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1. Stephan Dunkelman: Dreamlike Shudder in an Airstream Part 1: for a crumpled woman (2000) 13m50s mr_2000-1.1 | 13888 |Premiere: March 2000, (Brussels, Belgium) How can natural energy transmit a dynamic going from the unreal towards the real… or vice versa? What are the tangent points which make it possible to create optimal circulation between the two? These are a few of the questions raised by this piece. [English translation: Tom Carter] [Public Prize ex æquo Métamorphoses 2000] 2. Suk-Jun Kim: Midong (1999) 9m58s mr_2000-1.2 | 15770 |A study about movement and gesture. Their interior/exterior relationship built around the easily discernible sound objects. “Mi-dong” (korean) can be translated as a word “Flickering” or “the state of a being whose movement is so small that you cannot tell.” Realized in composer’s private studio. Technical notes: Sounds manipulated with the use of various programs such as SoundHack, Lemur pro, MarcoHack, MacPod, SoundEffect… and K2000. Edited and mixed in Peak LE, Digital Performer. [Public Prize ex æquo Métamorphoses 2000] 3. Jorge L Sad: Aspavientos 7m38s mr_2000-1.3 | 15771 |Imaginary recording of a John Dowland song. I conceived this composition as a piece for voice and percussion “in real time” which was recorded in an imaginary world with physical laws different from ours, or in a dream where things are organized in an impossible yet logical fashion. In this piece, I try to create the sensation that it has been played somewhere and that one is hearing a recording and not an electroacoustic work. Nevertheless, this “poietic” aspect may remain hidden from the listener or may not be evident to him/her. 4. Aliocha Van der Avoort: Tropisme 7m33s mr_2000-1.4 | 15772 |From the Greek “tropos.” The growth of a plant in a particular direction under the influence of an external stimulus (light, matter, gravity, etc.) Botany is the most quoted model in composition. The energy ratio undergone by a plant during its birth, growth and life can be compared to the acoustic beings which we attempt to give birth to, make live and die. In this piece, this being, this hatched sound body grows in the strata of the earth, spreads its roots and, in an ultimate effort, is born into the sudden void of the immense space of the surface. There, it coexists with the infinitely small, travels through the life rhythms of the insect world. But this premiss of existence is very quickly destroyed by the elements. [First Prize ex æquo Métamorphoses 2000] 5. Ingrid Drese: Papillon, Abîme, Nuit (1999) 12m06s mr_2000-1.5 | 15773 |
6. Åke Parmerud: Les flûtes en feu (1999) 10m22s mr_2000-1.6 | 13934 |Premiere: June 14, 2000, Festival Synthèse (Bourges, France) Les flûtes en feu (Flutes on Fire) is based on the concept of the composer as an alchemist. With the use of computers and modern studio facilities, the composer of acousmatic music or sonic art, is able to treat the acoustic material as if it was a substance with a constantly redefinable morphology. In the piece the basic sonic ‘substance’ is some simple sounds of flutes. They are transformed and recomposed in various ways as to give a glimpse of their virtual potential. As the piece evolves, the relatively simple structures reveals new and sometimes surprising sides of their original gestures. There is also another element reccuring throughout the composition. A short metallic sound, reminiscent of the sledge hitting the anvil, signals the presence of a force that is about to change the shape of things. Finally, in the end of the piece, the sound of fire, representing the catalyzing process of the four elements present as the basis of all alchemy, breifly enters the sonic stage to confirm the process that has been taking place. As in many other instances where the ambitions of art touches upon the old idea of metamorphosis, working with this piece definitely made me realize that “all that glitters ain’t gold.” However, as usual when working closely with some sound material, my relation to the flute as a source of sound and as an instrument in general got a lot deeper, witch in itself is a golden experience. Les flûtes en feu was comissioned by GMEB, and was finalized in the studio Charybde at GMEB in september 1999. The piece had its world premiere in Bourges the summer of 2000. —ÅP [00] [First Prize ex æquo Métamorphoses 2000] 7. Bernat Vivancos: Images 11m35s mr_2000-1.7 | 15775 |This piece is my first electroacoustic work. After a year of experimentation and discovery of the equipment and computer software at the Conservatoire de Paris, I did several recordings of the cymbalum, the piano and various percussion instruments and processed these sounds using several plugins. My work is about contrasts, about the “images” I wanted to reflect, sometimes quite brusquely, sometimes closely or distantly and gently, but always with great force and inner power. [First Prize “Students”] electrocd.com [va]: Métamorphoses 2000: track detail |
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