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electroradio
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Composer: Francis Dhomont Commission: Ina-GRM Premiere: May 29, 1989, Grand Auditorium — Maison de Radio France (Paris, France) To musique concrète and Pierre Schaeffer, its ‘ill-fated inventor’
Novars salutes the birth of musique concrète, the Ars Nova of our century, by calling upon the resources of the computer. The intention is not to create a pastiche but, on the contrary, to testify that by the most advanced means a language has been passed on. It may also be possible to suggest, without establishing a simplistic symmetry, that there exists a link between these two theorists of a new art: Vitry and Schaeffer. The ‘classical’ ear will perhaps recognize fragments from Schaeffer’s Étude aux objets (1959) and Guillaume de Machaut’s Messe de Nostre Dame (1364). These quotations, along with a third sound element — a sort of homage to Pierre Henry and his infamous door — are the sole materials giving birth to multiple variations. A sign of change: ‘spectromorphologic’ (Denis Smalley) mutations give to sonorities of the Ars Nova and to ‘new music’ (as Schaeffer named it in 1950) the sound of our time. A sign of continuity: something from the original works (their color, their structure…) remains present, indestructible.
[ix-91] Novars was realized at Studio 123 of the Ina-GRM (Paris, France) and at the composer’s studio and was premiered on May 29th, 1989, as part of the 11th GRM Acousmatic Concert Series at the Grand Auditorium of Rthe Maison Radio France (Paris). This piece was selected by the 1990 International Computer Music Conference (ICMC’90) in Glasgow (Scotland), and by the International Society for Contemporary Music (ISCM) for the 1991 World Music Days in Zürich (Switzerland). The jury of the 1991 Stockholm Electronic Arts Award also selected it for performance at its award concert in Stockholm (Sweden). Special thanks to Pierre Schaeffer who has kindly allowed the quotation of a few sound propositions, now historic; and to Bénédict Mailliard, Yann Geslin and Daniel Teruggi without whose patience it would have been impossible to domesticate Studio 123 and the Syter real-time sound synthesis system of the Ina-GRM (Paris, France). Novars was commissioned by the Ina-GRM}. 2. Chiaroscuro (1987) 17m30s imed_9608-1.2 | 14285 | ISRC CAD509612640Composer: Francis Dhomont Commission: Événements du Neuf, with support from the CCA Premiere: April 10, 1987, Événements du neuf (Montréal, Québec) Plays of ambiguity. Of course, this ‘chiaroscuro’ is one of shadows and light, of opacity and transparency of sound, of the incertitude between one and the other. However, beyond this, it is the ambiguity, the hesitation between spoken and suggested, between face and mask (warning: a sound may hide another), between manifest and latent, enactment and illusion. ‘Trompe l’oreille’ music. As in much of my work, certain sound elements come from earlier pieces and are developed anew here. I like the fact that the discourse is continued, completed. Besides—and in homage to the composers of the Montréal concert organization Les Événements du Neuf (1978-89): José Evangélista, Denis Gougeon, John Rea and in particular to the memory of Claude Vivier — I gave in to musical larceny (with the unwary complicity of its victims) which, I hope, creates an iridescence here and there, a voluntarily enigmatic contrivance. Mutation of the musical instruments: mobility, relief, colors among the shadows… [ix-91] Chiaroscuro was realized at the composer’s studio and was premiered on April 10th, 1987 in Montréal. This piece was awarded the Prize of the 1st Magisterium of the 16th Bourges International Electroacoustic Music Competition (France, 1988) and was first released on the Cultures électroniques 3: Magisterium compact disc produced by the Groupe de musique expérimentale de Bourges (GMEB) on the Le chant du monde label (LDC 278048). Chiaroscuro was commissioned by Les Événements du Neuf and realized with the assistance of the Canada Council [for the Arts]. 