- Year of composition: 1997
- Duration: 12:20
- Instrumentation: stereo fixed medium
- 44,1 kHz, 16 bits
Foil-Counterfoil continues the process of re-hearing natural sound-objects by investigating the sonic qualities of a number of different sources. Initially, tin foil was recorded with very close microphone positions (which reveals ‘hidden’ sounds). Rather than analyze the quantity and quality of material solely in terms of itself, I used other sound sources such as glasses, bottles and balloons to shed a different light upon the recordings of the foil, to ‘hear’ how I should work with the material. These new sources were able to merge with the foil spectrally (becoming part of a texture), and through individual gestures.
The point of the piece became the foil and its opponents. The title alludes not only to the idea of foil and an opposite, but also to the idea of the counterfoil being part of an original. The more obscure meaning of foil — to obstruct or frustrate — is perhaps hidden in the formal design, which is based on a continual process of deconstruction and reconstruction. The work was taken through many drafts in order to resolve its final form as defined by the interweaving of a number of similar phrases.
Foil-Counterfoil was realized in 1997 in the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered at Université de Montréal in 1997. Foil-Counterfoil received a Mention at the Prix Ars Electronica (Linz, Austria, 1998).
- 1997, Concert, Faculté de musique — Université de Montréal, Montréal (Québec)
- Honorary Mention, Prix Ars Electronica 1998 — Computer Music, Linz (Austria)