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Présence II

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Présence II

CEC-PeP | PEP 002 | 2000

2xCD 20.00 CA$ [?]

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1. Jorge Antunes: La beauté indiscrète d’une note violette (1995) 2m00s pep_002-1.1 | 17106 |

Composer: Jorge Antunes

The short work is characterized by the timbral transformations and development of the note E. Octaves of this note, conforming to the Chromophonique theory of Jorge Antunes, correspond to the color violet.

This piece was composed at the Studio Charybde of the INEM, Bourges, France, in May, 1995.

2. Alastair Bannerman: In th’air or th’earth (1997, 98-99) 10m52s pep_002-1.2 | 17112 |

Composer: Alastair Bannerman

The title of this work, and the spoken and sung text derive from Shakespeare’s play The Tempest.

In th’air or th’earth was realised in the Electroacoustic Studios of the University of Birmingham, UK, between 1996 and 1997. I would like to acknowledge the assistance of Lys Appleby and Selina Ross, who provided the vocal material.

3. Peter Batchelor: Velocity (1996) 9m57s pep_002-1.3 | 17113 |

Composer: Peter Batchelor

This piece involves an exploration of ways in which speed (or, conversely, stagnancy) might be implied entirely through the use of sound, both ‘real’ and ‘unreal’, and placed within a context that allows it free reign as a musical device.

Cinematic elements suggesting movement have been combined with gestures and textures of varying energy and complexity - the electroacoustic medium permiting fluid interaction between the two.

4. Steve Bradley: “volalle melodie vi to trot” / “fowl melody to trot” (1999) 3m30s pep_002-1.4 | 17114 |

Composer: Steve Bradley

“volalle melodie vi to trot” or “fowl melody to trot” addresses the challenge of learning French growing up in a mediated psychic society.

5. Chin-Chin Chen: Points of No Return (1997) 7m29s pep_002-1.5 | 17115 |

Composer: Chin-Chin Chen

Points of No Return shifts between two different environments or landscapes. To achieve this, sounds were divided into two categories according to their nature and timbre; but as the piece evolves, some sounds from one environment also occur in the other. Points of No Return employs music concrète techniques, and digital editing and processing.

6. jef chippewa: DUO (1997-98) 2m42s pep_002-1.6 | 17116 |

Composer: jef chippewa

the compositional and perceptual experience of DUO offers the potential for comprehension of musical interactions and appreciation of the correspondence of timbre and articulation types between two radically different worlds of sound production (that of the [alto] saxophone and of the analog synthesizer), instead of a lethargic experience of linear continuity, and establishment of familiarity on a superficial level.

thanks to Yves Charuest for his openness and flexibility as a performer and as a musician.

7. Ian Chuprun: To many moments passed (1998) 7m11s pep_002-1.7 | 17117 |

Composer: Ian Chuprun

A young boy sings… a train departs… fleeting fleeting rushing past.

This piece is the first in a suite of three pieces, entitled Under the Playground, composed at the University of Birmingham, UK, in 1998. To many moments passed is both celebration and lament. (Please see http://www.chuprun.net/utp.html for more information.)

8. Ian Chuprun: Reading Allowed (PA 11) (1998) 1m51s pep_002-1.8 | 17118 |

Composer: Ian Chuprun

This short work was composed specifically for the Birmingham ElectroAcoustic Sound Theatre (BEAST) website, and plays ironically on the relationships of the text-heavy web to sound, the ‘youthfulness’ of the web, and the parallels between web art and early computer music developments. Since the web is very reading intensive, and since sound software for the web works very well with spoken word, this piece employs three spoken self-reflexive phrases:— “How do you want this read?” — “Am I supposed to read this like a child?” — “Let’s try this out here.”

9. Gordon Fitzell: Zipper Music II (1998) 7m21s pep_002-1.9 | 17119 |

Composer: Gordon Fitzell

The title is not a metaphor but rather a literal description. Zipper Music II is a collage of digitally manipulated zipper sounds. Bizarre though it may be, the inherent sonic properties of a zipping sound are surprisingly rich. This piece is an attempt to exploit these properties.

10. Martín Alejandro Fumarola: ARGOS (1988) 3m07s pep_002-1.10 | 17107 |

ARGOS is my first electroacoustic piece. It was produced in 1988 in the now defunct LME (Laboratory of Electroacoustic Music) of the National University of Córdoba using a Yamaha DX7 synthesizer and a Revox A77 reel-to-reel tape recorder, with no computer use.

