Novars
The weather is changing again. After a few days of nonchalant mildness, the day is cloudy and drizzly with potentiation of ugly storms over the horizon the next few days. These could bring some snow as temperatures drop again. Today is 12C!
Alas, with lockdown at its highest it means a fig to us. Only food shops, newsagents and chemists are open. Life is dull but at least there is music via the internet and CDs to calm the savage breast.
Such music is that from the electroacoustic fraternity -
And hence there is one I have on order direct from the label empreintes DIGITALes, Canada -
Francis Dhomont - Cycle du son Mov. 3 "Novars" (1989)
Novars - 3rd of the 4 works in the Cycle du son - was realized at Studio 123 of the Ina-GRM (Paris, France) and at the composer's studio and premiered on May 29th, 1989, as part of the 11th GRM Acousmatic Concert Series at the Grand Auditorium of Rthe Maison Radio France (Paris). This piece was selected by the 1990 International Computer Music Conference (ICMC '90) in Glasgow (Scotland), and by the International Society for Contemporary Music (ISCM) for the 1991 World Music Days in Zürich (Switzerland). The jury of the 1991 Stockholm Electronic Arts Award also selected it for performance at its award concert in Stockholm (Sweden). Special thanks to Pierre Schaeffer who has kindly allowed the quotation of a few sound propositions, now historic; and to Bénédict Mailliard, Yann Geslin and Daniel Teruggi without whose patience it would have been impossible to domesticate Studio 123 and the Syter real-time sound synthesis system of the Ina-GRM (Paris, France). Novars was commissioned by the Ina-GRM}.
Novars salutes the birth of musique concrète, the Ars Nova of our century, by calling upon the resources of the computer. The intention is not to create a pastiche but, on the contrary, to testify that by the most advanced means a language has been passed on. It may also be possible to suggest, without establishing a simplistic symmetry, that there exists a link between these two theorists of a new art:Vitry and Schaeffer.
The 'classical' ear will perhaps recognize fragments from Schaeffer's Étude aux objets (1959) and Guillaume de Machaut's Messe de Nostre Dame (1364). These quotations, along with a third sound element - a sort of homage to Pierre Henry and his infamous door - are the sole materials giving birth to multiple variations.
A sign of change: 'spectromorphologic' (Denis Smalley) mutations give to sonorities of the Ars Nova and to 'new music' (as Schaeffernamed it in 1950) the sound of our time. A sign of continuity: something from the original works (their color, their structure...) remains present, indestructible.
Alas, with lockdown at its highest it means a fig to us. Only food shops, newsagents and chemists are open. Life is dull but at least there is music via the internet and CDs to calm the savage breast.
Such music is that from the electroacoustic fraternity -
And hence there is one I have on order direct from the label empreintes DIGITALes, Canada -
Francis Dhomont - Cycle du son Mov. 3 "Novars" (1989)
Click to viewNovars - 3rd of the 4 works in the Cycle du son - was realized at Studio 123 of the Ina-GRM (Paris, France) and at the composer's studio and premiered on May 29th, 1989, as part of the 11th GRM Acousmatic Concert Series at the Grand Auditorium of Rthe Maison Radio France (Paris). This piece was selected by the 1990 International Computer Music Conference (ICMC '90) in Glasgow (Scotland), and by the International Society for Contemporary Music (ISCM) for the 1991 World Music Days in Zürich (Switzerland). The jury of the 1991 Stockholm Electronic Arts Award also selected it for performance at its award concert in Stockholm (Sweden). Special thanks to Pierre Schaeffer who has kindly allowed the quotation of a few sound propositions, now historic; and to Bénédict Mailliard, Yann Geslin and Daniel Teruggi without whose patience it would have been impossible to domesticate Studio 123 and the Syter real-time sound synthesis system of the Ina-GRM (Paris, France). Novars was commissioned by the Ina-GRM}.
Novars salutes the birth of musique concrète, the Ars Nova of our century, by calling upon the resources of the computer. The intention is not to create a pastiche but, on the contrary, to testify that by the most advanced means a language has been passed on. It may also be possible to suggest, without establishing a simplistic symmetry, that there exists a link between these two theorists of a new art:Vitry and Schaeffer.
The 'classical' ear will perhaps recognize fragments from Schaeffer's Étude aux objets (1959) and Guillaume de Machaut's Messe de Nostre Dame (1364). These quotations, along with a third sound element - a sort of homage to Pierre Henry and his infamous door - are the sole materials giving birth to multiple variations.
A sign of change: 'spectromorphologic' (Denis Smalley) mutations give to sonorities of the Ars Nova and to 'new music' (as Schaeffernamed it in 1950) the sound of our time. A sign of continuity: something from the original works (their color, their structure...) remains present, indestructible.