[va]: Présence III (2xCD): track detail

electroradio

Présence III

[va]

Présence III

CEC-PeP | PEP 005 | 2002

2xCD 20.00 CA$ [?]

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Disc 1 pep_005-1 |

1. Machine Symphony (2000) 3m03s pep_005-1.1 | 17170

Composer: Kristi Allik

Machine Symphony is a celebration of machines. All sounds are derived from recordings of steam engines and other assorted machinery. The sounds were processed to create drones and rhythmic ostinatos. These elements in turn are arranged similar to an “orchestra” of different instruments, resulting in a “symphony” of sounds.

2. double exposure (2001) 9m00s pep_005-1.2 | 17177

Composer: James Bentley

double exposure forms part of a series of works entitled bruit (noise). It was composed in the Electroacoustic Music Studios of the University of Birmingham (UK), and the composer’s home studio. The first performance was given at the festival L’espace du son 2001 as part of an electroacoustic concert interpreted by the composer.

3. In a Cold Light (2001) 2m59s pep_005-1.3 | 17178

Listen

Composer: David Berezan

A short sequence of vistas taken from Close in Distant Cold Light — an eight-channel ‘acousmatic documentary’ that explores the perceptions and imaginings of northern regions of Canada as told by persons geographically or culturally distant from ‘north.’ The material explores themes including frozen states, rapid change, the aurora borealis, and expanse.

4. Mechanism II (1997) 6m00s pep_005-1.4 | 17179

Composer: James Caldwell

The title refers to something in which all the pieces fit together and work, maybe something metallic and shiny, with ratios and moving forces — an abstract construction that creates an expressive structure. Time spans are articulated by slowly changing timbres that swirl and move through space, punctuated by metallic plucking sounds.

5. Octet with Puzzle (2001) 2m53s pep_005-1.5 | 17180

Composer: Grant Chu Covell

Octet with Puzzle creates a brief moment of incomprehension in which something is incompletely described. Here is a puzzle that cannot be solved because the accompanying diagram is omitted. The octet consists of eight layers traversing the same 44 computer-generated pitches but with different durations and timbres.

6. “I was very safe… in my dream” (1998) 3m00s pep_005-1.6 | 17181

Composer: Ian Chuprun

This radiophonic electro-clip about recording and remembering was part of the much longer collaborative project Ways of Hearing (cec.concordia.ca/Radio/Long/Prior.html) produced by David Prior and Dugal McKinnon. This clip was realized with the support of Violet and Clarence Belbin, Ida and Stanley Belbin, and Mary and Terry Chuprun.

7. WaveBreak (1994) 4m42s pep_005-1.7 | 17182

Composer: John Duesenberry

The title derives from John Ashbery’s lines: “Like a wave breaking upon a rock, giving up / Its shape in a gesture which expresses that shape.”

This image seems to describe the sound-objects in WaveBreak. Each event evolves continuously toward the next, the outcome uncertain until the event has passed.

8. Estatismo (1989) 8m20s pep_005-1.8 | 17183

Atmospheres of strong density are created in this piece, exploiting the idea of “non-evolutive mobility,” as well as that one of temporal statism. Formally speaking, it is divided in two macrosections. Estatismo was produced in 1989 in the now defunct LME Studios of the National University of Córdoba using a Yamaha DX7 synthesizer.

9. SC (1999-2000) 2m56s pep_005-1.9 | 17184

SC was produced with the objective of making the most out of the marvelous SuperCollider software, whose initials provide the name for the piece. This is my second work produced completely with SuperCollider on a Power Macintosh 8600 / 200 in the LEIM of the National University of Córdoba.

10. Fontaine de Vaucluse (2001) 3m00s pep_005-1.10 | 17171

Composer: Thomas Gerwin

This is an excerpt of the “minimal music concrète” soundtrack for the experimental documentary film by Wolfgang Lehmann and Florian Krautkraemer (full duration 62 minutes). All sound material is originally recorded at this mysterious place in France, where one of the deepest sources on earth comes out of the rock.

