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Home / Listen / Musicworks magazine recordings / Musicworks 117 CD
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Various artists issue # 117
1. . . per essere fresco (2004) Composed by Giorgio Magnanensi. Performed by Silvia Mandolini (violin) and Brigitte Poulin (piano). My work aspires to be speechless, not eloquent, without the urgency of communicating anything. If it expresses anything at all, that is pure character—essence more than intentionality. It manifests potential energy more than activity, relying on its own bare existence. The capriccio character of the piece grows in a stream of varied textures in which ornaments are continually enhancing their hidden and recursive properties. The ornament—as an attribute of creativity—thrives and manifests itself as multiplicity and difference, in an endless becoming where gestures and figures reveal the sequential process of their creation as pure chronology. — Giorgio Magnanensi Recorded in concert at the Music Gallery, Toronto, October 2004. © 2004 Giorgio Magnanensi 7:09
2Distance (2013) Composed by Fuhong Shi. Performed by Soundstreams Chamber Ensemble with the Chai Found Music Workshop, Les Dala conductor. Commissioned by Soundstreams. Distance does not only mean time and space, but also signifies the ability to reconsider and rediscover the roots of language and culture. Meanwhile, distance could as well imply the echo, dialogue between, contrast, transplantation, and integration of form and content as well. This piece is new starting point for me from which to explore, understand, and clarify the meaning of distance through my music composition. —Fuhong Shi Recorded in concert in Koerner Hall, Toronto, May 2013. © 2013 Fuhong Shi 8:02
3Bourj el Imam (alternate) (2013) Composed and performed by “A” Trio—Mazen Kerbaj (trumpet, voice), Sharif Sehnaoui (acoustic guitar), Raed Yassin (double-bass)—and Alan Bishop (guitar, voice). In the margins of the Irtijal ’12 festival, “A” Trio initiated a collaboration with Alan Bishop with the aim of bridging the gap between two different musical worlds. Several days in the studio in April 2012 and May 2013 will result in a CD soon see the light of day on Annihaya Records. —Sharif Sehnaoui Recorded and mixed by Fadi Tabbal at Tunefork Studios, May 2013. © 2013 “A” Trio + Alan Bishop 16:43
4Zellllaa Zuuuullaa Zaayyhaaa!! (Extract from Tymbral for Pran Nath) (1970, 2013) Composed and performed by Charlemagne Palestine (Buchla oscillators and filters). Originally recorded at the NYU Intermedia Workshop 1970; edited in Milan, 2013. Licensed courtesy of Alga Marghen. © 1970, 2013 Charlemagne Palestine8:59
5Breathing Black Ground (2013) 6:26 Composed and performed by Sarah Neufeld. The intro and vocals were recorded on a Nagra 4 in a geodesic dome in Teufelsberg. You can hear the wind shifting in and out, the occasional waterdrop, and the natural eighteen-second reverb doing its magic. The main violin movement was recorded in Studio P4, an old orchestral recording hall in the former east Berlin, with a beautiful vintage microphone setup. The harmonium drone was overdubbed in mixer Nils Frahms’ Durton Studio in Berlin. The piece represents the under layer of the record: deep layers of earth and the beings underground that breathe dirt and see through touch. —Sarah Neufeld Recorded by Nils Frahm, assisted by Matthias Hahn, in Berlin at Studio P4, Berlin. From the album Hero Brother (Constellation Records, CST095). ℗ Constellation Records © 2013 Sarah Neufeld 6:29
6SE + AK & JG (2008) Audio available on CD only. Composed and performed by Scrambled Eggs—Charbel Haber (electric guitar, electronics), Tony Elieh (electric bass), Malek Rizkallah (drums)—and Joseph Ghosn (laptop, synthesizer), Abdallah Ko (electric guitar, electronics). In November 2008, post-punk band Scrambled Eggs invited several musician friends from the Lebanese experimental scene to join them for three days in the studio. The result was released on local label Johnny Kafta’s Kids Menu. —Charbel Haber Recorded by Fadi Tabbal at Tunefork Studios, November 2008. Licensed courtesy of Johnny Kafta’s Kids Menu © 2008 Scrambled Eggs & Friends 6:42
7Elastic Planets, Live (2013) Audio available on CD only. Composed and performed by Laura Kavanaugh (laptop with custom software for live sampling, voice, amplified objects) and Ian Birse (modified guitar, live sampling), aka Instant Places. Elastic Planets is a space station for real-time sound and image generation. During the performance our sounds were spatialized in clusters that floated in the 3-D audio field; the performance video generated groups of image fragments that followed the audio clusters in the projected space. In developing the work, we recorded hours of free improvisations in our studio, using altered guitar, voice, accordion, and custom live-sampling software. The Elastic Planets audio machine reworks ten-second sections selected at random from these improvisations, composing an enveloping audio field that floats beside the projected animations, affecting the image transforms in a choreography that remains playfully mysterious. —Instant Places Recorded in concert and sound-engineered by Darren Copeland at NAISA in Toronto, June 2013 (excerpt from the end of the three-hour performance). © 2013 Laura Kavanaugh, Ian Birse 12:19
8“L’Échappée du temps,” (Second movement of 8 Haïkus Souffle Lumière for choir and ondes Martenot trio) (2013) Audio available on CD only. Composed by Marie Bernard. Performed by Chœur de l’Art Neuf (Pierre Barrette, conductor) and Ensemble d’Ondes de Montréal (Marie Bernard, Suzanne Binet-Audet and Estelle Lemire). 8 Haïkus Souffle Lumière features the accompaniment of three Martenot, the unique instrument that blends so well with the human voice—here used here notably with great percussive effects. “L’Échappée du temps” expresses the stress of human beings living their lives as a time trial, transfixed by performance. The complete composition will be recorded in studio and released by ATMA Classique in 2014.—Caroline Martel Concert recorded by Patrick Vézina at St-Pierre-Apôtre church in February 2011, during the Montréal en Lumière Festival. The second movement was remixed for Wavemakers (dir. Caroline Martel, 2012, 96 min. productions artifact | NFB). © 2013 Marie Bernard 2:13
9Vers l’or, Extended (2012) Improvisation by Suzanne Binet-Audet (Martenot) and David Madden (bass), with Owen Chapman ("the Icebreaker") and Lareya Audet (triangle). Initially we called this “The Far West Song,” because of its epic tone and crescendo. I loved how Suzanne’s Martenot had a sensual, strong feminine quality as it was trying to break into Dave’s steady, imposing bass. When we tried to translate the Far West idea into French, Suzanne suggested that we evoke the “ruée vers l’or” (gold rush)—a wink to the underlying alchemy metaphor in my film. — C.M. Recorded at hotel2tango by Howard Bilerman during a session organised by Owen Chapman. The improv was edited down and “reorchestrated” by Clovis Gouaillier for Wavemakers. This is the extended version. © 2012 productions artifact 3:59
10Overture (2012) Audio available on CD only. Composed by Clovis Gouaillier with Suzanne Binet-Audet and Caroline Martel. Performed by Suzanne Binet-Audet (Martenot). Overture was created for the opening of Wavemakers. It works on two levels: to accompany the cards that evoke the creation of the Martenot amidst the chaos of the Great War to the final note about its future being “up in the air”; and to embody through sound editing the transformation of noise into music that the instrument performs—opening with white noise, then overlaying tracks to create klangfarbenmelodie, and ending on the lyrical cry of Suzanne’s distinct touch. From tracks recorded at the Église Sainte-Famille de Boucherville in 2003 by Sylvain Bellemare and in 2012 by Clovis Goaillier. © 2012 productions artifact 1:12
