m21s
      • Premiere: June 13, 1982 (Bourges, Cher, France)

      To Jean-Louis Ostrowski

      Term of perspective. The point of convergence of parallel lines.

      Audition/reading on many levels:

      1. technical (kinetic study: glides in tessitura, mutations of masses, of densities; modifications of timbre; energetic eruption/dispersion; spatial mobility);
      2. impressionistic (encounters, crossings, fusion of heterogeneous events which carry similar connotations; trajectories, velocities, displacements; the near and the distant; the passage);
      3. symbolic (flight: running away; departure, wandering, lapse, obliteration. The horizon, Kafka: Disappearing — America);
      4. ad libitum…

      [ix-91]

      Points de fuite (Vanishing Points) was realized at the composer’s studio in Montréal in 1981-82 and premiered on June 13th, 1982, at the 12th Bourges International Experimental Music Festival (France). Points de fuite was awarded 2nd Prize at the 12th Bourges International Electroacoustic Music Competition (France, 1984), 1st Prize at the Brock University Tape Music Competition (St Catharines, Ontario, 1985), and was selected by the international jury of the International Society for Contemporary Music (ISCM) for the 1984 World Music Days in Montréal.

      piste@imed_9607-1.1 oeuvre@14271 ISRC CAD509612520
    • 2
      … mourir un peu (1984-87), 44m52s
      • Marine
      • Cartographie liminaire
      • Un certain embarquement
      • Thème de la fuite
      • Transfert I
      • En abîme
      • Transfert II
      • Palimpseste
      • Il ritorno [sections 1 & 2]
      • Commission: French State (Music Office), GMEM
      • Premiere: June 21, 1984, Jardin des Vestiges (Marseille, Bouches-du-Rhône, France)

      To Marthe Forget

      Where one speaks once again of departures, journeys, farewells (“Leaving is already dying a little…”); and also of escape, pleasure, initiatory journeys, imaginary space and again of absence, of the ‘petite mort’ (post-ecstatic physical collapse) and of the ‘grand voyage’.

      It is not surprising that … mourir un peu (… dying a little) was premiered in Marseille, amongst the relics of the ancient Phocæan harbor; the first movement, Marine, is a quick allusion to this voyage in time.

      The sea nearby — a symbol both inexhaustible and pluralistic — had to be present. It is, certainly, persistently; the wave lends its energetic law to the whole and to the part: ebb/flow, growth/decline, apparition/disappearance.

      The concrete slides into abstraction and then re-emerges; anchoring points in reality and furtive evocations (heard or guessed?) appear sporadically.

      This piece originates from Points de fuite (Vanishing Points) further developing it, and directly draws elements for the fourth movement, Thème de la fuite (Theme of Flight). This movement is the ‘peak of the wave’ made from curves of the increasing and decreasing durations of the nine movements.

      [ix-91]

      … mourir un peu was realized at the studio of the Groupe de musique expérimentale de Marseille (GMEM, France) and at the composer’s studio in Montréal in 1984, and premiered on June 21, 1984 at the Jardins des vestiges in Marseille (France). The fourth movement, Thème de la fuite, was ‘recommended’ at the 2nd International Rostrum of Electroacoustic Music (IREM) in Stockholm (Sweden, 1988) and was first released on the Anthology of Canadian Music: Electroacoustic Music 4-compact disc set on the Radio Canada International label (ACM 37). Three other movements — Transfert I (Transfer 1), En abîme (In the Abyss), and Thème de la fuite — were selected by the 1986 International Computer Music Conference (ICMC ’86), Den Haag (Netherlands). Thanks to Pierre Schaeffer and Pierre Henry who have kindly allowed the brief but pregnant quotations from Érotica (from Symphonie pour un homme seul, 1959), as well as to Laurent Lafran for certain sound recordings, not forgetting Gesualdo, Mauduit, and Schubert for their involuntary participation. … mourir un peu was commissioned by the French State (Music Office) and the GMEM.

      piste@imed_9607-1.2 oeuvre@14273
    • 11
      Espace / Escape (1989), 19m24s
      • Commission: Claude Schryer / The Banff Centre for the Arts, with support from the CCA
      • Premiere: November 11, 1989, >convergence<, The Banff Centre for the Arts (Banff, Alberta, Canada)

      To Jean-François Denis and Claude Schryer

      “As soon as we become immobile, we are elsewhere; we dream in a vast world. Immensity is the movement of immobile man. Immensity is one of the dynamic aspects of peaceful daydreaming.”

      Bachelard, The Poetics of Space

      Space.

      Open, intimate, confused spaces. Broken spaces, whirling.

      Indecisive edges of the space.

      Space-refuge, enclosed, maternal, space of reminiscence and of associations.

      Tumult or murmur in the space of a thousand reflections.

      Escape.

      The flight engenders a vertigo of multiple elsewheres.

      Here… There…

      Attempted encounter of heterogeneous elements related by two criteria: one is sonic and denotative (the place of sound in space), the other symbolic and connotative (referring to the theme of wandering), both alluding to movement. These criteria determine the form and are its cement. The multiplicity of materials embody the ideas of ‘space’ and ‘mobility.’ This work integrates into its structure active elements of spatialization which have a semantic value.

      [ix-91]

      Espace / Escape was realized at the composer’s studio in Montréal in 1989 and premiered on November 11th, 1989 during the CEC Electroacosutic Days, >convergence< at The Banff Centre for the Arts (Alberta, Canada). Espace / Escape was selected by the 1991 International Computer Music Conference (ICMC ’91) in Montréal. A short sound recording — authentic ‘sound shooting’ (Michel Chion) — used in this piece was offered by composer Christian Calon; Dhomont thanks his friend for the gift, hoping to have made good use of it. This piece was commissioned by Claude Schryer / The Banff Centre for the Arts, realized with support from the Canada Council [for the Arts].

      piste@imed_9607-1.11 oeuvre@14272 ISRC CAD509612620

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