11. Balloon (1999) 3m05s pep_005-1.11 | 17172

Composer: Martin Gotfrit

Balloon is about the first realization of loss, the fragility of things and time’s unstoppable movement to tomorrow.

Most of Balloon was created from the sounds of the object itself: rubbed, inflated, deflated, etc. This excerpt is also derived from a surreptitious recording of the composer’s sons at age 3.

12. Raræ Aves (1999) 4m27s pep_005-1.12 | 17173

Composer: Camille Goudeseune

Strange Birds. The sounds are 100% retro double-modulator FM. The dozen-odd FM parameters are controlled by 0% retro simplicial interpolation (see my dissertation for details — zx81.isl.uiuc.edu/camilleg/dissertation/), so the birds fly or rather chirp through a space with far less than a dozen dimensions.

13. Mon Dieu (1998) 8m36s pep_005-1.13 | 17174

Composer: David Hirst

Mon Dieu is one movement from a suite called C’est la vie. In this work I wanted to explore religion and spirituality through a pseudo-Jungian analysis of my past. Being Australian creates strange connections between religion and sport! Acknowledgement: The piece uses Jean Piché’s Cecilia FOF vocal synthesis instrument and Cybil score generation programs.

14. X-Ray Spex (2001) 2m59s pep_005-1.14 | 17175

Composer: Matthew Kober

X-Ray Spex is a tongue-in-cheek, radiophonic glance at communication theory, technology and human perception. Thanks to Heather Bean, Pete McCrackin and Mike Liam “Po-ki” Doran, wherever you are.

15. When light first shone (2001) 5m14s pep_005-1.15 | 17176

Composer: Tony Ka Tung Leung

Based on the passage “Let there be light” (Genesis 1:3), samples of thunder, string harmonics, pizzicati, crystal glasses, wind chimes, bowed crotales and vibraphone, are orchestrated to depict the interplay of light colors, reflections, and intensities. Premiered during the 31st Festival Synthèse Bourges 2001.

Disc 2 pep_005-2 |

1. Mirror of Time (1999) 4m05s pep_005-2.1 | 17186

Composer: Tung-Lung Lin

Mirror of Time has two parts. The second part rhythmically is the retrograde of the first. All voices are playing a steady rhythm throughout the piece, based on prime numbers.

2. penny: a process (1998) 3m14s pep_005-2.2 | 17192

Composer: sylvi macCormac

A Choir of Voices? A Flocking of Birds? An Immense Gong? Nô? This piece was created with signal processing transformation of the source sounds of a penny whistle and voice of Philip Murphy speaking words from Composition (words on my website).

3. Alarm Calls (1998) 1m31s pep_005-2.3 | 17193

Composer: Sophia Male

Alarm Calls is Sophia’s first electroacoustic piece and represents the ‘canary in the coal mine.’ A simple piece, it asks humans to watch where they step and heed environmental warnings, slow down, and realize all of nature is connected.

4. On the Outer Edge (2001) 5m04s pep_005-2.4 | 17194

Composer: Michael Matthews

The title is from a poem by Fernando Pessoa. “Bright bugle of morning on the outer edge / Of the horizon’s cold half circle, / Tenuous distant bugle like hazy flags / Unfurled beyond where colors are visible…” The work was created in my home studio in Winnipeg.

5. The Llama Strut (2000) 3m15s pep_005-2.5 | 17195

Composer: David R Mooney

Section 14 of the 24 part work Rhythmiconic Sections inspired by Theremin’s rhythmicon. A keyboard sounded any combination of the first sixteen tones of the harmonic series. For each beat of the fundamental the second harmonic beat twice, the third three times, etc., linking rhythm and harmonics. Realized with Kyma.

6. Becalmed 1 (2001) 4m01s pep_005-2.6 | 17196

Composer: Adrian Moore

After many years of working with the harsh, brash, indulgent sounds of rhythms, textures and extreme gestures, this small etude is a gentle reflection upon a few natural sounds convolved with a few imaginative processes.

7. This is Not a Model (2001) 7m32s pep_005-2.7 | 17197

Composer: Rick Nance

Various shapes and masses of different metals were recorded as they radiated summer heat into a block of frozen carbon dioxide. Studio transformations of the sound objects began at the Sheffield University Sound Studios with “Synopsis.” The original samples were made by Shea Goodwin, Scott Looney and myself.

