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etc. > other works > Other works (S)Scateren (2002) 30m34s nil.19886 | 19886 |Composer: David Berezan Written in response to a commission for an electroacoustic score to accompany a new modern dance piece in collaboration with Nottingham-based choreographer Marie Fitzpatrick. I incorporated sound material that I had recently recorded in the Yukon, a far northern territory of Canada, in August 2002. This consisted of recordings of wood, stones and water. I intended to create an impression of constant, though perhaps subtle, tactile manipulation and movement of materials - churning rocks, shifting pebbles, tearing wood, chopping wood and trickling water. I also incorporated layers of pitch - either in the form of constant drones or rapidly fluctuating and unstable pitched material. [viii-05] Sémaphore-Nord (1997) 16m00s nil.10270 | 10270 |Composer: Christian Calon Commission: Réseaux des arts médiatiques Premiere: February 19, 1998, Rien à voir (3), Réseaux, La Chapelle (Montréal, Québec) To Riel (“Nous parlons, Sémaphore-Nord is an essay on voice. Voice as signal of a presence, of the existence of beings. Also on the difficulty to emit this signal and as such, to exist. Not so much an essay on voice as the carrier of sense and meaning but on the simple noise of the living, before the conditionning of language. The starting points for the piece come from isolated fragments of crowds recordings, some Inuit voices, some other vocal expressions from world recordings and some vocal experiments related to concrete poetry. The piece is divided in five movements going from the abstract to the more
“figurative”: Sémaphore-Nord is an acousmatic concert piece meant to be performed on an orchestra of loudspeakers. The development of materials for Sémaphore-Nord was done on the MARS and SYTER computer sound processing workstations at Ina-GRM (Paris). The piece was composed between october 1997 and february 1998 in my studio in Berlin. It was a commissioned by the Rien à voir festival in Montreal with financial help from the Canada Council. Serendipities and Synchronicities (2004) 5m55s nil.18889 | 18889 |Composer: Pete Stollery The title refers to the way Delia described her own compositional methods. When I came across this, it immediately struck a resonance with me and the way I work with technology. Studio composition for me is always a mixture of pre-determined plans and accumulation of material “happened-upon” along the way. Like the play, I wanted to create something which derived from Delia’s work in the 1960s. One of the things I remember about Dr Who as a kid was not so much the theme tune, but the visuals which went with it — video feedback, or “howlaround”. Twenty years ago, working with analogue resources, I created a vast amount of material generated from feedback loops (achieved by plugging the outputs of sound processors back into their inputs) and much of the material in this piece comes from those feedback loops. Some of these loops were reminiscent of Delia’s music, particularly layered pieces such as The Delian Mode. Other Delian influences include a reliance on repetition with subtle timbral changes, the use of arpeggiated figures here and there, and a middle section created entirely from the isolated scratches and crackles from one of Delia’s vinyl recordings… and hidden in there somewhere might be Dr Who’s Tardis landing and the sound of his sonic screwdriver. This piece was commissioned by the Reeling & Writhing Theatre Company, Glasgow as part of Standing Wave, a play about the life and music of Delia Derbyshire, who worked at the BBC Radiophonic Workshop in London in the 1960s and 70s. She most famously produced the theme tune for the cult TV series Dr Who, although she never received any credit for this. Seul à la plage (1981) 10m00s nil.19502 | 19502 |Composer: Jean-François Denis Premiere: March 22, 1982, Concert de musique…, Cégep Bois-de-Boulogne (Montréal, Québec) [English translation not available] «La mer a charrié un souffle épais et ardent. Il m'a semblé que le ciel s'ouvrait sur toute son étendue pour laisser pleuvoir du feu…» «… j'ai secoué la sueur et le soleil. J'ai compris que j'avais détruit l'équilibre du jour, le silence exceptionnel d'une plage où j'avais été heureux.» — Albert Camus, L'étranger. Seul à la plage a été réalisée au Studio électroacoustique de la Concordia University en novembre 1981. (La présente version a été remontée en février 1989.) Signe (2008) nil.24126 | 24126 |Composer: Steve Heimbecker Premiere: May 7, 2008, Elektra, Usine C (Montréal, Québec) Signe is an audio art composition created by Steve Heimbecker specifically for his Turbulence Sound Matrix (2008). Signe is created with 3 distinct layers of sound (wind generated sine waves, a 1946 Royal Quiet Deluxe typewriter, a grand piano), all augmented by the flowing wave patterns