3. Chroniques de la lumière: Météores (1989, 2005) 12m43s imed_9608-1.3 | 14286 | ISRC CAD509612650Composer: Francis Dhomont Commission: SMCQ, with support from the CCA These “Chronicles” are an impressionistic sonic version of visual elements — an undoubtedly metaphorical act — a personal daydream of light based on a concept by Montréal visual artist Luc Courchesne. With sound transpositions of luminous phenomena, natural rays or multiple artefacts, Chroniques de la lumière is comprised of three movements: Miroitements (Shimmers), Artifices, Météores (Meteors) or, if one prefers: adagio, allegro, presto-finale. Météores proceeds by a progressive increase of elements, by slow accumulation, an increase of density, and a reinforcement of the sensation of speed and kinetic energy. A progression is articulated, not only from slow to fast, but also from calm to agitated, from somber to clear, from piano to forte, from static to mobile, from simple to complex. November 1991 [viii-06] Chroniques de la lumière (thus Météores) was realized at the composer’s studio and was premiered on April 26th, 1989, at the Doppler Concert of the Société de musique contemporaine du Québec (SMCQ) at the Spectrum in Montréal. Chroniques de la lumière was first released on the Halogènes compact disc produced by the Université de Montréal on the UMMUS-Actuelles label (UMM C 101). Météores was selected by the International Society for Contemporary Music (ISCM) for the 1990 World Music Days in Oslo (Norway), and by the 1993 International Computer Music Conference (ICMC93) in Tokyo (Japon). Many of the sounds were realized at Studio 123 and with the Syter real-time sound synthesis system of the Ina-GRM (Paris, France). Special thanks to Bénédict Mailliard, Yann Geslin and Daniel Teruggi for their invaluable advice. Chroniques de la lumière was commissioned by the SMCQ and realized with the assistance of the Canada Council [for the Arts]. Météores was slightly modified in its proportions in 2005 and thus is a new version. 4. Signé Dionysos (1986-91) 28m22s imed_9608-1.4 | 14287 | ISRC CAD509612660operacousmatic between nature and artifice Composer: Francis Dhomont Commission: Jean-Étienne Marie, CIRM Premiere: February 1, 1986, Festival des MANCA (Nice, France) To André Gribenski and Paule Gribenski, the voices of the frog and the songs of these musicians There is a small lake in Saint-Rémy-de-Provence (France), a poetic and intimate site located deep in the Alpilles. On full moon evenings, after the heat of the day, the sensual pleasure of contemplation is exceptional. In May and June — when nature is expressive — the frogs burst forth. Jean-Étienne Marie, then director of the Centre international de recherche musicale (International Music Research Center, CIRM, Nice, France), to whom I had described those barbarian love songs, commissioned me in 1984 to compose a lakeshore opera—parodical, no doubt—in which all of the roles, from the diva to the choir, would be assigned to… frogs. This is how Signé Dionysos (Signed Dionysus) was born. The title makes reference to the character of Aristophanes who, in The Frogs, hears the song of these “daughters of the bog.” As a matter of fact, aren’t the exaltation and ecstasy of these nocturnal singers somewhat Dionysian? As with any respectful opera, this work has acts, scenes, tableaux. The plot: “A small Provence lake. After a warm day, the strollers leave, thus returning the lake to its natural hosts. The frogs return, taking hold of the stage and will ‘perform the opera’. Unheard-of, surreal, dilated songs. Naturally, after love, the drama will conclude with death…” However, it is only entertainment. But what pleasure to play with this given sonorous generator of innumerable morphologies and also, once again, with the ambiguous ‘music-of-nature/artifices-of-the-studio.’ Truth or lie? Found, processed or constructed sound? All of these delusions confound the ear and, as with wine, alter the senses. This brings us back to Bacchus! [ix-91] Signé Dionysos was realized at the composer’s studio and was premiered on February 1st, 1986, at the festival Musiques actuelles Nice/Côte d’Azur (MANCA, France). The definitive version, reproduced here, was realized at the composer’s studio in May, 1991. Most of the recordings were made at night in May and June of 1984 and 1985. Some sound processing was realized at Studio 123 and with the Syter real-time sound synthesis system of the Ina-GRM (Paris, France). Thanks to the enlightened and indispensable advice of Bénédict Mailliard and Yann Geslin. Thanks also to Marc Jaquin for his authorization to use some of his recordings for this piece. Signé Dionysos was commissioned by Jean-Étienne Marie for the CIRM (Nice, France). electrocd.com Francis Dhomont: Les dérives du signe: track detail |
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