Consacré aux lauréats du 30e Concours
International de Musique et d'Art Sonore Electroacoustique
| Mario MARY | Signes émergents (14'58) |
| Laurent SOULIE | Ecorce de lune (16'07) Ensemble TM+ |
| Ambrose FIELD | One hell of a place to lose a cow (18'32) |
Doctor in aesthetics, sciences and technology of the Arts, and artistic director
of the Computer Music Cycle, he teaches the sound synthesis and treatments at
the University Paris VIII.
He won many first Prizes of composition competitions as Luigi Russolo 1994,
FNA 1997, Pierre Schaeffer 1998, TRIME 1998 and 2001, PanAccordion 2000, Musica
Nova 2002. Bourges 2003.
Composer in instrumental music and computer music, Mario Mary is invited by
different institutions to realize compositions and give lectures: GRM, IRCAM,
Vienna University (Austria), Ex-Teresa Arte Actual (Mexico), DIEM (Denmark),
LIPM (Argentina), Aveiro University (Portugal) etc…
"Today's real contemporary music is one that generates emerging signs in relation
with aesthetical trends of the new century"
The macro-form of the work is organised in two parts lasting nine and six minutes
respectively. The first one has relentless articulations that give rhythm into
the musical discourse and print a tenacious character to the music.
The electroacoustic technic of orchestration was used as for generating materials
as for generating the discourse articulations.
The second part is a kind of study on spatialization possibilities for eight
tracks device.
The work is an INA-GRM Commission realized in its studio.
Prize of the electroacoustic tape music without instruments in the 2003 Bourges
Competition.
Piano studies at the Bordeaux National Conservatory of Region.
1992: Electroacoustic music Prize in the Bertrand Dubedout's class at the Toulouse
National Conservatory of Region.
DEUST in music at the Toulouse University. Studies at the Lyon High National
Conservatory.
1996: composition and computer music prize of Department SONUS in Philippe Manoury's
class.
Shares his musical activity between composition and teaching.
Commissions of electroacoustic, instrumental works with and without instruments
for the State, the Pythagore ensemble, the Orchestre National de Lyon, the Ensemble
TM+, the Festival Novelum, or the SCRIME.
(for flute, oboe, clarinet, alto, cello, piano, percussion and electronics)
This work is dedicated to my friend and composer Pierre Jodlowski. "Ecorce de
Lune" is a work for instrument and electronics composed in 8 movements:
" Uchrony
" Strokes
" Landscapes
" Stars dusts
" Dawn colours
" The pendulum (encrusted by) Deimos
" Ephemeris
" Achromy
The realization of these moments is made by the set of musical gestures, going
out from my own acoustic reality which translates each poetic intention.
My sound imaginary borns specially by the electroacoustic studio, but also by
a pedagogical practice with the sound bodies, voice games, matter plays…
Sound bodies in movement, gesture transformations, reality transgression, poetic
imaginary lead my musical desire.
Prize of the electroacoustic tape music with instruments in the 2003 Bourges
Competition.
Conducting: Laurent Cuniot Flute: Gilles Burgos Oboe: Jean-Pierre Arnaud Clarinet:
Francis Touchard Piano: Jean-Pierre Collot Percussion: Florent Jodelet Viola:
Claire Merlet Cello: Florian Lauridon
Founded in 1977, Ensemble TM+ is conducted by Laurent Cuniot since 1985.
Since 1996, the Ensemble is in residence at the Maison de la Musique de Nanterre.
It is composed with 15 high level musicians. Other instrumentalists can be privileged
to join them for allowing the Ensemble to tackle multiple formations of chamber
music.
TM+ sets up a characteristic artistic project: the presentation of programmes
where the works of the past as the present become clear each other and stump
the borders artificially drawn between them in that way. For its creation, the
Ensemble TM+ has commissioned and played in world premiere more than 60 works.
It participates with main manifestations in France and foreign countries.
Ambrose Field is a composer and sound designer. He specialises in the creative use of mutlichannel surround-sound, working on both commercial and arts projects for DVD, cinema and live performance. Described in 2000 by the BBC's 'Hear and Now' Radio Programme as "Music pushing against its boundaries and aspiring to the visual", Field integrates the outside world into his music to create drama, tension and impact through the use of sound-design materials. Field's music has since been the recipient of a number of prizes, and is available on cds from Centaur Records, the ORF, and Memnosyne Media/IMEB and Sonic Arts Network UK. His work has been performed live at major contemporary music and electronic festivals in the USA, Europe, Russia, Brazil, Poland, South America and China. Field is currently the director of the University of York Music Studios where he lectures in composition.
Drawing on ideas explored in Expanse Hotel (Centaur Records 2552) One hell of
a place to lose a cow plays on the interaction between sound, context and emotion.
High-octane designed sounds meet sonically mangled rock guitars head-on in a
large stadium. Strap yourself in, you're in for quite a ride! There are 7 short
movements in this stereo version of the work. It's perhaps a little like 'Hollywood
vs Pierre Schaeffer', weaving together music, sound design, and action-movie
style effects.
1. Introduction: Fairy Castle San Francisco: another hot day : Environments
become subtly coloured with tonal resonances. After playing with your expectations,
our digital world finally intrudes.
2. Thor's Hammer West coast packed arena. Ageing guitar hero 'make it large'
Joe plays final burnt-out and overblown gig. Crowd go wild in adoration. We
lurch from one excess to the next -- but what's driving the music? It's not
Joe.
3. Chinese Wall A long division. Woman arrested by Los Angeles police department
claims that her employer forced her to dress in costume.
4. Silent City All the charm of the city, but no city sounds. Textures circulate,
interrupt each other, jostle for space, light and air.
5. The Alligator A tiny tribute to McLaren's Swamp Thing. Featuring: chopped-up
guitars and damp environments. Here everything's biomechanical - even the birds.
Perhaps this landscape's better seen on TV.
6. The Cathedral We're back with Joe and the boys. Crowd not paying attention.
Instead, they've got other things on their minds: guns, violence, wars, guitars:
are they getting enough?
7. Wall of Windows Fragments of reality intrude in a seamlessly simulated environment.
What about the title? Bryce Canyon, Utah, USA. Amazing shapes called 'hoodoos'
rise up from the arid landscape. With a bit of imagination, you can turn them
into anything you like. People are reported to have seen Queen Victoria, alligators,
Chinese walls, Cathedrals and even London's Tower Bridge from which the rock
formations take their name. The 'rock formations' in One hell of a place to
lose a cow (the musical work) have certain similarities. The phrase itself is
attributable to Ebenezer Bryce, who on seeing the canyon, couldn't imagine grazing
his bovine herd in such an inhospitable location.
The work was 12 months in the making and was realized in the studio of the composer.
Prize of the electroacoustic tape music without instrument in the 2003 Bourges
Competition.