11. Martín Alejandro Fumarola: SET IN (1994) 4m20s pep_002-1.11 | 17108 |

SET IN was produced in 1994 in the now defunct LME (Laboratory of Electroacoustic Music) of the National University of Córdoba using a Yamaha TG7 tone generator and a Voyetra Plus Gold sequencer for MS-DOS.

12. Thomas Gerwin: 6 Aphorisms (1998) 2m14s pep_002-1.12 | 17109 |

Composer: Thomas Gerwin

Six short ‘character pieces’ from my interactive sound installation, Acoustic World Atlas, which has been located since 1997 in the ZKM’s Media Museum (Karlsruhe, Germany). All the pieces use solely original sounds from the named locations, composed and processed at inter art project — Studio for Media Art and ElectroAcoustic Music.

Sound recordings from Bordighera and Menton: Hanno Gerwin.

13. Yves Gigon: Éphémère (1997) 2m21s pep_002-1.13 | 17110 |

Composer: Yves Gigon

This piece has slowly matured only to live a fleeting moment just like the existence of a mayfly to which it refers. It was created almost exclusively using recordings from the Primordium, a large sound sculpture in one of the electroacoustic studios at Concordia University (Montréal).

14. Barbara Golden: Whipping the Boys (1981, 99) 8m00s pep_002-1.14 | 17111 |

Composer: Barbara Golden

Whipping the Boys is actually pretty tame (all the parties kept their clothes on), but a good time was had by all. The ancient Moog from the Mills College Center for Contemporary Music still kicks butt.

Special thanks to: the other whipper, Wendy Reid; whippees Willie Winant and Sam Ashley; the laugher, Kosta Markakos; Les Stuck.

1. Martin Gotfrit: A Palaver with Procrustes (1998) 3m02s pep_002-2.1 | 17121 |

Composer: Martin Gotfrit

Noise and sawtooth waves, resonant filters, all tuned to the Fibonacci series with 1.618 Hz as a base frequency. For Martin Bartlett, who warned me about the Inn.

2. Otto Joachim: Three Electronic Sketches (1984) 12m36s pep_002-2.2 | 17132 |

Composer: Otto Joachim

Three Electronic Sketches (from 7 Electronic Sketches, April 1984) originally 4 channels. Equipment utilized: EMS — VCS3 II, DK1, Filter Bank, Pitch to Voltage Converter and Random Generator. Private studio.

5. Suk-Jun Kim: sudden cry (1998) 3m20s pep_002-2.5 | 17137 |

Composer: Suk-Jun Kim

This is an excerpt from an 11-minute piece, sudden cry, which has a total of 4 parts. The third and fourth parts are found here, deathbeat and scream, respectively. All sounds were made with a Kurzweil K2000 synthesizer and a MIDI sequencer.

6. sylvi macCormac: Spirit Wheels: Journey (part 1 of a puppet opera) (1997) 3m07s pep_002-2.6 | 17138 |

Composer: sylvi macCormac

Spirit Wheels: Journey with the voices of people with (dis)abilities. Words & voices: Geoff McMurchy (& metal sculpture), Anastasia Rudkievich Briggs, Jayne Dinsmore, Daniel Hunt, Philip Murphy (& penny whistle traditional The Hag with the Money). Words, recordings & composing: sylvi macCormac.

7. Kevin MacLeod: pacific (1998) 2m16s pep_002-2.7 | 17139 |

Composer: Kevin MacLeod

pacific is my first study in analog subtractive synthesis and envelope following, mixed with musique concrète editing techniques.

8. Diana McIntosh: Climb to Camp One (1989) 6m49s pep_002-2.8 | 17140 |

Composer: Diana McIntosh

Climb to Camp One, from McIntosh’s music/theater work, Solitary Climb, portrays a mountain climb which begins on a vast, silent glacier, crosses a precarious snow bridge, and scales an avalanche-ridden couloir to Camp One. The work is performed entirely on the interior of an amplified piano, using climbing gear such as karabiners, rope, leather gloves and a helmet.

9. Dugal McKinnon: Horizont im Ohr (1998) 3m01s pep_002-2.9 | 17141 |

Composer: Dugal McKinnon

Literally, ‘Horizon in the Ear.’ Polymorph. Suggesting minutia and mass; schizophonia through dislocation, juxtaposition, transformation; the listener as territorialiser and territorialised; especially, the sensual physicality of the acousmatic.

Horizont im Ohr was produced at the Electroacoustic Music Studios of the University of Birmingham (UK).

