Centre

MUSICAL COMPOSITIONS IN SPATIAL AUDIO

Duration: 66’19’’

September 27 - October 22
Saturday: 1:30 PM
Sunday: 12 PM, 6 PM

Duration: 11'30

Excerpt from Cathédrales, an acousmatic journey, conceived for a dome of loudspeakers, that presents sound immersion as a “montrage” (from the French montrer and montage) for the ear, inspired by the physical and sonic presence of churches in Montréal.

Photo: Milan Maracek

Duration: 13'42

About Strings is based on two trivial spacetimes: the recordings of the different strings, slowly, of two strange instruments: a laboratory "monochord" and a ukelin (the mix of a violin and a ukulele), for sampling purposes. These sound recordings serve as a guideline for the piece and are kept whole, with their faults, their sudden movements and their roughness.

Duration: 9'14

The title of this piece refers to the cyclical and repetitive song of the Acheta domesticus, better-known as the house cricket. Its song served as a model for the construction of the piece.

Duration: 14'02

Following the Climat avenir cycle published in 2021, Reservoir IV pursues a representation of nature through synthetic music. In this perspective, the Sound Habitat of the PHI Center is considered as a reservoir where water collides with walls, deposited on the outskirts of an unknown territory.

Duration: 17'51

Composed, mixed and mastered by Francisco López at ‘mobile messor’ (The Hague) and Dune Studio (Loosduinen), 2020. Includes some electronic voice phenomena (EVP) samples by Michael Esposito.

MUSICAL COMPOSITIONS IN SPATIAL AUDIO

Duration: 60’44’’

September 27 - October 22
Saturday: 3 PM
Sunday: 1:30 PM

Duration: 7'40

In a postnuclear setting where all trace of human life has vanished, crushed remnants emerge from the layers of sand and stone, and the fragments of memory burst through the shadow mouths forming, singing, shutting up, screaming.

Duration: 8'09

This electronic poem is in four parts: Le cadran déchu (The Deposed Dial); L’obsession (The Obsession); La va-et-vient (To and Fro); L’horloge ambulante (The Walking Clock). I have an uneasy relationship with time… Present, past, and future times. – With the voices of Laur Fugère, Céline Bonnier and Pierre Lebeau.

Photo: Martine Doyon

Duration: 12'50

Winner of the Micheline Coulombe Saint-Marcoux prize at the first edition of Montréal international competition of immersive multichannel music AKOUSMAtique (2022).

A playful piece that explores the boundaries between rhythm, pitch, texture, and space. The work is inspired by the rhythmic figure of the rebound, a recurrent figure in electroacoustic music, characterized by the repetition of an element at a progressively increasing speed. The goal is to create sound choreographies, exploring sound spatialization possibilities.

Photo: Louis Cummins

Duration: 14'02

Following the Climat avenir cycle published in 2021, Reservoir IV pursues a representation of nature through synthetic music. In this perspective, the Sound Habitat of the PHI Center is considered as a reservoir where water collides with walls, deposited on the outskirts of an unknown territory.

Photo: Peter Grant

Duration: 14'42

Melancholia has eight movements: black humour, nostalgia, anguish, boredom, reverie, anger, exhaustion, sadness. The only sound material of the piece comes from the bandoneon, a typical instrument of Argentine tango.

Photo: Caroline Campeau

MUSICAL COMPOSITIONS IN SPATIAL AUDIO

Duration: 62’44’’

September 27 - October 22
Saturday: 4:30 PM
Sunday: 3 PM

Duration: 18'30

This composition takes us on a path inside. Fragments of dreams and memories meet in a vast space full of dynamic movements. We fly, swim, dive in an unknown medium between air and liquid. In three slow, big waves, individual voices become more apparent and offer connecting points between the other elements.

Photo: Tony Rinaldo

Duration: 10'11

Winner of the Francis-Dhomont prize at the first edition of Montréal international competition of immersive multichannel music AKOUSMAtique (2022).

Le chant en dehors creates an atmosphere of evolving connection between sonorities of definite and indefinite pitch, or ‘tone’ and ‘noise.’ The title is taken from an instruction used by the French composer Francis Poulenc, meaning ‘bring out the tune.’

Photo: Amalia Young

Duration: 12'00

Dusk's Gait celebrates moments of real nature that may easily expire. The composition captures many late evenings and nighttime experiences of nature, and fantasies behind the veil of darkness.

Photo: Kyrre Lien

Duration: 10'57

The multitrack considered as if it was delimiting a physical place — a public square, empty — but radiating and vibrating with the rumor of the multitude of singularities that were still there not long ago. An intertwining of lines and occasional agglomerations that come together and come apart. The sound materials were made on Oboro's modular synthesizers.

Photo: Monique Bertrand

Duration: 11'06

This work bases itself on the engineering, the mechanics, the forces and physical energies underlying the operation of roller coasters. Circuits of long serpentine paths are triggered by a single initial state, the origin of unfolding activity that replenishes and renews itself within itself.

Photo: Janeath

MUSICAL COMPOSITIONS IN SPATIAL AUDIO

Duration: 60’12’’

September 27 - October 22
Saturday: 12 PM, 6 PM
Sunday: 4:30 PM

Duration: 14'15

I have always heard bird songs as the Earth’s sonic flowers, the first terrestrial melodies, but also as oscillators with complex modulations. After testing a few transformations, I felt like I had at my disposal the tools that would allow me to twist, transpose, and explode them into other materials in order to create new bird species.

Photo: Julia Jones

Duration: 15'12

As I run all year around on Mont-Royal, spring is a special time when all things come to life. I feel very lucky to witness the changes through the seasons. This is simply a meditation on the wonderful life cycle that keeps repeating.

Duration: 11'12

One of the main sound-producing mechanisms in the piece is a vacuum cleaner. The airflow travels from the motor through the suction hose and telescopic tube to the end nozzle. The excitation signal is produced by various membranes and other probs vibrating at the end of the suction tube. Sound from there is then modulated following the Fab Synthesis paradigm, a sound synthesis practice I used throughout the piece.

Duration: 7'56

I composed this set of three movements during May of 1974, when I had been studying computers for nearly a year. At that time, I had a research fellowship from the Institute for Studies in American Music, and was studying American music with H. Wiley Hitchcock. While composed under the influence of the rhythms, modes, and energies of that music, these pieces are probably best placed in that large category of composed music which distorts or alters more than it embodies folk material. Still, as with much of my music, both my earlier folk music roots and the practice of improvisation make the piece what it is.

Duration: 11'37

Based on field recordings, this piece is inspired by a collection of meaningful moments experienced during my many hikes on Monts Valin, located in Saguenay. It was composed on the octophonic system of the Chicoutimi Musical Experimentation Center during a residency and mentoring activity (Achicoutimatique) and premiered at the same place on August 12, 2021.

Photo: Valérian Mazataud