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piste@manu_1433-1
The title Pentes (both French and Latin, meaning slopes, inclines, ascents) was suggested by the outlines of the broad stretches of the piece, which evoke the spaciousness of landscape. Most of the music was created by transforming instrumental sounds, but there are also synthesized sounds. However, the only recognizable sound source is the Northumbrian Pipes, whose drone is responsible for the slowly evolving harmonies out of which its haunting traditional melody appears.
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Pentes was composed in 1974 in the studios of the Groupe de recherches musicales (Ina-GRM) and premiered on March 20, 1975 in Auditorium 104 — Maison de Radio France (Paris, France). The piece was commissioned by the Groupe de recherches musicales (Ina-GRM).
The sonic images of Tides are based on analogies between water and sound — motion, textures, images of turbulence, strength and tranquillity, the play of colors and light, and the intimacy and immensity of space. The first movement — Pools and Currents — is constructed around a series of interlocked ‘pools,’ each of which has a different character. The pool idea suggests textural play, while the idea of ‘currents’ stresses the more linear motion that propels the movement forward. The pools come to rest in a broad seascape out of which the wave-like gestures of the second movement, Sea Flight, emerge.
Tides is the first of my works to use computer transformations of source material.
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Tides was completed in 1984 and mixed at the University of East Anglia (Norwich, UK). Materials for the work were created during visits to a number of studios - the University of Toronto Computer Systems Research Group (the Structured Sound Synthesis Project’s system), the Experimental Studio of Finnish Radio, and the Groupe de recherches musicales (Ina-GRM) Digital Studio — Studio 123. The piece was commissioned by the Groupe de recherches musicales (Ina-GRM) in Paris (France).
The title demonstrates a concern with movement, not necessarily literal spatial movement, but sound objects, textures, contours, and particles whose shapes and behaviour suggest analogies with movement both real and imaginary. Such relationships can be striking in taped electroacoustic music where the listener may often perceive sounds as physical entities moving in space - a kind of invisible kinetic sculpture. large, rich, resonant attacking sound events provide the structural pillars of Vortex. Their impact and radiating energy signal climaxes, initiate changes of direction, and propel the music forwards.
Vortex was composed using the facilities at three locations: the Structured Sounds Synthesis Project attached to the Computer Systems Research group at the University of Toronto, the Finnish Radio Experimental Studio, and the Electroacoustic Music Studio of the University of East Anglia, England.
Vortex was commissioned by Tim Souster with funds from the Arts Council of Great Britain, and first performed on the Arts Council Contemporary Music Network tour undertaken by Electronic Music Now in 1983. In the same year it won joint first prize in the analogue section of the Bourges Electroacoustic Awards and was also awarded the Special Prize of the International Confederation of Electroacoustic Music.
[source: reseauxconcerts.com]
Commissioned by Electronic Music Now for an Arts Council Contemporary Music Network tour, with funds provided by the Arts Council of Great Britain. First performance: Rounhouse, London (England, UK). The work was awared first prize in the Bourges Electroacoustic Awards.
piste@manu_1433-1.4
oeuvre@10332