10. Adrian Moore: Soundbodies: Bodypart (1998) 2m08s pep_002-2.10 | 17122 |

Composer: Adrian Moore

Soundbodies: Bodypart represents Soundbodies, a 55-minute work for two singer-dancers, video, and electronic sound. This piece has hot, subversive voices and rhythms, and needs to be played at high volume. The complete collaborative work is available on VHS.

11. David Prior: Somewhere Submarine (5th Movement) (1996) 2m57s pep_002-2.11 | 17123 |

Composer: David Prior

This is the last of a suite of five little pieces for piano and tape first performed by Kristine Scholz at the Stockholm Electronic Music festival in September 1996. (For full program notes and info: http://web.bham.ac.uk/djp552/sub.htm)

12. Jean Routhier: Stereotyped Latter-Day Opinion (1999) 1m00s pep_002-2.12 | 17124 |

Composer: Jean Routhier

No urge, but a bit of density in this short whimsical piece where different musical genres collide. At work or at play it makes for a good break in the day. It doesn’t get any better! Repeated listening highly suggested. Kudos to SOC.

13. Antti Saario: B-Side (1998) 3m10s pep_002-2.13 | 17125 |

Composer: Antti Saario

With B-Side, I found myself caught between zero and one.

14. Dave Solursh: We (1998) 3m15s pep_002-2.14 | 17126 |

Composer: Dave Solursh

We is made up of mainly water-related sounds, recorded at Malign Lake in Jasper, Alberta. It is titled We for many reasons, one is that we as humans are made up mostly of water. Water is also a very powerful ‘sonic’ image that we can all relate to.

15. Jørgen Teller: H a e i o u y æ ø å pt. 2 (1997) 4m01s pep_002-2.15 | 17127 |

Composer: Jørgen Teller

Premiere: 1997, City Hall Square (Copenhagen, Denmark)

Laughter processed in Curve Controle / Mac and WaveBoy / Ensonic. Originally produced in 3 versions: a 30-minute sound piece and a 2-hour installation, both commissioned by Lyd / Galleri with 25 speakers in the ground of the City Hall Square in Copenhagen, and finally as short radio piece for Lydmuren / P1 Danish Radio.

16. Benjamin Thigpen: step, under (1998) 3m06s pep_002-2.16 | 17128 |

Composer: Benjamin Thigpen

Commission: Ina-GRM

À Nikki Halpern

[English translation not available]

À Nikki Halpern, qui a écrit — voici un instant hors temps: Soleils-filaments / en surplomb du noir-gris désert. / Une pensée / à hauteur d’arbre / saisit le ton de lumière: il y a / encore à chanter au-delà / des hommes. —Paul Celan

step, under was composed at the Groupe de recherches musicales (GRM, Paris) using the MARS (Musical Audio Research Station) workstation, and spatialized in eight channels via my program Octopode. Commissioned by the Ina-GRM, 1998.

17. Todor Todoroff: Voices Part I (1997) 5m12s pep_002-2.17 | 17129 |

stereophonic version

Composer: Todor Todoroff

Working with a MARS (Musical Audio Research Station) on voices and on percussive sounds, some resonating rhythmical textures, as well as melodic profiles, emerged from real-time manipulations of various feedback topologies. Voices Part I explores the delicate poetry of those sound materials, with the addition of some granulation sounds, and plays with the contrast between strong rhythmical elements and stationary sound structures, almost suspended in time.

Voice: Birgitte Odgaard Nielsen

18. Pascale Trudel: Ce n’est pas ici (1999) 2m01s pep_002-2.18 | 17130 |

Composer: Pascale Trudel

I / remember / pieces of time / that / compose / a / life.

19. Hans Tutschku: extrémités lointaines (1998) 2m54s pep_002-2.19 | 14519 |

Composer: Hans Tutschku

Commission: French State (Music Office), Ina-GRM

Premiere: February 23, 1998, (Paris, France)

To Francis Dhomont

extrémités lointaines uses recordings I made during a four-week concert tour in Asia in the summer of 1997. I recorded city sounds, the music of churches and temples, and the songs of children in Singapore, Indonesia, the Philippines and Thailand. These unexpectedly rich sound worlds, quite different from ours, remain inscrutable even if they open doors for us.

For many years, I have been integrating vocal and instrumental sounds into my electroacoustic compositions with the esthetic concern to maintain the cultural context of the source. Even though in extrémités lointaines I use a wide variety of sounds resulting from travels through four countries, these connections remain very strong. The piece is structured in 15 sections describing different locations. The intensity of the impressions I experienced during the trip has resulted in a dense compositional structure.

