Various artists

Cache 2003 CA+UK

PEP 008
2004

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Radio // Cache 2003 CA+UK
Cache 2003 CA+UK
Check-point (2003), 14m12s [excerpt]
Track 1 from Cache 2003 CA+UK
2xCD: CEC-PeP (2004) PEP 008
    • 1
      Check-point (excerpt) (2003), 8m00s

      Check-point is first-and-foremost a metaphor for night… A statement between reality and fiction. It depicts possible locations, convincing landscapes. A piece based on the dialectic of time and space, Check-point is specifically a discourse of form and structure. A series of crystallized moments leading to the final destination… A point you cannot go beyond.

      piste@pep_008-1.1 oeuvre@18394
    • 2
      Douce tempête du matin (2003), 7m59s
      • Commission: Codes d’accès

      [English translation not available]

      Cette pièce se veut une ode à la paix en ces temps où la folie et l’illusion prennent souvent le dessus sur le respect et la bienséance. Elle est composé de matériaux à évolution très lente provenant de synthèses ou de bruits de souffle. C’est une pièce d’ambiance qui veut laisser le temps à l’auditeur de voyager dans son propre imaginaire.

      piste@pep_008-1.2 oeuvre@17257
    • 3

      Ever since my initial contact with acousmatic music, I was wary: music should not stem from an illimitable palette of audio processing applied to sound, but rather from the arrangement and the construction of sound in time. In Tous les parapluies sont à Madagascar (my first acousmatic composition), most of the sounds come from instrumental sources and were treated with minimal transformations.

      [i-07]

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    • 4
      The Voice of Angels (2003), 8m00s
      piste@pep_008-1.4 oeuvre@17259
    • 5
      New Uluru Rain (2001), 7m59s
      piste@pep_008-1.5 oeuvre@17260
    • 6
      Échidna (2003), 7m49s
      piste@pep_008-1.6 oeuvre@17261
    • 7

      À Katy Dupont

      Réalisée la 3e semaine de l’an deux mille trois dans le Lilla Studion de la Musikhogskolan vid Göteborg Universitet.

      piste@pep_008-1.7 oeuvre@17262
    • 8
      Little Red Wagon (2003), 7m58s

      [English translation not available]

      Cette pièce se concentre sur le développement de gestes et d’objets dans une progression relativement lente. Elle comprend trois sections, procédant par gradation. Le fil conducteur entre ces trois sections est un son en boucle accéléré progressivement, inaudible la plupart du temps et souvent méconnaissable. Ce son en boucle est l’épine dorsale de Little Red Wagon, à partir duquel découlent tous les autres éléments. Alors que la pièce progresse, l’«épine dorsale» devient de plus en plus importante et davantage perceptible. L’accélération continue aide également à en élaborer le point culminant.

       

      piste@pep_008-1.8 oeuvre@17263
    • 9
      Tashikara (2003), 7m49s
      piste@pep_008-1.9 oeuvre@17264
    • 10
      fuzzy edge (2003), 5m27s
      piste@pep_008-1.10 oeuvre@17256
    • 1
      F5v.6 (2003), 5m20s
      piste@pep_008-2.1 oeuvre@17266
    • 2
      piste@pep_008-2.2 oeuvre@17268
    • 3
      Lucidity (2002), 7m59s
      piste@pep_008-2.3 oeuvre@17269
    • 4
      Tanzhaus (2003), 7m00s
      piste@pep_008-2.4 oeuvre@17270
    • 5
      La Pecora Perduta (2003), 5m50s
      piste@pep_008-2.5 oeuvre@17271
    • 6
      Breakwater (2000), 7m56s
      piste@pep_008-2.6 oeuvre@17272
    • 7
      • Commission: Amici della Musica di Cagliari
      • Premiere: June 1, 2002, Intorno a Beethoven (Cagliari, Sardinia, Italy)

      Arioso Dolente / Beethoven Op. 110 is based on Beethoven’s Piano Sonata No. 31 in A-flat major, Op. 110, and more specifically on the third movement, which provided all the sonic material for the composition. The arioso dolente, which carries out the main melodic themes, is the epicentre of the third movement. Although I have largely maintained the harmonic structure and even the melodic profiles of the movement, the electroacoustic piece remains a comment on the original piano sonata rather than an analytical approach to Beethoven’s music. I was more interested in the spiritual aspects of the sonata. Beethoven had just rebounded from a period of illness. His recovery sparked his creative forces resulting in the genesis of Op. 110. Both the joy and the melancholy of life are merged in this movement as an omnipresent duality. While composing my musical comment on Beethoven’s adagio I tried to enhance this duality by means of spectral transparency and luminosity which often contrast and converse with textural obscurity and opacity. The main melodic theme of the original arioso dolente appears in the middle of the piece, remote, magnified and utterly stretched in time.

      [ii-08]

      Arioso Dolente / Beethoven Op. 110 was realized in 2002 at the studio of City University in London (England, UK) and the composer’s studio, and premiered on June 1, 2002, during the festival Intorno a Beethoven in Cagliari (Sardinia). The piece was commissioned by Amici della Musica di Cagliari (Sardinia). Thanks to Maria Metaxaki for the piano recordings, and to Lucio Garau for initiating the commission. Arioso Dolente / Beethoven Op. 110 was awarded the 1st Prize (UK Section) at the 2003 transatlantic competition Jeu de temps/Times Play and has been recorded on the compact disc Cache 2003 CA+UK (PEP 008, 2004).

      piste@pep_008-2.7 oeuvre@17273
    • 8
      Emergence (2002), 5m18s
      piste@pep_008-2.8 oeuvre@17274
    • 9
      Äwhä (2002), 5m30s
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    • 10
      piste@pep_008-2.10 oeuvre@17267