Out of stock
CD
Robert NORMANDEAU
“Dômes”
“La part des anges” (2011, 12), “Kuppel” (2005-06, 14), “Pluies noires” (2008, 14), “Hamlet-Machine without Actors” (2014), “Baobabs” (2012-13) with Stéphanie Lessard, soprano; Marie-Annick Béliveau, alto; Michiel Schrey, ténor; Pierre-Étienne Bergeron, bass; Sixtrum (João Catalão, Julien Compagne, Julien Grégoire, Philip Hornsey, Kristie Ibrahim, Fabrice Marandola).
After a BMus in Composition (Electroacoustics) from the Université Laval (Québec City, 1984) Robert Normandeau moved to Montréal and completed an MMus in Composition (1988) and the first PhDMus in Electroacoustic Composition (1992), under Marcelle Deschênes and Francis Dhomont. He is a founding member of the Canadian Electroacoustic Community (CEC, 1987). From 1986 to ’93, he was an active member of the Association pour la création et la recherche électroacoustiques du Québec (ACREQ), where he produced the Clair de terre concert series at the Planétarium de Montréal. In 1991, he co-founded Réseaux, an organization for the presentation of media arts events, notably the acousmatic concert series Rien à voir and Akousma.
After a certain interest in instrumental and mixed works, his current endeavours are focused on acousmatic music. More specifically, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. Along with concert music he now writes incidental music, especially for the theatre.
After a BMus in Composition (Electroacoustics) from the Université Laval (Québec City, 1984) Robert Normandeau moved to Montréal and completed an MMus in Composition (1988) and the first PhDMus in Electroacoustic Composition (1992), under Marcelle Deschênes and Francis Dhomont. He is a founding member of the Canadian Electroacoustic Community (CEC, 1987). From 1986 to ’93, he was an active member of the Association pour la création et la recherche électroacoustiques du Québec (ACREQ), where he produced the Clair de terre concert series at the Planétarium de Montréal. In 1991, he co-founded Réseaux, an organization for the presentation of media arts events, notably the acousmatic concert series Rien à voir and Akousma.
After a certain interest in instrumental and mixed works, his current endeavours are focused on acousmatic music. More specifically, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. Along with concert music he now writes incidental music, especially for the theatre.
12,00€
Out of stock
CD
Robert NORMANDEAU
“Palimpsestes”
“Palimpseste” (2005, 11), “Murmures” (2007, 11), “Jeu de langues” (2009), “Anadliad” (2010), “Palindrome” (2005-06, 07). Robert Normandeau (1955) is a Canadian electroacoustic music composer who studied with Marcelle Deschênes and Francis Dhomont. Today he’s Professor of Electroacoustic Music Composition in Montreal since 1999.
13,00€
Out of stock
CD
Robert NORMANDEAU
“Clair de terre”
“One of the stongest images of the achievements we witnessed during the 20th century. These pictures of the earth taken from space will forever stay in our minds. Normandeau’s Clair de terre is build up with a cinematic structure as the titles of each movement reveals. The two other titles introduces us to Normandeau’s world when he composes for th estage (theater). They are made up of sonic elements he used for music composed for the stage. This is Robert Normandeau’s fourth release on empreintes DIGITALes”. “Malina” (2000), “Erinyes” (2001), “Clair de terre” (1999).
12,00€
Out of stock
CD
Philippe LE GOFF
“Titakti” (1991-95)
All of the pieces where composed at studio Canope (Lyon, France), with the support of Sacem, the Muse en circuit (Paris) and at the villa Médicis Hors les murs program. Final mastering was realized at the GMEM (Marseille, France). The recordings were made between 1988 and 1993, in Nunavik (Québec Arctic) in the villages of Puvirnituq, Kuujjuaraapik and Akulivik; in Nunavut (Northwestern Territories), on Coat Island and on Baffin Island in the villages of Iqualuit, Apex and Kimmirut.
“Meta incognita”, “Nipingit - La parole”, “La guerre”, “Plan séquence”.
“Meta incognita”, “Nipingit - La parole”, “La guerre”, “Plan séquence”.
8,00€
Out of stock
CD
Paul DOLDEN
“L’ivresse de la vitesse 1”
Reissue of 2 CD. “L’ivresse de la vitesse”, en deux CDs séparés. “L’ivresse de la vitesse” (1992-93), “Physics of Seduction. Invocation
3” (1992), “Revenge of the Repressed. Resonance
2” (1993), “Dancing on the Walls of Jericho” (1990), “Physics of Seduction. Invocation
2” (1991).
3” (1992), “Revenge of the Repressed. Resonance
2” (1993), “Dancing on the Walls of Jericho” (1990), “Physics of Seduction. Invocation
2” (1991).
12,00€
Out of stock
CD
Paul DOLDEN
“Histoires d’histoire”
“Music of Another Present Era” (2013-16), stereo tape. Music of Another Present Era plays freely with our ability to imagine another time and culture. At the same time, it recognizes that this historical imagining is necessarily conditioned by our own time and place. We do not know exactly what ancient music sounded like, as we are left with only inaudible details such as the microtonal scales that were used. This work appropriates a number of these ancient tuning systems to create a sense of the past within our present era. While the music of ancient times can at best only be approximated, stories and myths have been passed down for generations that can further illuminate the past while still speaking to us now. These stories stimulated my musical imagination, bridging past and present, a pilgrimage through musical time and place. This is not a programmatic work, instead these stories appear in the music metaphorically. This metaphoric use of myths is so that the musical content be recognized without it being diminished or reduced, as often occurs in programmatic music in which the musical content threatens to vanish behind an unequivocal verbal interpretation. In other words, as the group of late 20th century philosophers known as Guns N’ Roses said: “use your illusion.”
“BeBop Baghdad” (2013), electric guitar, and stereo tape. Maurizio Grandinetti, electric guitar. Many guitarists cut their musical teeth via jamming. With players taking turns soloing and sensitively backing up the other soloists, it remains the ideal forum to display your chops and pick up new tricks through careful listening. BeBop Baghdad is a fantasy based on the jam session. A live guitarist solos through most of the work, while a room full of musical playmates is simulated by a pre-recorded tape part. Like in a live jam session, musical styles can quickly change on a player’s whim, and the musicians must remain alert to follow the flow. In the first half of BeBop Baghdad, the soloist is surrounded by free-jazz style reeds, winds and brass. In the second half the soloist is supported and challenged by a rhythm section that hops from a Latin music club to a Nashville Country music stage, and from a New York City jazz club to a suburban basement seething with speed metal. Surprisingly, every locale is visited by an ensemble of Arabian musicians, lending an exotic flavor and further testing the soloist's abilities. Fortunately, our guitar hero has just returned from a tour of Iraq, where he was swinging, rocking and trilling with the locals. The recurring themes based on Arabic scales lend continuity to BeBop Baghdad through the wildly shifting scenes.