[xii-99]

extrémités lointaines was realized in 1998 in the studios of Ina-GRM (Paris) and first performed in the original 8-channel version on 23 February 1998 during the Cycle acousmatique Son-Mu of GRM. The present stereo version was realized the same year also at Ina-GRM. The piece was commissioned by the French State (Music Office) and the Ina-GRM (Paris). extrémités lointaines was a Finalist in the Bourges International Electroacoustic Music Competition (France, 1998) and obtained a Distinction during the Prix Ars Electronica (Linz, Austria, 1998).

Francis Dhomont gewidmet

extrémités lointaines verarbeitet Aufnahmen, die auf einer vierwöchigen, vom Goethe-Institut organisierten Konzertreise durch Asien im Sommer 1997 entstanden. In Singapur, Indonesien, Philippinen und Thailand nahm ich sowohl die Klänge der Großstädte, als auch die Musik der Kirchen und Tempel, Straßenmusik und Kindergesang auf. Diese entfernte Klangwelt, die sich mir während des Aufenthaltes in kleinen Episoden erschloß, bleibt dennoch fremd und unerschöpflich.

Seit mehreren Jahre suche ich nach Möglichkeiten der Integration vokaler und instrumentaler Klänge in meine elektroakustischen Kompositionen. Diese Klangquellen sind immer an ihren kulturellen Kontext und ihre originale Klangumgebung gebunden. In extrémités lointaines bleibt diese Bindung besonders stark hör- und erfahrbar, auch wenn ich mich in der Komposition an verschiedene Orte begebe und durch mehrere Länder reise.

Die Komposition gliedert sich in 15 Teile, die unterschiedliche Orte und Atmosphären beschreiben. Die unwahrscheinliche Intensität der Eindrücke, die auf mich einstürmten, „übersetzte“ ich in eine sehr dichte kompositorische Struktur.

[xii-99]

extrémités lointaines wurde 1998 im Studio von Ina-GRM (Paris) realisiert und in seiner 8-kanaligen Originalversion am 23. Februar 1998 innerhalb des „Cycle acousmatique Son-Mu“ vom GRM uraufgeführt. Die vorliegende Stereofassung wurde ebenfalls 1998 im gleichen Studio abgemischt. Die Komposition ist ein Auftrag des Französischen Kulturministeriums und Ina-GRM. extrémités lointaines war Finalist beim Internationalen Wettbewerb für elektroakustische Musik in Bourges (Frankreich, 1998) und erhielt den Avard of Distinction beim Prix Ars Electronica (Linz, Österreich, 1998).

Annette Vande Gorne: Vox Alia (1992-2000) 21m22s pep_002-2.20 | 17133 |

Lamento; Giocoso; Amoroso; Innocentemente; Furioso; Parola Volante

Commission: Ina-GRM

Vox Alia is a suite of short vocal etudes which, via electroacoustic treatment, conserve traces of the melodic, rhythmic and timbral qualities of this marvelous medium, in the service of a particular character or feeling.

[English translation: François Couture, ix-07]

Vox Alia was realized from 1992 to 2000 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) with sound material obtained from the SYTER and MARS systems of Ina-GRM. The first movement Lamento, not reproduced on the disc Exils, was premiered on October 29, 1992 during the "Binary Era: New Interactions" exhibition at Musée d’Ixelles (Brussels, Belgium). Giocoso was premiered on June 20, 1996 at Théâtre de L’L (Brussels, Belgium). Amoroso and Innocentemente were premiered on April 10, 1998 during the Cycle acousmatique produced by Ina-GRM in the Salle Olivier Messiaen of the Maison de Radio France (Paris, France). Furioso was premiered on October 18, 2000 during L’Espace du son festival at Chapelle de Boondael (Brussels. Belgium). The complete work — including Parola volante — was premiered on September 9, 2001 at Centre culturel de Rixensart (Genval, Belgium). The piece was commissioned by the Groupe de recherches musicales (GRM) (Paris). Thanks to François Bayle and Daniel Terrugi.

20. Annette Vande Gorne: Amoroso (1998) 4m54s pep_002-2.20.20 | 18367 |

Amoroso explores an ornamental and contrapuntal compositional style, in the perspective of sound as well as space, using the model of a Gregorian melody.

21. chris wind: to be led (1993) 37s pep_002-2.21 | 17135 |

Composer: chris wind

 

Thanks to Shirley Gould for the text (and yes, of course, that’s Strauss!)

22. Daniel Zimbaldo: Au-delà du miroir (1998) 3m01s pep_002-2.22 | 17136 |

Composer: Daniel Zimbaldo

Au-delà du miroir was composed specially for PRESENCE II.

[va]: Présence II: track detail

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