Arne Deforce Live Recording Abbaye de Royaumont 22/09/12

Commande pour Arne Deforce du Centre Henri Pousseur, du Grame Lyon et de la Fondation Royaumont / Voix nouvelles.

Foris est une des racines latines du mot forêt désignant plus particulièrement un « en-dehors », un lieu extérieur à la civilisation, un lieu sauvage et inconnu. 
La pièce développe dans un premier temps une multitude de modes de jeux enchainés rapidement et transformés en temps réel par l’électronique accentuant ainsi la perte de repère auditive entre le son produit et sa transformation. Après une période centrale statique ou l’espace se concentre sur un son pur produit par l’archet sur le cordier de l’instrument, Foris focalise sur certains des modes de jeux entendu dans la première partie, en les développant et en les variant à outrance. Si c’est bien d’une forêt qu’il s’agit c’est celle de l’imaginaire ou tout nous semble étranger : Bruissement, bruit sourd, déflagration, craquements, passages d’étranges entités. C’est aussi dans la partition même une densité d’événements qui est proposé à l’instrumentiste, une forêt de symboles. L’écriture gestuelle, poussée dans ses retranchements, force l’instrumentiste à devenir acteur, maitre et géographe de ce monde imaginaire. La spatialisation sur six canaux vient décupler l’écoute de cette espace si particulier. 
Je tiens particulièrement à remercier Arne Deforce pour son engagement et le travail de recherche que nous avons accomplie ensemble ainsi que Max Brucker pour le travail qu’il a réalisé sur la partie temps réel.  La pièce est dédiée à Arne Deforce. 
RC


Raphael Cendo FORIS for cello and electronics 2012 Arne Deforce live at Abbaye de Royaumont

Live-recording - Arne Deforce Cello, Centre Pousseur Liège electronics.

Solo for a melody instrument with feedback is a work for a soloist with live electronics (four technician assistants) composed in 1965–66 by Karlheinz Stockhausen. It is Nr. 19 in his catalogue of works. Performance duration can vary from 10½ to 19 minutes.

Feedback (Rückkopplung) in this case refers to tape delay, through which music played by the soloist is made to return after periods of time specified in six different form plans, one of which is to be chosen for any performance (Stockhausen 1971, 86). The performer is given six pages of conventionally notated material constituting the "content" of the work, and selects material according to certain criteria, playing it into a stereo pair of microphones that feed into the tape-loop system. Here a version has been made by Arne Deforce - "composed" so to speak - according to Stockhausens "Formschema Version III".

Stockhausen had been developing concepts of spatialization in his works, not only in electronic music, such as the 5-channel Gesang der Jünglinge (1955–56) and Telemusik (1966). Instrumental/vocal works like Gruppen for three orchestras (1955–57) and Carré for four orchestras and four choirs (1959–60) also exhibit this trait.  In lectures such as "Music in Space" from 1958 (Stockhausen Texte 1:152–75), he called for new kinds of concert halls to be built, "suited to the requirements of spatial music". His idea was "a spherical space which is fitted all around with loudspeakers. In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners. They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass". (StockhausenTexte 1:153)

The feedback system for this Version III was made at Centre Henri Pousseur Liège in 2011, using Max/MSP. Pre-programming on the computer fulfills the functions originally assigned to the assistant technicians, thus requiring only a single assistant to control the sound.

Karlheinz Stockhausen SOLO für Melodie-Instrument mit Rückkopplung VERSION III Arne Deforce

“Timeless echoes” for solo Cello, live performer on painting with video projection and live electronic was commissioned by
Centre Henri Pousseur, Liège (CRFMW) for cellist Arne Deforce and painter Sirgid Tanghe.

“Timeless echoes” is inspired by ancient GuQin’s music (Guqin is a plucked seven-string Chinese musical instrument of the zither family) and has traditionally been favored by WenRen. (A person with ultimate knowledge of the arts.) In this composition, I’d like to demonstrate a coordinated control of articulation and of inflections in pitch, timbre, and intensity. It
is an exploration of the articulatory and vibratory characteristics of cello and Quqin. This composition sees the fruition of my explorations of the sonic possibilities of acoustic instrument with modern technology in the electronic part and video part.
I was very moved by painter Sigrid Tanghe’s heart taking painting and her live performance on stage, her live action-painting in this work will give a reflection of my passion in the relationship between Guqin’s music, Chinese calligraphy and ink painting.
With Arne Deforce, the Centre Pousseur and Sigrid Tanghe in this project, I’m sure that we’ll encourage a kind of multicultural musical performing art, at the same time
enhancing the intrinsic understanding of what is multi-cultural and multi-disciplinary exchange between musicians and audiences.

I dedicated this work to Arne Deforce, Sirgid Tanghe and CRFMW.

KeeYong Chong

Live Recording Permiére at Festival Images Sonores
Centre Henri Pousseur

Chong Kee Yong : Timeless Echo's for cello and electronics - Arne Deforce Live

Arne Live recording Ars Musica Festival Brussels March 21, 2001


Steinke Gunther: Arcade for cello and electronics, Arne Deforce Live Ars Musica 21 03 01

Lucas Fels, Violoncello, 28. Januar 2012, Radialsystem Berlin

Hear Your Brother Hear

"misterioso - als wäre nichts gewesen"
for Cello Solo, performed by Jean-Guihen Queyras, commissioned by SWR

Chong Kee Yong : Timeless Echo's for cello and electronics - Arne Deforce Live

ARNE DEFORCE