“Show Tunes in Samarian Starlight” (2012), B-flat trumpet, and stereo tape. ukasz Gothszalk, B-flat trumpet. The work plays freely with our historical imagination, specifically, our ability to imagine another time and culture. At the same time, this imagining is always conditioned by our own time. We know the microtonal scales used by many ancient cultures. However we have no idea of how they were used or what the music sounded like. Show Tunes in Samarian Starlight appropriates a number of ancient scales to create a musical fantasy of ‘show tunes’ and ‘nightclub music’ for ancient times. The work is based on the same melodies recreated in different tuning systems. These fluctuate between two musical moods — plaintive and calm, like a ballad, and energized, like a rock, swing, or Latin groove. Similarly, the structure of the work fluctuates between the microtonality of an imagined past and our modern tuning system.
“BeBop Baghdad” (2013), electric guitar, and stereo tape. Maurizio Grandinetti, electric guitar. Many guitarists cut their musical teeth via jamming. With players taking turns soloing and sensitively backing up the other soloists, it remains the ideal forum to display your chops and pick up new tricks through careful listening. BeBop Baghdad is a fantasy based on the jam session. A live guitarist solos through most of the work, while a room full of musical playmates is simulated by a pre-recorded tape part. Like in a live jam session, musical styles can quickly change on a player’s whim, and the musicians must remain alert to follow the flow. In the first half of BeBop Baghdad, the soloist is surrounded by free-jazz style reeds, winds and brass. In the second half the soloist is supported and challenged by a rhythm section that hops from a Latin music club to a Nashville Country music stage, and from a New York City jazz club to a suburban basement seething with speed metal. Surprisingly, every locale is visited by an ensemble of Arabian musicians, lending an exotic flavor and further testing the soloist's abilities. Fortunately, our guitar hero has just returned from a tour of Iraq, where he was swinging, rocking and trilling with the locals. The recurring themes based on Arabic scales lend continuity to BeBop Baghdad through the wildly shifting scenes.
“Show Tunes in Samarian Starlight” (2012), B-flat trumpet, and stereo tape. ukasz Gothszalk, B-flat trumpet. The work plays freely with our historical imagination, specifically, our ability to imagine another time and culture. At the same time, this imagining is always conditioned by our own time. We know the microtonal scales used by many ancient cultures. However we have no idea of how they were used or what the music sounded like. Show Tunes in Samarian Starlight appropriates a number of ancient scales to create a musical fantasy of ‘show tunes’ and ‘nightclub music’ for ancient times. The work is based on the same melodies recreated in different tuning systems. These fluctuate between two musical moods — plaintive and calm, like a ballad, and energized, like a rock, swing, or Latin groove. Similarly, the structure of the work fluctuates between the microtonality of an imagined past and our modern tuning system.
13,00€
Out of stock
CD
Natasha BARRETT
“Isostasie”
A former student of Jonty Harrison and Denis Smalley - two important figures of the British electroacoustics school - Natasha Barrett integrates the approach of these two composers into a proposition which recalls both sound ecology and properly abstract composition. Isostasie is full of these poetic, disconcerting environments, impressionistic pictures of various formats, evocative of her country of adoption, Norway. In this CD, one will encounter various meteorological happenings, the midnight sun, «Red Snow» (a phenomenon due to the growth of algae or diatoms), as well as an ode to the forest, «Viva la Selva!» Plenty of illustrations and impressions of the Norwegian landscape, postfaced with an «exploration of spatial musical structure» («The Utility of Space»), all fabricated with utmost delicacy by a young composer with an attuned ear, of whom this is the third album already (following two self-produced CDs, «Rocks & Wraiths» and «Chillies & Shells».)
12,00€
Out of stock
CD
Micheline COULOMBE SAINT-MARCOUX
“Impulsion”
“For the first time with Impulsion are presented all of the works for tape by Coulombe Saint-Marcoux (all but two which have disappeared). This historical disc is the occasion to discover the work of one of the Canadian electroacoustic pioneer.”
12,00€
Out of stock
CD
Mathew ADKINS
“(60) Project”
The involvement and the contribution of sound materials by over 60 of the world’s leading electronic composers and sound artists, under the control of Mathew Adkins. Composed in 2008, mixed at the GRM and created in the Huddersfield Contemporary Music Festival for the 60 years birthday of Musique Concrete. With A_dontigny, AGF, Lars Åkerlund, Michael Alcorn, Javier Álvarez, Miguel Azguime, Natasha Barrett, François Bayle, Gonzalo Biffarella, Ludger Brümmer, Mira Calix, Christian Calon, Lawrence Casserley, Richard Chartier, Rhodri Davies, Vladislav Delay, Donnacha Dennehy, Francis Dhomont, Lawrence English, eRikm, Dror Feiler, Christian Fennesz, Ambrose Field, Iris Garrelfs, Gilles Gobeil, Kink Gong, Jonty Harrison, Tim Hecker, Erdem Helvacioglu, Zoë Irvine, Christina Kubisch, Diane Labrosse, Andrew Lewis, Mats Lindström, Francisco López, Eric Lyon, Stephan Mathieu, Adrian Moore, Åke Parmerud, Gert-Jan Prins, Maja Solveig Kjelstrup Ratkje, Pedro Rebelo, Steve Roden, Sébastien Roux, Scanner, Janek Schaefer, Conrad Schnitzler, Si-cut.db, Wayne Siegel, Rodrigo Sigal, Pete Stollery, Paulina Sundin, Kees Tazelaar, Terre Thaemlitz, Todor Todoroff, Kasper T Toeplitz, David Toop, Germán Toro-Pérez, Pierre Alexandre Tremblay, Hans Tutschku, Rodrigo Cicchelli Velloso, Marc Weiser-Rechenzentrum, Yeoh Yin Pin, John Young, and Christian Zanési.
12,00€
Out of stock
CD
Martin BÉDARD
“Topographies”
“The title of Martin Bédard highly anticipated release speaks by itself: Topographies. It is a music full of relief showing a remarkable work on high dynamics. Not one second of downtime will be met, the music being filled of a rarely seen energy. The tight discourse will bring the listener within dense and opaque spaces where he will hold his breath, left by a feeling of emptiness after a complete listening. A technically and aesthetically dazzling release”.
“Grand dehors” (2011), “Topographie de la noirceur” (2004-2005), “Push & Pull” (2010), “Métal fatigue” (2012), “Champs de fouilles” (2008).
“Grand dehors” (2011), “Topographie de la noirceur” (2004-2005), “Push & Pull” (2010), “Métal fatigue” (2012), “Champs de fouilles” (2008).
13,00€
Out of stock
CD
Manuella BLACKBURN
“Petites étincelles”
“Javaari” (2012-13). “Ice breaker” (2015). “Snap happy” (2016-17). “Time will tell” (2013). “New Shruti” (2013).
Manuella Blackburn is an electroacoustic music composer who specializes in acousmatic music creation. However, she also has composed for instruments and electronics, laptop ensemble improvisations, and music for dance.