of the wind. Simple enough in conception, but unbelievably complex in reality, Signe fully engages the sonic potential of the Turbulence Sound Matrix, to create an audio art composition that is in constant motion, morphing itself through time and space at very high resolution — riding the waves of the air and the wind, completely immersing us in the 64 channel speaker array of the TSM, creating a mesmerizing and completely hypnotic fabric of sound that is in short, a completely new listening experience. Max MSP software: Simon Laroche and Étienne Grenier. Smoke and Mirrors (2008) 20m24s nil.23369 | 23369 |Composer: John Young Commission: Smoke and Mirrors was commissioned by Ina-GRM. Premiere: April 12, 2008, Multiphonies, Salle Olivier Messiaen — Maison de Radio France (Paris, France) This work attempts to embody my feelings about the way the natural sound world has a profound role in electroacoustic music. In one sense the forms, patterns and associations of environmental phenomena are a starting point for the way we search for meaning in even the seemingly most abstract sounds. But in another sense intensive periods of listening to and shaping electroacoustic sound often triggers for me a sensation that I hear the sounds I am working with reflected in some kind of phantom form inside the acoustic reality of daily life around me—blurring the distinction between ‘real’ and ‘imaginary’ experience and influencing the way it is played out as part of the creative process. I see the practice of play with sounds, transforming and mixing them in the studio, as a journey toward understanding their musical possibilities and their deeper relationships. That there are ultimately many possible ways to form and develop these relationships explains the quasi-cyclic nature of Smoke and Mirrors with many of the core sound shapes and signs returning in altered contexts. Smoke and Mirrors was realised in the studios of the Music, Technology and Innovation Research Centre, De Montfort university, Leicester. It was created in 16 channels, using ambisonic B-format and expanded stereo field recordings as sound sources. The work was designed for its premiere performance in Radio France’s Salle Olivier Messiaen to be projected from an inner ‘core’ of 5.1 format loudspeakers, with an outer circle of 8 loudspeakers and a further 2 channels of high frequency ‘tweeters’ placed centrally in the space. Snow and Instability (1998) 17m00s nil.10274 | 10274 |percussion, double bass, alto flute, and tape Composer: Natasha Barrett Snow and Instability is the 1st of the Microclimate series. Souffles primitifs (2001) 10m00s nil.10279 | 10279 |bass flute, and tape Composer: Christian Calon Premiere: April 8, 2001, Flûte! un concert…, Réseaux, Studio 12 — Maison de Radio-Canada (Montréal, Québec) [English translation not available] Tout a commencé au cours du travail, par une question de perspective, un peu à l’image de ces sculptures (de Giacometti, par exemple) qui nous révèlent le regard que nous portons sur la réalité, très éloigné aujourd’hui de la vision classique. La flûte est devenue cet instrument dans lequel tout est rendu audible, comme entendu de très près (peut-être même de l’intérieur) et à la fois très lointain (car fondu dans un ensemble respiratoire — mécanique), enseveli, revenant de son propre passé, comme un appel primitif sur les lèvres de l’instrumentiste. Alors peut-être par cet éloignement de la perspective classique non plus tout à fait une musique, mais une série d’actions par lesquelles la flûte parvient grandeur nature à notre perception. Sound Object (2003) 10m00s nil.10280 | 10280 |videomusic Composer: Louis Dufort Premiere: July 13, 2003, Galerie Saw (Ottawa, Ontario, Canada) [English translation not available] Cette œuvre vidéo-musique est la première qui utilise mon outil audio/vidéo granulaire, le «grainKrusher». Présentée dans une galerie d’art cette œuvre se veut à mi-chemin entre les arts visuels et sonores. Cette première tentative donnera lieu à une éventuelle suite où objets a priori inanimés subissent, par voie de secousse granulaire, des mouvements créant ainsi leur propre trame sonore. Sound Object a été créé le 13 juillet 2003 lors du festival Champs électriques à la Galerie Saw (Ottawa). Spiel (2001) 16m00s nil.10281 | 10281 |flûte et traitement Composer: Louis Dufort Premiere: April 8, 2001, Flûte! un concert…, Réseaux, Studio 12 — Maison de Radio-Canada (Montréal, Québec) [English translation not available] J’ai d’abord trouvé ce titre de façon phonétique (prononcé «spielle»). J’aimais bien le «SP» pour son caractère d’attaque, de rupture et le «IELLE» pour son aspect langoureux, contemplatif. J’avais donc en ce mot les fondements de l’œuvre, c’est-à-dire une pièce à la fois rythmique et spectrale. Je dois aussi dire que ce mot faisait émerger des images aux éclats lumineux, voire d’étoiles scintillantes qui furent très