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1. InsideOut (1999) 14m23s imed_9948-1.1 | 14525 | ISRC CAD509913750Premiere: April 29, 1999, (Santafé de Bogotá, Colombia) InsideOut explores a new direction in my tape works. It is a piece where all the sounds were derived from four instruments of the orchestra: alto flute (C4), violin (pizz G#4), E-flat clarinet (D#4), and double bass (pizz B-flat 2; bowed A2). The objective in this piece with the five sounds was to explore the many avenues of sonic manipulation that the technology at my disposal would permit but at the same time a trace of the sounds original signature would still be perceptible. The processing was a way of reinventing the original sounds instead of deconstructing them. What I was able to refine from the laborious task of processing from so few sounds was textured sustaining material to contrapuntal percussive types sounds. A large variety of material was produced. The next stage was to develop musical ideas from traditional forms of composition like counterpoint, rhythm and harmony into a piece that was intended purely for tape. InsideOut is the combination of the highly abstract process of the creation of sound objects and their metamorphosis into dispersed fields of polyphonic tonal languages.
[xii-99] InsideOut was composed in the composer’s studio in 1998-1999 with the financial assistance of the Ontario Arts Council. It premiered on April 29th, 1999 at the 6th Festival Internacional de Música Contemporánea de Bogotá (Columbia). 2. Liquid Fragments 1 (1996) 10m27s imed_9948-1.2 | 14526 | ISRC CAD509913760Commission: Continuum Contemporary Music with support from the Ontario Arts Council Premiere: June 5, 1996, Music Gallery (Toronto, Ontario, Canada) doublebass, alto flute, and tape Liquid Fragments 1 is the first piece of a new series of mixed works that explores the weave of traditional instruments (live part) and their exfoliation (tape part). The live parts, double bass and alto flute, were composed and recorded first, then fragments of these recordings were processed in realtime producing a wide range of material for the tape section. The sounds are ‘poured’ in to fragments through different DSP processes coincident to their mixing with the other (recorded traditional instruments) tracks of sound. These mixed processes crystallize their fluid, fundamental origins in a transformation whereby ‘original,’ ‘mold’ and ‘copy’ conflate, and become one.
[xii-99] Liquid Fragments 1 was realized in the composer’s studio in 1996. It was commissioned by the ensemble Continuum Contemporary Music with the assistance of the Ontario Arts Council. Liquid Fragments 1 was premiered on June 5th, 1996 by J Tracy Mortimore and Jennifer Waring in a Continuum Contemporary Music concert at the Music Gallery in Toronto. The present recording was realized in April 1996 and mixed in in 1999. 3. Elastic Rebound (1995) 11m11s imed_9948-1.3 | 14527 | ISRC CAD509913770Premiere: September 22, 1995, ISEA95_Montréal, 5e salle — Place des arts (Montréal, Québec) Elastic Rebound is the second composition in a series of three pieces that explore the geological activity of the earth. The title is a geological term coined by geologists after the 1906 San Francisco earthquake which describes opposing tectonic forces moving in opposite direction along each side of a faultline. The rock bends and in its weakest areas fractures followed by a spring back or rebounding effect—called ‘elastic rebound.’ This work uses these geological processes as a metaphorical ground to occasion sound. Sound events were gathered, many of non-musical origin, to lend voice to natural processes, each conspiring to produce an image of a landscape in flux. Isolating and elaborating individual sounds permits me to alter dynamics and mass, and the effect of the mixing of these objects creates a soundscape of cataclysmic disorder.
[xii-99] Elastic Rebound was realized in the composer’s studio in 1995 with the assistance of the Canada Council for the Arts. It premiered on September 22nd, 1995 as part of ISEA95_Montréal, the International Symposium for Electronic Art. Elastic Rebound was awarded the 1st Jury Prize and the Public Prize at the 4th Prix international Noroit-Léonce Petitot (Arras, France, 1995) and was previously released on Prix internatinal Noroit-Léonce Petitot 1995 [NOR 4]. 4. Continental Rift (1995) 15m00s imed_9948-1.4 | 14528 | ISRC CAD509913780Commission: CEE, with support from the CCA Premiere: June 17, 1995, Music Gallery (Toronto, Ontario, Canada) cello, and tape Continental Rift is a metaphorical composition depicting the way in which the continents of the earth change their structure through the process of evolution. It contrasts past and present, the latter represented by an acousmatic assault, the former by a virtuosic solo cello. The cello section is an introduction of signature moments from the past with musical ideas borrowed from Bach, Beethoven and Kodaly. These historical references were manipulated, producing new themes within the context of their period. These musical motifs are connected through the use of the cello and tape. As the composition evolves it builds, crescendos and erupts. The listener hears the traditional cello evolving into a 20th century acousmatic experience. Continental Rift is about histories attempt to inhabit the present, a remembrance, a mourning for tradition and the individual talent.
[xii-99] Continental Rift was realized in the composer’s studio in 1995. It was commissioned by the Canadian Electronic Ensemble (CEE) with the assistance of the Canada Council for the Arts. It premiered on June 17th, 1995 at the Music Gallery. Continental Rift received 2nd Prize at the 17th Luigi Russolo International Competition (Varese, Italy, 1995) and was previously released on Russolo 1995 [efer P95]. The present recording was realized in February 1999. 5. The Unmoved Centre (1997) 14m08s imed_9948-1.5 | 14529 | ISRC CAD509913790Commission: Réseaux des arts médiatiques, with support from the CCA Premiere: February 19, 1997, Rien à voir (1), Réseaux, La Chapelle (Montréal, Québec) The Unmoved Centre is a sonic realization of the poetics of spiritual mobility, a journey into the center of the imaginative image. This invitation into the imagination is a gentle push into the unknown which throws us off balance and sets in motion a dynamic reverie towards ambiguity and metaphor. Rather than represent exterior realities and actions, this piece analogizes them to trace the process of its own making. The title refers to that informed pool of possibilities which seeks shaping, and whose structure lies finally beyond the bounds of the individual. The dramatic focus of The Unmoved Centre is the transformation from outer to inner existence. It is a play of forces that map the body’s spiritual struggles as it searches for its tunings within the manageable and imaginable. It is found in a sphere of connected, conflicting and harmonious sounds.
[xii-99] The Unmoved Centre was realized in the composer’s studio in 1997. It was commissioned by Réseaux with the assistance of the Canada Council for the Arts and was realized in the composer’s studio. It was premiered on February 19th, 1997 during Réseaux’s Rien à voir (1) concert series at Théâtre La Chapelle in Montréal. It received a mention at the Bourges International Electroacosutic Music Competition (France, 1997). 6. Convergence (1998) 9m27s imed_9948-1.6 | 14530 | ISRC CAD509913800Commission: Joseph Petric with support from the Ontario Arts Council accordion, and tape With Convergence I wanted to create a piece that was inherit to an instrument whose history to most people is commonly associated with fun, dance, drinking and local cultural events, combined with my own experiences as a composer. Convergence is in three movements and the tape section is mainly made from recordings of instruments from non-Western cultures and some electroacoustic sounds.
[xii-99] Convergence was realized in the composer’s studio in 1998. It was commissioned by accordionist Joseph Petric with the assistance of the Ontario Arts Council. Thanks to recorded musicians Peter Stoll (clarinet and bass clarinet) and Kevin Breit (guitar, mandolin and banjo). The present recording was realized in March 1999. electrocd.com Randall Smith: Sondes: track detail |
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