She studied music at The University of Manchester (England, UK), followed by a Masters in Electroacoustic Composition with David Berezan. She became a member of Manchester Theatre in Sound (MANTIS) in 2006 and completed a PhD at The University of Manchester with Ricardo Climent in 2010.
Manuella Blackburn has worked in residence in the studios of Miso Music (Lisbon, Portugal), EMS (Stockholm, Sweden), Atlantic Centre for the Arts (New Smyrna Beach, FL, USA), and Kunitachi College of Music (Tokyo, Japan).
Her music has been performed at concerts, festivals, conferences and gallery exhibitions in Argentina, Belgium, Brazil, Canada, Chile, Costa Rica, Cuba, France, Germany, Italy, Japan, Korea, Mexico, Portugal, Spain, Sweden, and the USA.
Manuella Blackburn has received a number of international awards and prizes for her acousmatic music including: Grand Prize in the Digital Art Awards (Fujisawa, Japan, 2007), First Prize in the 7th and 10th Concurso Internacional de Composição Electroacústica Música Viva (Lisbon, Portugal, 2006, ’09), First Prize in the Musica Nova International Competition of Electroacoustic Music (Prague, Czech Republic, 2014), International Computer Music Association European Regional Award (Australia, 2013), 3rd Prize in the Diffusion Competition (Ireland, 2008), Public Prize in the Concurso Internacional de Composição Eletroacústica (CEMJKO, Brazil, 2007) and Honorary Mentions in the Centro Mexicano para la Música y las Artes Sonoras (CMMAS) competition (Morelia, Mexico, 2008) and in the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’07, Brazil).
She is currently Senior Lecturer in Music at Liverpool Hope University (England, UK).
Manuella Blackburn is an electroacoustic music composer who specializes in acousmatic music creation. However, she also has composed for instruments and electronics, laptop ensemble improvisations, and music for dance.
She studied music at The University of Manchester (England, UK), followed by a Masters in Electroacoustic Composition with David Berezan. She became a member of Manchester Theatre in Sound (MANTIS) in 2006 and completed a PhD at The University of Manchester with Ricardo Climent in 2010.
Manuella Blackburn has worked in residence in the studios of Miso Music (Lisbon, Portugal), EMS (Stockholm, Sweden), Atlantic Centre for the Arts (New Smyrna Beach, FL, USA), and Kunitachi College of Music (Tokyo, Japan).
Her music has been performed at concerts, festivals, conferences and gallery exhibitions in Argentina, Belgium, Brazil, Canada, Chile, Costa Rica, Cuba, France, Germany, Italy, Japan, Korea, Mexico, Portugal, Spain, Sweden, and the USA.
Manuella Blackburn has received a number of international awards and prizes for her acousmatic music including: Grand Prize in the Digital Art Awards (Fujisawa, Japan, 2007), First Prize in the 7th and 10th Concurso Internacional de Composição Electroacústica Música Viva (Lisbon, Portugal, 2006, ’09), First Prize in the Musica Nova International Competition of Electroacoustic Music (Prague, Czech Republic, 2014), International Computer Music Association European Regional Award (Australia, 2013), 3rd Prize in the Diffusion Competition (Ireland, 2008), Public Prize in the Concurso Internacional de Composição Eletroacústica (CEMJKO, Brazil, 2007) and Honorary Mentions in the Centro Mexicano para la Música y las Artes Sonoras (CMMAS) competition (Morelia, Mexico, 2008) and in the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’07, Brazil).
She is currently Senior Lecturer in Music at Liverpool Hope University (England, UK).
13,00€
Out of stock
CD
Manuella BLACKBURN
“Formes audibles”
First solo disc by British composer Manuella Blackburn. Manuella Blackburn’s work brilliantly embodies the vivid side of modern acousmatic music. This first disc of the Manchester-based British composer will keep the listener’s mind awake from the first to the last second. One will find dynamic works where the discourse is articulated with incredible finesse. Each element is precisely organized within complex timbre structures of great clarity. Each piece is based on sound materials carefully selected and delicately processed: from the electric guitar, to electronic switches to traditional musical instruments. In these bursts of sound remains an emphasis on pitch, uttering a reference to tonal musical history, keeping the listener drawn into the singular narrative of a frankly lively work. “Vista points” (2009), “Switched on” (2011), “Karita oto” (2009), “Kitchen Alchemy” (2007), “Cajón!” (2008), “Spectral spaces” (2008).
13,00€
Out of stock
CD
John OSWALD
“Aparanthesi”
The master of plundephonics takes us on a wild ride with “the one-note idea.”
"Now when I say that aparanthesi is one note I mean that it is one specific pitch and manifestations of that pitch in the various audible octaves. For A there are ten audible octaves, from the lowest note on most pianos (A=27.5 Hz) to 5 octaves above A 440, which is 14,080 Hz. These ten manifestations of simple halvings and doublings of a set frequency are the entire harmonic content of aparanthesi - any deviations from this frequency gravitate back to it, by various means."
"Now when I say that aparanthesi is one note I mean that it is one specific pitch and manifestations of that pitch in the various audible octaves. For A there are ten audible octaves, from the lowest note on most pianos (A=27.5 Hz) to 5 octaves above A 440, which is 14,080 Hz. These ten manifestations of simple halvings and doublings of a set frequency are the entire harmonic content of aparanthesi - any deviations from this frequency gravitate back to it, by various means."
13,00€
Out of stock
CD
James O’CALLAGHAN
“Espaces tautologiques”
1st disc by Montréal-based young Canadian composer James O’Callaghan.Includes the trytich of acousmatic works that imagine the sounding bodies of instruments as resonant spaces. “Objects-Interiors” (2013), “Bodies-Soundings” (2014), “Empties-Impetus” (2014-15), “Isomorphic” (2011-14).
James O’Callaghan is a composer and sound artist based in Montréal praised for his “mastery of materials and musical form” (Électromania, Radio France) and “highly refined sense of colour” (Vancouver Sun).
His music intersects acoustic and electroacoustic media, employing field recordings, amplified found objects, computer-assisted transcription of environmental sounds, and unique performance conditions.
His work, spanning chamber, orchestral, live electronic and acousmatic idioms, audio installations, and site-specific performances, has been variously commissioned by the Groupe de recherches musicales (GRM), NYO Canada, Ensemble Paramirabo, Quasar, and Standing Wave, among others.
James O’Callaghan is the recipient of the Canada Council for the Arts’ Robert Fleming Prize (Canada, 2015), and his music has been awarded first prizes in the Salvatore Martirano Memorial Composition Award (USA, 2016), the Musicworks’ electronic music competition (Canada, 2015), the SOCAN Foundation Awards for Young Composers (Canada, 2013, ’14), including its 2014 John Weinzweig Grand Prize, and the Canadian Electroacoustic Community’s competition Jeu de temps / Times Play (CEC, Canada, 2013). His music was nominated for the Gaudeamus Award (The Netherlands, 2016) and the Juno Award for Classical Composition of the Year (Canada, 2014), and was a finalist in the the 8e Prix collégien de musique contemporaine (Québec, 2016) and the Klang competition (France, 2015).
