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piste@span_199003658-1
(Embers Night) Free adaptation of the facinating images of the underworlds of Voyage au centre de la terre (A Journey to the Center of the Earth) (1864) by Jules Verne (1828-1905).
Nuit cendre was realized in the composer’s studio in Montréal in 1995 and premiered on February 27, 1996 during the L’orchestre de haut-parleurs concert coproduced by Codes d’accès and Réseaux at Agora de la danse in Montréal. This piece was co-commissionned by Codes d’accès (Montréal) and Musiques & Recherches (Ohain, Belgium) with support from the Canada Council for the Arts. Nuit cendre was awarded the Prize of the Stockholm Electronics Arts Award (Stockholm, Sweden, 1997), the First Pirze and the Public Prize at the 2nd Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’97, Brazil). This work was further presented at the World Music Days 1998 in Manchester (United Kingdom) and at the ICMC ’99 (International Computer Music Conference) in Beijing (China). Nuit cendre was recorded on the compact disc Musica Maximalista 4: II CIMESP 1997 in 1997.
piste@span_199003658-1.1
oeuvre@13821
“From the title, I’m prompted to think of both Claude Debussy and Ken Russell: Debussy’s various sets of Images for piano (and yet another for orchestra), Ken Russell’s film Altered States.
Rather than Reflets dans l’eau (Reflections in water), the composer reflects, among others, on spinning bicycle spokes (Mouvement?) — a banal sound of childhood play and ecological transport refracted, reflected and re-imagined: re-imaged.
The composer as conjurer — Russell’s modern man in a darkened room seeking a sacred, primal experience. Here, it is music… and the composer is in the role of shaman-magician.
Am I hallucinating? Am I hearing? Am I dreaming? I am listening… ” — Joseph Anderson
Altered Images was realized in summer 1995 in the Electroacoustic Music Studios of the University of Birmingham (UK) and the studios of Northern College (Aberdeen, Scotland) and premiered on January 23, 1996 at Concordia University (Montréal). It was awarded the 2nd prize at the 2nd Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’97, Brazil). This version was mastered by Dominique Bassal in 2005 in Montréal.
piste@span_199003658-1.2
oeuvre@18753
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.
piste@span_199003658-1.4
oeuvre@17113
piste@span_199003658-1.5
oeuvre@27404
[English translation not available]
Pour deux ou quatre pistes a été commandée par l’Akademie der Künste de Berlin. Unàcrès est la dernière partie d’une trilogie composée de Pyrocua (1994) et Cral’une (1995).
«Dans le paysage de glace, l’homme aux semelles de vent / hurlait les voix parcourues. / Avec les grains du désert, il sculptait les visages traversés / afin qu’ils ne sombrent pas dans l’oubli. / Mais le vent effaçait ce que du bout des doigts il touchait… / Silencieux il répète l’absurdité de son acte. / Dans ces contrées aujourd’hui, il y a l’océan.» — Toula Limnaios
piste@span_199003658-1.6
oeuvre@20504