8. Irrashaimase (2000) 8m17s pep_005-2.8 | 17198

Composer: Steven Naylor

Irrashaimase is an interior monologue or meditation on sounds of urban Japan: robotic, chaotic, yet elegant and musical. Its construction parallels the way our imaginations reshape and elaborate memories. Irrashaimase was completed in the studios of the University of Birmingham (UK), with support from the Nova Scotia Arts Council.

9. Submarine (2000-01) 9m05s pep_005-2.9 | 17199

Composer: Dale Perkins

Submarine is an investigation into human emotion and is motivated by the Kursk submarine disaster. It explores the dichotomy produced through media presentation and my own introspective view of the intense suffering that must have occurred. Submarine is not about national politics, only people. Full program notes available by email.

10. les ponts de l’espace I (2001) 7m14s pep_005-2.10 | 17187

• line I • triangle • point I • circle • point II • line II

Composer: Laurie Radford

Commission: Edmonton Symphony Orchestra

Premiere: February 7, 2001, rESOund Festival of Contemporary Music (Edmonton, Alberta, Canada)

Les ponts de l’espace I is a study in spatial trajectory in six short movements. A recording of an urban street frames each movement while a modified fragment of spoken text serves as a “bridge.” Transformed sounds from an invented percussion instrument complete the palette of sonic materials employed.

les ponts de l’espace I was realized in 2001 in the composer’s studio and was premiered on February 7, 2001 during the rESOund Festival of Contemporary Music at the Winspear Centre in Edmonton (Canada). The piece was commissioned by the Edmonton Symphony Orchestra.

10a. line I 1m07s pep_005-2.10.10a | 21419

Listen (excerpt)

Composer: Laurie Radford

10b. triangle 1m02s pep_005-2.10.10b | 21420

Listen (excerpt)

Composer: Laurie Radford

10c. point I 1m05s pep_005-2.10.10c | 21421

Composer: Laurie Radford

10d. circle 1m23s pep_005-2.10.10d | 21422

Composer: Laurie Radford

10e. point II 1m07s pep_005-2.10.10e | 21423

Composer: Laurie Radford

10f. line II 1m30s pep_005-2.10.10f | 21424

Composer: Laurie Radford

11. blue balloons (2001) 3m20s pep_005-2.11 | 17188

Composer: Ewan Stefani

Balloons are playful. Sometimes they cry out until they explode. When they are blue and broken they go to the divine garage. Thanks to Coryn, Susan and Lucy for advice and inspiration. Composed between November 1999 and March 2001 in West Yorkshire (UK).

12. Soleil qui inonde mes mains (2000) 4m20s pep_005-2.12 | 17189

Composer: Pascale Trudel

Memory of the body / sunlight which drenches my hands / melancholy / the attentive ear / my eyes / wary of the sleeping water / my feet on the warpath…

In memory of Rita Lebrun Trudel. With thanks to Nicolas Trudel (double bass).

13. Still Life with Castanets (2001) 3m04s pep_005-2.13 | 17190

Composer: Rodney Waschka II

Still Life with Castanets was composed using a single short recording, made by the composer, of the sounds of castanets. The piece was created at the North Carolina State University Computer Music Studio (USA).

14. Massif (1995) 9m44s pep_005-2.14 | 17191

double bass, and tape

Composers: Richard Zvonar, Robert Black

Massif, for double bass soloist and a multichannel orchestra of recorded basses, was created collaboratively by Richard Zvonar and Robert Black during a Media Arts recording residency at The Banff Centre for the Arts in 1993. It was premiered at Banff in 1995, at the International Computer Music Conference (ICMC).

[va]: Présence III (2xCD): track detail

Prices are in Canadian dollars — 1.00 CA$ ~ 0.87 US$ ~ 0.62 € ~ 0.53 £ ~ 82.59 ¥ ~ 1.8 AU$ ~ 4.60 DKK ~ 5.61 NOK ~ 6.79 SEK — and include handling, shipping and applicable taxes.


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