Originally from Vancouver, he received a Master of Music degree in composition from McGill University in 2014, studying with Philippe Leroux, and a Bachelor of Fine Arts honours degree from Simon Fraser University in 2011, studying with Barry Truax.
James O’Callaghan is a composer and sound artist based in Montréal praised for his “mastery of materials and musical form” (Électromania, Radio France) and “highly refined sense of colour” (Vancouver Sun).
His music intersects acoustic and electroacoustic media, employing field recordings, amplified found objects, computer-assisted transcription of environmental sounds, and unique performance conditions.
His work, spanning chamber, orchestral, live electronic and acousmatic idioms, audio installations, and site-specific performances, has been variously commissioned by the Groupe de recherches musicales (GRM), NYO Canada, Ensemble Paramirabo, Quasar, and Standing Wave, among others.
James O’Callaghan is the recipient of the Canada Council for the Arts’ Robert Fleming Prize (Canada, 2015), and his music has been awarded first prizes in the Salvatore Martirano Memorial Composition Award (USA, 2016), the Musicworks’ electronic music competition (Canada, 2015), the SOCAN Foundation Awards for Young Composers (Canada, 2013, ’14), including its 2014 John Weinzweig Grand Prize, and the Canadian Electroacoustic Community’s competition Jeu de temps / Times Play (CEC, Canada, 2013). His music was nominated for the Gaudeamus Award (The Netherlands, 2016) and the Juno Award for Classical Composition of the Year (Canada, 2014), and was a finalist in the the 8e Prix collégien de musique contemporaine (Québec, 2016) and the Klang competition (France, 2015).
Originally from Vancouver, he received a Master of Music degree in composition from McGill University in 2014, studying with Philippe Leroux, and a Bachelor of Fine Arts honours degree from Simon Fraser University in 2011, studying with Barry Truax.
12,50€
Out of stock
CD
Jacques TREMBLAY
“Chroniques d’une séduction”
“Espresso espressivo” (2003-04). “L’énigme anima (1997, 2001)”. “Empathies entropiques (1998-2001)”. “The main theme running through all three of the works included on this cd is otherness. Each piece illustrates different facets of this theme. O the irony! As I try to fold back around my memories, my ability to focus is suddenly challenged by my noisy neighbour going by and talking loudly into his cell phone headset. The noise of this undesired speech immediately ties up my memory. This foreign tongue and its strong accents are heckling me. However, I persist in writing, which soon relegates the surrounding audio flow to the background. Since I cannot grasp the meaning of the words, my neighbour’s conversation becomes beat, movement, pace. And my listening finds purchase on the musicality of the sound. Later, when I resume my active listening, I realize that elsewhere in the background, over my head in fact, the patrons of the fruit store are ‘pacing around,’ influenced by the ebb of a radio, whose sound reaches me through the floor-ceiling in a highly-filtered form. Finally, further in the background is an animated layer of vehicle sounds pulsated by the clock mounted on the wall… An Arabian song comes from a car, panning from left to right... Multiplicity is here and now and... My attitude hesitates between shutting it all out or marveling at it. I listen... looking from the inside out... and rather than closing itself up, my perception tries to feed off these sonic imprints. The above sums up pretty well how I found my pace in realizing these works. My vision extrapolated into numerous ramifications along the way. My attention still thought it was focusing on a familiar sound, but it was actually slipping into the chronicles of intrigue and fascination. And for this experience, the ‘I’ becomes the ‘other.’ And being able to dissociate oneself from it is strangely fascinating. Isn’t that part of the Other’s seductive power? This very otherness holds the power to awake us, dust down our old ready-to-ware suits-ideas, initiating a new fresh attitude toward astonishment and discovery.” Jacques Tremblay
13,00€
Out of stock
CD
Horacio VAGGIONE
“Fluides”
“Mécanique des fluides” (2014-15). “PianoHertz” (2012). “Consort for Convolved Violins” (2011). “Préludes suspendus III” (2009, 10). “Fractal C” (1983-84).
Horacio Vaggione has been integrating computers to his approach to composition since the 1970s. His body of work includes electroacoustic pieces, mixed pieces, and instrumental music.
Born in 1943 in Argentina, Vaggione has been residing in France since 1978. He studied piano with Ornella Ballestreri and composition at Universidad Nacional de Córdoba (Argentina, 1959-62) and in Buenos Aires (Argentina) with Juan Carlos Paz. He holds a PhD in musicology from Université Paris 8 (France, 1983), where he worked under Daniel Charles.
Horacio Vaggione cofounded the Universidad Nacional de Córdoba’s Centro de música experimental (CME) in 1965. A year later, on a Fulbright fellowship, he was introduced to the computer as a music tool by Lejaren Hiller and Herbert Brün at University of Illinois (Urbana, Illinois, USA). In 1969-73, he joined Luis de Pablo in the electroacoustic music studio Alea in Madrid (Spain), after which he worked in various French studios — GRM, IRCAM, IMEB — and in several European and North-American universities. He was artist-in-residence in Berlin (Germany) in 1987-88 on a fellowship from DAAD.
Horacio Vaggione won awards in numerous international competitions, including NewComp (Cambridge, Massachusetts, USA, 1983); the ICMA Award (1992), the Euphonie d’or (Bourges, France, 1996), the Ton Bruynèl Award (The Netherlands, 2010), and the Giga-Hertz-Preis 2012 (Karlsruhe, Germany).
Starting in 1989, Horacio Vaggione worked at the Music Department of Université Paris 8 (France) as a professor, PhD research director, and director of the Centre de recherche informatique et création musicale (CICM). He became Professor Emeritus in 2012.
Horacio Vaggione has been integrating computers to his approach to composition since the 1970s. His body of work includes electroacoustic pieces, mixed pieces, and instrumental music.
Born in 1943 in Argentina, Vaggione has been residing in France since 1978. He studied piano with Ornella Ballestreri and composition at Universidad Nacional de Córdoba (Argentina, 1959-62) and in Buenos Aires (Argentina) with Juan Carlos Paz. He holds a PhD in musicology from Université Paris 8 (France, 1983), where he worked under Daniel Charles.
Horacio Vaggione cofounded the Universidad Nacional de Córdoba’s Centro de música experimental (CME) in 1965. A year later, on a Fulbright fellowship, he was introduced to the computer as a music tool by Lejaren Hiller and Herbert Brün at University of Illinois (Urbana, Illinois, USA). In 1969-73, he joined Luis de Pablo in the electroacoustic music studio Alea in Madrid (Spain), after which he worked in various French studios — GRM, IRCAM, IMEB — and in several European and North-American universities. He was artist-in-residence in Berlin (Germany) in 1987-88 on a fellowship from DAAD.
Horacio Vaggione won awards in numerous international competitions, including NewComp (Cambridge, Massachusetts, USA, 1983); the ICMA Award (1992), the Euphonie d’or (Bourges, France, 1996), the Ton Bruynèl Award (The Netherlands, 2010), and the Giga-Hertz-Preis 2012 (Karlsruhe, Germany).