inspirantes pour l’écriture de la pièce. Ce n’est qu’après vérification que j’ai su que le mot Spiel, provenant de l’allemand, voulait dire jouer. Ce fut alors doublement pertinent, car il y a une très grande part de jeu dans cette pièce due au fait qu’il y a une interaction constante entre l’interprète et son miroir virtuel. Ce discours récursif permet donc à la flûte de se multiplier, de s’harmoniser, de se transformer et d’être aussi l’initiatrice d’évolutions spectrales. Étoile: astre doué d’un éclat propre, producteur et émetteur d’énergie, dont le mouvement est imperceptible sur une courte durée d’observation. Sieh, wie die Sterne fallen! Stabile (2003) 14m35s nil.10284 | 10284 |saxophone quartet, processing, and tape Composer: Monique Jean Commission: Quasar Premiere: January 24, 2003, Électrochocs, Espace chorégraphique Jean-Pierre-Perreault (Montréal, Québec) [English translation not available] Stabile, du nom donné aux sculptures extérieures monumentales de Calder, qui allient de façon paradoxale des états contraires: le lourd et le léger, le fixe et le mobile. Il y est question du déséquilibre nécessaire à l'équilibre de l'ensemble toujours en mouvement, en réaction constante quoique parfois presque imperceptible, des éléments les uns sur les autres. Still Voices (2005) 9m00s nil.18919 | 18919 |Composer: Pete Stollery Premiere: November 2005, Thainstone Centre (Inverurie, Scotland, UK) Still Voices is part of a larger project called Gordon Soundscape, which is an attempt to map the sonic diversity of the former Gordon District in Aberdeenshire, Scotland. The project comprises acousmatic/soundscape concert pieces Still Voices and Fields of Silence, an interactive website (www.gordonsoundscape.net) and a sound documentary/installation (Resound). I have become fascinated by the potential power that I have as a composer working with technology and fixed media to conserve sounds which will soon no longer exist. Workers at the Glendronach Distillery in North-East Scotland were told in 2004 that the plant was to move from coal-fired processes to a more ecological method of heating. They began to realise that the sounds they had become used to as part of their daily work - raking out the kilns, kiln doors closing, coal pouring from the back of delivery lorries - were soon to disappear for ever. Originally, I had intended to make a few recordings of these “disappearing sounds” and use them in the sound documentary/installation part of the project. However, it became clear to me, during the visits I made to the distillery, that there were many more interesting sounds which were crying out to be used and so I decided to make an entire piece using sounds recorded from both inside and out, including rolling whisky barrels along the ground, grain milling machines and the Glendronach Burn which runs through the distillery grounds. Still Voices was commissioned by Gordon Forum for the Arts, with funds provided by Aberdeenshire Council and the Scottish Arts Council. It received its first performance in one of the auction rings at the Thainstone Centre (Inverurie, Scotland) in November 2005. St Paul’s Descending into the Autumn Mist (1997) 2m35s nil.10283 | 10283 |Composer: Natasha Barrett The listener exits a small shop on the side of Cannon Street. Instantly the peal of bells, calling the eventide service at St Paul’s Cathedral, meet the ears. Mixed with busy afternoon traffic and the warmth of the Autumn sun, an evening mist descends. Into the night, echoes of the bells wander through the imagination. String Quartet no 1 (1980) nil.18685 | 18685 |Composer: Tim Brady A 25th anniversary gift for this piece: a second performance! Thanks Quatuor Bozzini. Written while on a 6-week European journey in May/June 1980, the work essentially explores the range of textural possibilities of the quartet medium to create a dramatic musical structure. Large clusters, complex counterpoint, subtle harmonics and the occasional unison all bear witness to a 24-year old composer flexing his artistic muscles. In retrospect, the loud opening chord really does sound to me like a big, distorted power chord on electric guitar, so I think I can safely say that the the seeds of my current musical language were lurking somewhere in this ultra-modernist chamber piece. Tim Brady [viii-05] String Quartet no 1 was 2nd prize winner (chamber music) in the 1982 CAPAC Young Composer’s Competition. Studio 2 nil.10285 | 10285 |Composer: Emanuele Casale Studio 2 was selected at the 9th International Rostrum of Electroacoustic Music (IREM) in København / Malmö (2002). Die Suesse unserer traurigen Kindheit (2005) 80m00s nil.18728 | 18728 |Composer: Hans Tutschku Musical theatre for voice, dancers, live electronics, and video projections, based on poems and letters by Georg Trakl (1887-1914) electrocd.com Other works (S) |
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