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Mathew ADKINS
“Mondes inconnus”
Mapping (1995-97). Aerial (2002). Deepfield (2000). Still Time (2001) for flûte and electronics. Melt (1994). Symbiont (2002). Silk to Steel (2005). Cortex (2004-05). DVD-Audio with several versions: Surround 5.1, Stéréo and Stéréo (Dolby Digital). “Composition is, for me, like a giant puzzle in which the overall shape is fixed but the pieces and the picture itself change and undergo subtle transformations as one is constructing it. The computer tools that I use, enable me to fix the edges - the large scale rhythmic and harmonic movement and other global parameters, whilst also allowing me to improvise with these materials at the surface level. Using these tools allows me to manipulate and play with sound - like a child with a chemistry kit - reveling in the novel colours and explosive concoctions that result.” Mathew Adkins. “Mathew Adkins is a composer, performer and lecturer in electroacoustic music. He read music at Pembroke College (Cambridge, UK) and then, in 1993, became a member of the BEAST (Birmingham ElectroAcoustic Sound Theatre). He studied electronic music with Jonty Harrison and then Simon Waters. It was at the age of 22 that he first came to international attention with the electroacoustic works Melt and Clothed in the Soft Horizon. Between them these works were awarded the Stockholm Electronic Arts Award (Sweden), the Résidence Prize (Bourges, France) and the Grand Prix of Musica Nova (Prague, Czech Republic). He has since won more than a dozen international prizes for his work, which has been performed and broadcasted throughout Europe, USA, Canada, Australasia, China, and Asia. He has worked in a number of prestigious European studios, including EMS (Stockholm, Sweden), Ina-GRM and IRCAM (Paris, France), Césare (Reims, France), and Heinrich Strobel Studio (Freiburg, Germany). In the early 1990s, Adkins concentrated predominantly on acousmatic concert music but has since diversified into composing electronic works for contemporary dance, multimedia works, and electroacoustic music. What he is particularly drawn to in writing such works is the collaborative process that evolves between the composer and artist-performers. The most notable of these have been Neurotransmission (1998), an hour-long acousmatic dance score written for Wayne McGregor and Random Dance in 1998, Still Time (2001) for the flutist Alejandro Escuer, Symbiont (2002) a multimedia collaboration with Miles Chalcaft, and nights bright daies (2003) for the Ictus piano and percussion quartet; the latter premiered in June 2004 at the Festival Agora No 7 at IRCAM (Paris, France).”
12,00€
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DVD audio
Gilles GOBEIL
“Trilogie d’ondes”
Works for ondes martenot and tape. DVD audio. DVD vidéo. DVD rom.
“Voix blanche” (1988-89), “Là où vont les nuages...” (1990-91), “La perle et l’oubli” (1999-2002). All works were recorded and mixed in 2004-05.
About this Trilogy by Suzanne Binet-Audet. Gilles Gobeil’s body of work to date has been characterized by a rupture or break æsthetics, in which large-scale musical gestures are developed and brought to their acme before being immediately crushed into silence. It is a musical way of being, of breathing, a natural mark, a style, immediately identifiable and thus much more than a habit. The Trilogie d’ondes is testimony to this approach, so deeply rooted in the composer’s musical thought. The ondes Martenot’s electronic timbre and acoustic resonance are perfectly suited to the musical fabric of the electroacoustic tape part, turning it into a rich and complex mixed work. In places the instrument melds almost perfectly with the tape, while in others the ondes stand out from the sonic material, due either to the expressive quality of some melodic interventions or the contrast between the ethereal quality of the timbre and the colorful complexity of the tape sounds. In this case, Gilles Gobeil has chosen to rely mostly on the musician’s expressive accuracy in addition to virtuosity. Among the various contributions from the ondes, two themes stand out and underpin the entire structure: the “wrench theme,” which is always tightly woven into the tape and manifests itself through a long rising glissando, and the “cell theme” - or “soul theme” -, a cell consisting of four neighboring, distempered notes.