Starting in 1989, Horacio Vaggione worked at the Music Department of Université Paris 8 (France) as a professor, PhD research director, and director of the Centre de recherche informatique et création musicale (CICM). He became Professor Emeritus in 2012.
13,00€
Out of stock
CD
Hildegard WESTERKAMP
“Transformations”
“Hildegard Westerkamp says: "I hear the soundscape as a language with which places and societies express themselves." Her Transformations CD presents five of her soundscape compositions, reflecting work composed from 1979 to 1992, each sounding the depths of a different place, creating a different inner landscape each time I hear them. She works with the sonic and sociopolitical potentials of each place, recording, mixing, and subtly transforming sounds to heighten listeners’ awareness and appreciation of these sites. She is a skilled and careful interpreter of their languages.”Andra McCartney. New catalog number, new box but music stays the same.
13,00€
Out of stock
CD
Hans TUTSCHKU
“Moment”
Hans Tutschku (Weimar, Germany, 1966), composer living in USA, member of Ensemble für Intuitive Musik Weimar. “Extrémités lointaines” (1998), “… Erinnerung…” (1996), “Les invisibles” (1996), “Sieben Stufen” (1995), “Die zerschlagene Stimme” (1991).
12,00€
Out of stock
CD
Hans TUTSCHKU
“Firmament”
“Firmament - schlaflos” (2010), “Klaviersammlung” (2011), “Issho ni” (2014).
Hans Tutschku began to study music at an early age. In 1982 he joined the Ensemble für Intuitive Musik Weimar, playing synthesizer and live electronics. He studied electroacoustic composition at the Hochschule für Musik in Dresden (Germany), and accompanied Karlheinz Stockhausen on several concert tours in 1989-91 for the purpose of studying sound diffusion.
In 1989 he co-founded with Michael von Hintzenstern the Klang Projekte Weimar, a presenter of contemporary music, which presents an annual festival as well as a concert series.
In 1991-92 he took part in the international year-long course at the Institute of Sonology (The Hague, The Netherlands). In 1994 he followed the annual composition and computer music course at IRCAM (Paris, France). In 1995-96, he taught electroacoustic composition at the Franz Liszt Academy in Weimar (Germany) where he also set up the studio. In 1996, he attended the Royaumont Composition Workshop with Brian Ferneyhough and Klaus Huber (France).
He taught at IRCAM (Paris, France) from 1997 to 2001, and at the Conservatoire de Montbéliard (France) from 2001 to 2004. In May 2003 he completed a PhD in composition at the University of Birmingham (England, UK) with Jonty Harrison. Since September 2004 he has been working as professor of composition and director of the electroacoustic studios at Harvard University (Cambridge, MA, USA).
Hans Tutschku began to study music at an early age. In 1982 he joined the Ensemble für Intuitive Musik Weimar, playing synthesizer and live electronics. He studied electroacoustic composition at the Hochschule für Musik in Dresden (Germany), and accompanied Karlheinz Stockhausen on several concert tours in 1989-91 for the purpose of studying sound diffusion.
In 1989 he co-founded with Michael von Hintzenstern the Klang Projekte Weimar, a presenter of contemporary music, which presents an annual festival as well as a concert series.
In 1991-92 he took part in the international year-long course at the Institute of Sonology (The Hague, The Netherlands). In 1994 he followed the annual composition and computer music course at IRCAM (Paris, France). In 1995-96, he taught electroacoustic composition at the Franz Liszt Academy in Weimar (Germany) where he also set up the studio. In 1996, he attended the Royaumont Composition Workshop with Brian Ferneyhough and Klaus Huber (France).
He taught at IRCAM (Paris, France) from 1997 to 2001, and at the Conservatoire de Montbéliard (France) from 2001 to 2004. In May 2003 he completed a PhD in composition at the University of Birmingham (England, UK) with Jonty Harrison. Since September 2004 he has been working as professor of composition and director of the electroacoustic studios at Harvard University (Cambridge, MA, USA).
12,00€
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Gilles GOBEIL
“La mécanique des ruptures”
Le vertige inconnu (The Mysterious Vertigo) was produced in 1993 at the studios of the Groupe de musique expérimentale de Bourges (GMEB, France). It premiered in June 1993 at the 23rd Bourges International Electroacoustic Music Festival (France). Le vertige inconnu received the 1994 Stockholm Electronic Arts Award (Sweden) and was selected for the 1994 World Music Days (Stockholm, Sweden) and the 1994 International Computer Music Conference (ICMC’94) in Danmark. The piece was commissioned by the GMEB, with the assistance of the Canada Council [for the Arts].[v-94] Since, Le vertige inconnu was awarded the prize of international competition Stockholm Electronic Arts Award (Sweden, 1994) and the 2nd prize of the international competition Prix Ars Electronica (Linz, Austria, 1995).
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Gilles GOBEIL
“… dans le silence de la nuit…”
“Derrière la porte la plus éloignée…” (1998), “Projet Proust” (1995-2001), “Point de passage” (1997), “Nuit cendre” (1995).
“… one of the most talented and sensitive jugglers of sounds we’ve heard” (Sonoloco Record Reviews, Sweden). “Since its release, Gilles Gobeil’s new disc, … dans le silence de la nuit…, attracts a lot of praises and attention. Dark and fascinating, his sonic universe routs bias and produces extraordinary sonic depth. Inspired by both readings (Proust, HG Wells, Verne) and travels (Venice), Gobeil’s compositions leaves the listener breathless with its moving images and secret atmospheres. 50 minutes expressly remastered for this edition, illustrated by Luc Beauchemin.”
“… one of the most talented and sensitive jugglers of sounds we’ve heard” (Sonoloco Record Reviews, Sweden). “Since its release, Gilles Gobeil’s new disc, … dans le silence de la nuit…, attracts a lot of praises and attention. Dark and fascinating, his sonic universe routs bias and produces extraordinary sonic depth. Inspired by both readings (Proust, HG Wells, Verne) and travels (Venice), Gobeil’s compositions leaves the listener breathless with its moving images and secret atmospheres. 50 minutes expressly remastered for this edition, illustrated by Luc Beauchemin.”
13,00€
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Gilles GOBEIL
“Les lointains”
“Les lointains noirs et rouges” (2008-09), “Castalie” (2008), “Bol-Hydre” (2011), “Sibylle” (2010), “Golem” (2013), “Des temps oubliés” (2012).
Gilles Gobeil has completed a master’s degree in composition at Université de Montréal, after studying writing techniques. He has been focusing his work on acousmatic and mixed music since 1985. His works fall close to what is called ‘cinema for the ear.’ Many of his pieces have been inspired by literary works and attempt to let us ‘see’ through sound.
