Christian ELOY

« Passeur d’eau »

Le Chant du bollard (nouvelle version 2018)
A bollard is a vertical sliding system to which boats tie up in locks ; it emits discontinuous random sounds during the whole time the water is falling in the lock, and there are about a dozen that “sing” in this way in this gigantic sonorous cathedral. This, therefore, is water heard from a boat passing through one of the immense locks on the Rhône, where everything is amplified and takes on a grandiose fullness.

La cicatrice d’Ulysse (2006)
This title, borrowed from Erich Auerbach, German writer and critic deceased in 1957, immediately sets the scene on a plane where realism is depicted in the aesthetics of Western music. Electro-acoustic music has the ability, using “concrete” sounds (with all the ambiguity implied by the word), of giving us an immediate sensation of reality, which we can all situate in relation to our references and private objects of reference; these are the profound notions of sublimitas and humilitas, which merge and unite in musical expression.

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Yuko KATORI

Kurakake Trilogy

Kurakake is the name of a mountain that appears prominently in the works of a poet Kenji Miyazawa (1896-1933), and it became the primary inspiration for this composition.

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Jorge SAD LEVI

Electroacoustic works 1

« Mi casa es la lluvia » (2013)
The piece is based on spatial elaboration of a small number of sound images : my voice, environment sounds and synthetic sounds . The concept behind this work is the notion of Perturbation, which also serve as inspiration for other works I´m composing at this time. The perturbation of a sound field, the perturbation of periodicity, the perturbation of pitches and rhythms are different aspects of the idea : Creation is the perturbation of a certain domain in a certain amount and extension. At the end of the piece, a reflection about ¨l´objet sonore¨ (every sound object is a lost object) , recorded at Rue Ontario, Montreal, during a strong and short summer rain gives the tittle to the piece.

Hiperrock 2nd version (2009)
If I should write a score for this electroacoustic work, I would begin with this indication for a virtual, imaginary performer : Mourning, playing with a deep nostalgic feeling and rage.
My aim was to compose a piece that at the same time could refer both to rock music and electroacoustic music genre in an historical point : the year 1974.
The composition process could be described as a constant modulation between styles …
In this sense, two opposed themes could be identified by the listener, the ¨cut and paste¨ theme, that is based on very fast articulation between different sound forms, alla Parmegiani, producing an unified sound stream, and the second, the ¨electric guitar¨ theme, in which one sound source remains identically to itself producing very different sound qualities.
No samples or recordings of live performances of real instruments were used to produce the electric guitar sounds, but physical models and synthetic sounds.
The original name of the piece evoked Leonardo´s words, ¨Per via di porre, per via di levare¨ and in a certain way the piece dramatically represents the process of its construction, in which form is less a point of depart than a point of arrival.

Aspavientos (1998)
(Imaginary recording of John Dowland’s What if I Never Speed ?)
I conceived this composition as a piece for singing and percussion « in real time » that would have been recorded in an imaginary world, with different physical laws than ours, or recorded in a reverie where there are elements that remain invariable and others that are varied or ordered in an impossible way.
I try to find the instrumental gesture and to give the feeling that this piece has been played somewhere and that what we hear is a recording, not an electroacoustic piece.

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Jean VOGUET

« l’Odyssée » part 3

In l’Odyssée, with his acousmatic geophonies & heterotopias, Jean Voguet virtually explores other planets in the Universe that the humanity may discover one day, and see whether it is habitable or not, in order to survive.

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Pierre BOESWILLWALD

« Tentatives en étoile »

Grand voile dans le temps (2015)
Rather than the timbre or the identification of the sound, I wanted in this study, to play on the variations of signal intensities. It is the sound movement that carries meaning ; it shows drama. It is not playing with duration (which is specific to music) but with movement in time … It is the correspondent of the gesture in plastic art …
The sound materials float and shake in time ; like sails in the breeze.

Doux Labyrinthe (2015)
Study on » Other-Music « . Fighting landscapes !

Un seul et les autres (2016)
Short study on a rather pathetic theme : loneliness in society.
It is one more step on the path of my old research on possible aesthetics, born out of a sound construction specific to the specific possibilities of electro-acoustics, which is closer to the plastic arts than to music. The sounds here are not sound objects, melodic or rhythmic motifs, but more or less identifiable dramatic presences that invent virtual and fleeting universes at the heart of the imagination of a listener who accepts adventure !

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Gilles MALATRAY

« PAS » Parcours Audio Sensibles, ici et là

These four pieces are derived from some of my sound walks with I have done for the past several years. I ausculated most of these places and then recorded the sound. That said, like any soundscapes these pieces are not necessarily faithful acoustic mirrors. They are rather the « vision » of the places, their spirits and the sensory perceptions, that are entirely personal sensations.

Nocturne urbain – Chronique montoise (2016)

Drée en écoute (2015)

Nuitées (2014)

Chemin d’écoutes – Genappes (2014)

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Guillaume LOIZILLON

Air Creatures

Gravité (2016-2017)
This piece explores different figurations of attraction, that of bodies in relation to each other, objects and forces. It also imagines these attractions as deformations of mutations, passages from one figure to another. It uses a material composed of different sound synthesis devices as well as urban field recordings from which street voices emerge. This version is conceived in the thought of the body in motion: a body that thinks and expresses itself through gesture, that sketches signs and words as it attracts into a vortex of energy and matter : that of Gravity.

Soma (2011)
The piece is entirely built on electronic sounds exploring dynamic spectral filtering of waveforms as well as physical string models. Conceived more as an immersion than a discourse or a narrative with its development, Soma is a call to half consciousness, to motionless movement in aerial and receding architectures: stone landscape with asperities populated by infinitesimal events.

Longue distance (2017)
This acousmatic piece evokes wide perspectives ; those that let glimpse and imagine the very far of the landscape. The progressive mutations of the electronic sounds and the fog of the effects, which surround the piano, indicate an itinerary which is prolonged and whose long distance leads to an attitude of floating daydream.

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Christian ELOY

« Fait couler le rocher … »

Charles Baudelaire > Bohémiens en voyage

Dans les jardins de Cybèle (2013)
A walk, on a summer’s day, in the late afternoon, through the remains of a Gallo-Roman town, the gardens of Cybele … diffuse impressions, a place both sacred and a sanctuary … but also the aura of the nearby town. A special place, allegory of the spiritual and of materialism, duality between spirit and motion.

Ellipsis (2005)
Ellipse is a scientific word and ellipsis, the literary word, each with its own special meaning. Ellipse is used in geometry, astronomy and colorimetry, and ellipsis is a term used in literature, poetry and rhetoric; the word itself is a metaphor; in another of its singularities, in geometry, it is a fixed and finite shape.