“Voix blanche” (1988-89)
The wrench theme, with its slow dramatic build-up, appears at the very beginning of this movement. Halfway through, the soul theme emerges, very legato. Following its long unfolding, it will be reintroduced in a form that is more spelled-out than linear, a form which will become definitive in the other two parts of the trilogy. Inhabited by a subtle form of poetry, this is the most lyrical movement of the cycle.
“Là où vont les nuages…” (1990-91)
This movement features a different technique. The ondes are almost always used as a trigger for prerecorded sound elements that are juxtaposed with the ondist’s playing. Through the ondes’ various interventions, the aforementioned themes are transformed into something more closely related to a sense of traveling. This movement is full of vitality and playfulness; at times, sound masses are built and taken down at vertiginous speed.
“La perle et l’oubli” (1999-2002)
Inspired by an apocryphal initiatory text from the second century, this piece consists of twelve sequences, six of which are variations on the “soul theme” cell played by the ondes. In this movement, the ondes play the part of the soul in its journey of incarnation. The final coda brings back the wrench and soul themes. The latter, modified one last time, closes the work in the bass register; its missing fourth note seems to irradiate from the dark aura of the last note played.
Suzanne Binet-Audet, iii-2005 [English translation: François Couture
“Voix blanche” (1988-89), “Là où vont les nuages...” (1990-91), “La perle et l’oubli” (1999-2002). All works were recorded and mixed in 2004-05.
About this Trilogy by Suzanne Binet-Audet. Gilles Gobeil’s body of work to date has been characterized by a rupture or break æsthetics, in which large-scale musical gestures are developed and brought to their acme before being immediately crushed into silence. It is a musical way of being, of breathing, a natural mark, a style, immediately identifiable and thus much more than a habit. The Trilogie d’ondes is testimony to this approach, so deeply rooted in the composer’s musical thought. The ondes Martenot’s electronic timbre and acoustic resonance are perfectly suited to the musical fabric of the electroacoustic tape part, turning it into a rich and complex mixed work. In places the instrument melds almost perfectly with the tape, while in others the ondes stand out from the sonic material, due either to the expressive quality of some melodic interventions or the contrast between the ethereal quality of the timbre and the colorful complexity of the tape sounds. In this case, Gilles Gobeil has chosen to rely mostly on the musician’s expressive accuracy in addition to virtuosity. Among the various contributions from the ondes, two themes stand out and underpin the entire structure: the “wrench theme,” which is always tightly woven into the tape and manifests itself through a long rising glissando, and the “cell theme” - or “soul theme” -, a cell consisting of four neighboring, distempered notes.
“Voix blanche” (1988-89)
The wrench theme, with its slow dramatic build-up, appears at the very beginning of this movement. Halfway through, the soul theme emerges, very legato. Following its long unfolding, it will be reintroduced in a form that is more spelled-out than linear, a form which will become definitive in the other two parts of the trilogy. Inhabited by a subtle form of poetry, this is the most lyrical movement of the cycle.
“Là où vont les nuages…” (1990-91)
This movement features a different technique. The ondes are almost always used as a trigger for prerecorded sound elements that are juxtaposed with the ondist’s playing. Through the ondes’ various interventions, the aforementioned themes are transformed into something more closely related to a sense of traveling. This movement is full of vitality and playfulness; at times, sound masses are built and taken down at vertiginous speed.
“La perle et l’oubli” (1999-2002)
Inspired by an apocryphal initiatory text from the second century, this piece consists of twelve sequences, six of which are variations on the “soul theme” cell played by the ondes. In this movement, the ondes play the part of the soul in its journey of incarnation. The final coda brings back the wrench and soul themes. The latter, modified one last time, closes the work in the bass register; its missing fourth note seems to irradiate from the dark aura of the last note played.
Suzanne Binet-Audet, iii-2005 [English translation: François Couture
13,00€