Gilles Gobeil has won over 20 national and international awards including the Ars Electronica (Austria, 1995, 2005), Black & White (Portugal, 2009), Bourges (France, 1988, ’89, ’99, 2009), British Design & Art Direction (UK, 2002), Brock University (Canada, 1985), Canadian Music Council (1985), Ciber@rt (Spain, 1999), CICEM (Monaco, 2014), CIMESP (Brazil, 1997, ’99, 2001), Destellos (Argentina, 2011, ’12), Luigi Russolo (Italy, 1987, ’88, ’89), Métamorphoses (Belgium, 2000, ’02), Newcomp (USA, 1987), SDE Canada (1984), SOCAN (Canada, 1993), and Stockholm Electronic Arts Award (Sweden, 1994, ’97) competitions. His DVD-Audio Trilogie d’ondes has won the Conseil québécois de la musique (CQM)’s Prix Opus for Best Album in 2004-05; his CD Le contrat was nominated in the same category in 2003-04.
Gobeil has received commissions from Codes d’accès (Montréal), DAAD (Berlin, Germany), empreintes DIGITALes (Montréal), Groupe de musique expérimentale de Bourges (GMEB, France), Groupe de recherches musicales (GRM, France), Musiques & Recherches (Belgium), Réseaux des arts médiatiques (Montréal), Société Radio-Canada, Totem contemporain (Montréal), Zentrum für Kunst und Medientechnologie (ZKM, Germany), from Folkmar Hein, Uli Aumüller, Camille Mutel, and Oscar Wiggli, and from performers Suzanne Binet-Audet, René Lussier, Arturo Parra, and Rick Sacks.
He has been composer-in-residence in Banff (Canada, 1993, ’95), Bourges (France, 1991), EMS (Sweden, 2013), GRM (France, 1993, 2012), Franz Liszt Academy (Weimar, Germany, 2010), Miso Music Portugal (2012), Musiques & Recherches (Belgium, 2012), PANaroma (Brazil, 2014), and ZKM (Germany, 2005, ’06, ’07, ’09, ’10, ’12, ’13), and guest composer at DAAD (Germany, 2008).
Gilles Gobeil is a member of the Canadian Electroacoustic Community (CEC), and co-founder of Réseaux, an organization devoted to producing media arts events.
Gilles Gobeil has completed a master’s degree in composition at Université de Montréal, after studying writing techniques. He has been focusing his work on acousmatic and mixed music since 1985. His works fall close to what is called ‘cinema for the ear.’ Many of his pieces have been inspired by literary works and attempt to let us ‘see’ through sound.
Gilles Gobeil has won over 20 national and international awards including the Ars Electronica (Austria, 1995, 2005), Black & White (Portugal, 2009), Bourges (France, 1988, ’89, ’99, 2009), British Design & Art Direction (UK, 2002), Brock University (Canada, 1985), Canadian Music Council (1985), Ciber@rt (Spain, 1999), CICEM (Monaco, 2014), CIMESP (Brazil, 1997, ’99, 2001), Destellos (Argentina, 2011, ’12), Luigi Russolo (Italy, 1987, ’88, ’89), Métamorphoses (Belgium, 2000, ’02), Newcomp (USA, 1987), SDE Canada (1984), SOCAN (Canada, 1993), and Stockholm Electronic Arts Award (Sweden, 1994, ’97) competitions. His DVD-Audio Trilogie d’ondes has won the Conseil québécois de la musique (CQM)’s Prix Opus for Best Album in 2004-05; his CD Le contrat was nominated in the same category in 2003-04.
Gobeil has received commissions from Codes d’accès (Montréal), DAAD (Berlin, Germany), empreintes DIGITALes (Montréal), Groupe de musique expérimentale de Bourges (GMEB, France), Groupe de recherches musicales (GRM, France), Musiques & Recherches (Belgium), Réseaux des arts médiatiques (Montréal), Société Radio-Canada, Totem contemporain (Montréal), Zentrum für Kunst und Medientechnologie (ZKM, Germany), from Folkmar Hein, Uli Aumüller, Camille Mutel, and Oscar Wiggli, and from performers Suzanne Binet-Audet, René Lussier, Arturo Parra, and Rick Sacks.
He has been composer-in-residence in Banff (Canada, 1993, ’95), Bourges (France, 1991), EMS (Sweden, 2013), GRM (France, 1993, 2012), Franz Liszt Academy (Weimar, Germany, 2010), Miso Music Portugal (2012), Musiques & Recherches (Belgium, 2012), PANaroma (Brazil, 2014), and ZKM (Germany, 2005, ’06, ’07, ’09, ’10, ’12, ’13), and guest composer at DAAD (Germany, 2008).
Gilles Gobeil is a member of the Canadian Electroacoustic Community (CEC), and co-founder of Réseaux, an organization devoted to producing media arts events.
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Francis DHOMONT
“Sous le regard d’un soleil noir” (1979-81)
“Francis Dhomont is among the foremost composers in the acousmatic tradition. Since 1963, he has produced several dozens of works for tape. Sous le regard d’un soleil noir (Under the glare of a black sun) was done between 1979 and 1981. Its CD release dates from 1996. This is the first work of a trilogy inspired by psychoanalytic thought.
According to Dhomont, this work proposes a meeting of the imagination (‘psychology of depths’) with the mental images produced by the acousmatic treatment of sounds. Dhomont uses texts by psychiatrist - psychoanalyst Ronald D. Laing (among other authors) to describe the journey of a schizophrenic mind from the ‘incarcerated self’ to the catatonic state. The piece is structured in eight sections lasting four to eight minutes each. Dhomont uses three strategies to achieve formal unity: (1) The text is delivered almost without inflections and it is clearly articulated to keep it comprehensible. Little processing is applied. (2) Material from previous sections is recycled achieving an impressive economy of means. (3) The pitch class B natural is employed as a pivot and as a recurring motive throughout the piece.
Dhomont shows his compositional craftsmanship by keeping the pace of the sections masterly balanced. Sound objects are carefully designed to keep sources’ identities hidden. When these can be identified, they are meant to fulfill a specific formal function. For example, after the listener has been exposed to several minutes of abstract sound, the sudden appearance of a talking crowd (Inner Citadel, at 1:10) provides a striking contrast. The voice of the narrator is usually kept as a layer separate from the musical material. After twenty years of its conception, Sous le regard d’un soleil noir starts to feel the weight of time. Some of the sound processing techniques employed may sound a bit artificial today, e.g., the low pass and high pass filtering of the voice. The use of amplitude envelopes on natural time varying sounds eliminates important temporal cues. Thus, the spectral characteristics of these sounds do not fit their temporal structure creating a perceptual paradox. Check, for example, the articulation on the B natural in the section titled Implosion.
Keeping in mind the year of its realization and the concepts underlying its formal plan, Sous le regard d’un soleil noir stands as a landmark of acousmatic composition.”
According to Dhomont, this work proposes a meeting of the imagination (‘psychology of depths’) with the mental images produced by the acousmatic treatment of sounds. Dhomont uses texts by psychiatrist - psychoanalyst Ronald D. Laing (among other authors) to describe the journey of a schizophrenic mind from the ‘incarcerated self’ to the catatonic state. The piece is structured in eight sections lasting four to eight minutes each. Dhomont uses three strategies to achieve formal unity: (1) The text is delivered almost without inflections and it is clearly articulated to keep it comprehensible. Little processing is applied. (2) Material from previous sections is recycled achieving an impressive economy of means. (3) The pitch class B natural is employed as a pivot and as a recurring motive throughout the piece.
Dhomont shows his compositional craftsmanship by keeping the pace of the sections masterly balanced. Sound objects are carefully designed to keep sources’ identities hidden. When these can be identified, they are meant to fulfill a specific formal function. For example, after the listener has been exposed to several minutes of abstract sound, the sudden appearance of a talking crowd (Inner Citadel, at 1:10) provides a striking contrast. The voice of the narrator is usually kept as a layer separate from the musical material. After twenty years of its conception, Sous le regard d’un soleil noir starts to feel the weight of time. Some of the sound processing techniques employed may sound a bit artificial today, e.g., the low pass and high pass filtering of the voice. The use of amplitude envelopes on natural time varying sounds eliminates important temporal cues. Thus, the spectral characteristics of these sounds do not fit their temporal structure creating a perceptual paradox. Check, for example, the articulation on the B natural in the section titled Implosion.
Keeping in mind the year of its realization and the concepts underlying its formal plan, Sous le regard d’un soleil noir stands as a landmark of acousmatic composition.”
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Francis DHOMONT
“Les dérives du signe”
“Mobility here is that of quicksand. One believes one holds the image but it sifts between the fingers, or allows itself to be covered, engulfed by a new image closing in upon it.Ubiquity and ambiguity of signs inform us and lead us astray. These four works play with diversion. The diversion: of musical discourse in Novars, of sound sources in Chiaroscuro, of sensory perception (synesthesia) in Météores (Meteors), and of nature in Signé Dionysos. Under the title Mouvances~Métaphores (Mobility~Metaphors), seven works are united around the common theme of movement as with virtual displacement of sound in geometric space, or metaphorical transferences of meaning into the realms of imagination.” Francis Dhomont
“Novars” (1989), “Chiaroscuro” (1987), “Météores” (1989), “Signé Dionysos” (1986-91). (Disque 2 du coffret double-CD “Mouvances ~ Métaphores” de 1991 (IMED 9107/08).)
“Novars” (1989), “Chiaroscuro” (1987), “Météores” (1989), “Signé Dionysos” (1986-91). (Disque 2 du coffret double-CD “Mouvances ~ Métaphores” de 1991 (IMED 9107/08).)
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Francis DHOMONT
“Cycle de l’errance”
“Francis Dhomont’s ’Cycle de l’errance (Mouvances-Metaphores, 1)’, includes several of his important works, including ’Points de fuite’ (1982), ’. . . mourir un peu’ (1987), and an excerpt from ’Espace/Escape’ (1989). Dhomont is distinguished not only as a composer but also as a professor at the University of Montreal whose thoughts on sound and approach to composing electronic music have been influential in creating the rich spectrums of the so-called ’Montreal sound’.”
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Francis DHOMONT
“Études pour Kafka”
Behind major works of the scope of “mourir un peu”, “Sous le regard d’un soleil noir”, and “Forêt profonde”, is a long period of thinking - sometimes years - and several studies where I experiment with the themes, try out sound materials, and unveil glimpses of the final work. These etudes are the work’s prolegomena. However, with their finished form, the studies presented here have gone beyond that stage, beyond the sketch. They are self-standing compositions prefiguring Le cri du Choucas, a long work on the world and character of Franz Kafka initiated twelve years ago. So here are three of these self-standing sketches, these pieces of sonic research and impressionistic approaches of Kafkaian themes guided by the enlightening analysis by Marthe Robert (1914-1996) (Seul, comme Franz Kafka Calmann-Lévy: Paris, 1979). Francis Dhomont [English translation: François Couture, x-09]
“Premières traces du Choucas” (Dhomont) (2006). “Brief an den Vater” (Dhomont-Kafka) (2005-06). “À propos de K” (Dhomont) (2006).
“Premières traces du Choucas” (Dhomont) (2006). “Brief an den Vater” (Dhomont-Kafka) (2005-06). “À propos de K” (Dhomont) (2006).
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Francis DHOMONT
“… et autres utopies”
“Utopian, these aural mirages surely are - not in the political sense of the Ideal City, but in the etymological sense of ou-topos: belonging to no specific location, except for imaginary territories; creatures of illusion and, in this case, sound. These aural “non-lieux,” these chimeras of perception, resulting from treatments and made from unlikely parts that are loosing their identity, stripped off of any audible source, are fictional beings born out of a dreamer’s nomadic invention.Also utopian are - haven’t it been said often enough? - these sonic structures attempting to avoid traditional music codes, disregarding their imperatives, and offering a stream of mental images to our psyche. However, do we really have to be reminded of all these things that we know so well? Certainly, for in these cybernetic times, is there anything more necessary than the reality of utopia? So, here are five fantasies to be listened to with eyes closed; in sequence, they dream up sound in space, mankind’s revolt against its own nature, a few light phenomena, a symbolic journey, and the tumultuous manifestations of exaltation.” “Here and There” (2003), “Je te salue, vieil océan!” (1998, 2000-04), “Chroniques de la lumière” (1989, 2005), “Voyage-miroir” (2004), “Corps et âme” (2001-02).
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Francis DHOMONT
“Jalons”
“Vol d’Arondes” (1999), “En cuerdas” (1998), “Les moirures du temps” (1999-2000), “Studio de nuit” (1992), “Lettre de Sarajevo” (1995-96), “Un autre printemps” (2000), “Drôles d’oiseaux” (1985-2001), “L’électro” (1990).
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Francis DHOMONT
“Le cri du Choucas”
“Le cri du Choucas” (2014, 15) stereo tape.
Conceived in 1997 and left to mature slowly, Le cri du Choucas is the third and final instalment in my “Cycle des profondeurs” [Cycle of Depths], the first two parts of this long triptych (about three hours) being Sous le regard d’un soleil noir (1981) and Forêt profonde (1994-96), of which a few reminders are included in this instalment. All three are “electroacoustic melodramas” (Michel Chion) inspired by a psychoanalytic approach — Marthe Robert’s in this case, especially an insightful essay by this literary critic, translator, and psychoanalyst entitled As Lonely as Franz Kafka (1979). As Pierre Schaeffer said, “[…] how could we not wonder about the development of music itself, which mysteriously seems to build a bridge between psychology of perceptions and psychology of depths?” and, a fortiori, about the origins of this perceptive music that is acousmatic music, “psychology of depths” being just another name for psychoanalysis.
About the title Le cri du choucas, which means “The Jackdaw’s Call”… Kavka is the Czech word for jackdaw, a bird akin to a crow whose effigy Hermann Kafka, Franz’s father, used for his store sign. Kafka himself wrote “I am a jackdaw, a helpless kavka.” This match and this title are inspired by the animal symbolism found in Kafka’s works: the deep call, the solitary, unusual, often-choked, never-emphasized cry that you can hear in every single tale, however fragmentary, by this author.
Before the Law, a famous section of The Trial, serves as the red thread of my piece, the Law being a metaphoric representation of the impenetrable realms the human mind hits, and not — as what the Vulgate and the adjective “Kafkaesque” usually reduce Kafka’s complex thoughts to — a portrait of bureaucratic aberrations. It is mostly “what you cannot possibly escape from”: a doorway to knowledge is open especially for the man who gets to it, although he is also forbidden to pass through it. Which means that his — metaphysical — question remains unanswered. Symmetrically, a crucial message is addressed to him, although it will never reach him. “In The Penal Colony,” writes Marthe Robert, Kafka “reduces the law to nothing more than an inordinate power of coercion whose sole function is to automatically enforce punishment” [our translation].
Before this long piece, there were four Études pour Kafka which form, alongside new elements, the musical materials of this melodrama. However, these materials are assembled in a different order to fit a script highlighted by texts by and about Kafka told by multiple voices, some of them known, unknown, or transformed.
These are some of the themes covered in this work: the Law, guilt, the father, solitude, dreams, impossible messages, and death. You will hear, by order of appearance, excerpts from The Trial, The Penal Colony, Letter to His Father, The Verdict, Diary, Letters to Felice, The Burrow, A Message from the Emperor, and The Metamorphosis.
Conceived in 1997 and left to mature slowly, Le cri du Choucas is the third and final instalment in my “Cycle des profondeurs” [Cycle of Depths], the first two parts of this long triptych (about three hours) being Sous le regard d’un soleil noir (1981) and Forêt profonde (1994-96), of which a few reminders are included in this instalment. All three are “electroacoustic melodramas” (Michel Chion) inspired by a psychoanalytic approach — Marthe Robert’s in this case, especially an insightful essay by this literary critic, translator, and psychoanalyst entitled As Lonely as Franz Kafka (1979). As Pierre Schaeffer said, “[…] how could we not wonder about the development of music itself, which mysteriously seems to build a bridge between psychology of perceptions and psychology of depths?” and, a fortiori, about the origins of this perceptive music that is acousmatic music, “psychology of depths” being just another name for psychoanalysis.
About the title Le cri du choucas, which means “The Jackdaw’s Call”… Kavka is the Czech word for jackdaw, a bird akin to a crow whose effigy Hermann Kafka, Franz’s father, used for his store sign. Kafka himself wrote “I am a jackdaw, a helpless kavka.” This match and this title are inspired by the animal symbolism found in Kafka’s works: the deep call, the solitary, unusual, often-choked, never-emphasized cry that you can hear in every single tale, however fragmentary, by this author.
Before the Law, a famous section of The Trial, serves as the red thread of my piece, the Law being a metaphoric representation of the impenetrable realms the human mind hits, and not — as what the Vulgate and the adjective “Kafkaesque” usually reduce Kafka’s complex thoughts to — a portrait of bureaucratic aberrations. It is mostly “what you cannot possibly escape from”: a doorway to knowledge is open especially for the man who gets to it, although he is also forbidden to pass through it. Which means that his — metaphysical — question remains unanswered. Symmetrically, a crucial message is addressed to him, although it will never reach him. “In The Penal Colony,” writes Marthe Robert, Kafka “reduces the law to nothing more than an inordinate power of coercion whose sole function is to automatically enforce punishment” [our translation].
Before this long piece, there were four Études pour Kafka which form, alongside new elements, the musical materials of this melodrama. However, these materials are assembled in a different order to fit a script highlighted by texts by and about Kafka told by multiple voices, some of them known, unknown, or transformed.
These are some of the themes covered in this work: the Law, guilt, the father, solitude, dreams, impossible messages, and death. You will hear, by order of appearance, excerpts from The Trial, The Penal Colony, Letter to His Father, The Verdict, Diary, Letters to Felice, The Burrow, A Message from the Emperor, and The Metamorphosis.
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Francis DHOMONT
“Cycle du son”
“This Cycle celebrates sound (a major discovery of the twentieth century) and concrete music. It is a fiftieth-anniversary homage to the inventiveness of Pierre Schaeffer, who clearly created an upheaval in the world of music that has had no precedent. Drawing on the same sound material which was forged from the first movement of Schaeffer’s Étude aux objets, as well as from a personal collection of sounds that have been stored away over the years, these four pieces go through a process where they develop out of each other, question each other, echo each other, and complete each other through allusions, commentaries, metonymies, and continuations. With poetic freedom they both evoke a historic journey and propose a connection between the object of sage Schaefferian observation and the wildest “metamorphologies” of sound art. Years after its composition, Novars, the third part of this cycle but the first to be composed, remains the section around which the entire work turns. Cycle du son (Cycle of Sound) premiered on November 22nd, 1998 as part of the 5th L’espace du son Festival acousmatique international in Brussels (Belgium).” Francis Dhomont
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Erik NYSTRÖM
“Morphogenèse”
“Catabolisms” (2011-12), “Latitudes” (2011), “Lucent Voids” (2012), “Cataract” (2010), “Far-from-equilibrium” (2008). Erik Nyström is specialised in electroacoustic music and is currently pursuing an aesthetic interest in spatial texture, and visual and physical experiences in acousmatic listening. He holds a PhD from City University London (UK), awarded in 2013 for his research entitled Topology of Spatial Texture in the Acousmatic Medium. The work was supervised by Denis Smalley and develops, in both theoretical concepts and composition practice, an approach to spatiotemporal processes and structures in electroacoustic music, especially applicable to multichannel circumspatial compositions. His educational background includes studies in Recording Arts at SAE Institute London (UK), Computer Music Composition at CCMIX (Paris, France), with Gerard Pape, and Electroacoustic Composition (MA, PhD) at City University London (UK), with Denis Smalley. Erik Nyström lives in London (UK) where he also teaches at SAE Institute London and freelances as sound engineer. His music is frequently performed internationally and has received prizes and mentions, including the Public Prize at the Métamorphoses 2010 competition (Belgium).
13,00€
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Elainie LILLIOS
“Entre espaces”
“Elainie Lillios’s music reflects her fascination with listening, sound, space, time, immersion and anecdote. Her music explores many sound worlds; sometimes referential ones such as the human voice, cars, wind chimes, or water. Other times her materials are less obvious, like crunching branches, walking through snow, or pebbles shuffling in water. Her compositional output includes electroacoustic works, music for instruments with live interactive electroacoustics, and collaborative immersive multimedia audiovisual installation environments. Her research interests include sound diffusion as the performance practice of electroacoustic music, audio spatialization employing Ambisonics, critical listening as a creative aid and Deep Listening.” “Dreams in the Desert” (2001), “Arturo” (1998), “Hastening Toward the Half Moon” (2004), “Backroads” (2002), “Threads” (1998), “Stumbling Dance” (1998-99), “Listening Beyond…” (2007).
13,00€