Interprétée par :
Daphnée Sincennes Richard (violon)
Leïla Saurel (violoncelle)
Marie Dubois (flûte)
Gwénaëlle Ratouit (clarinette)
Erin Sullivan (trombone)
Avril Desfeux (piano)
Anne-Clémentine Chabot (percussion)

Charles-Éric Fontaine (chef invité)
Jean-Michaël Lavoie (préparation musicale)

The clock jumped the way time will after four P.M. (2022)

*** This version has been modified from its original to fit stereo playback***
Ville aux cent clochers (2018) is the first part of an acousmatic journey — exploiting sound immersion as a “montrage” (from the French montrer) for the ear — called Cathédrales. Inspired by the omnipresence of old churches in Montréal, this work spotlights them from the exterior, as both urban landmark and soundmark. This spatial essay also takes its inspiration and sound materials from the city of Montréal’s soundscape, in order to interpret the spatio-temporal relationship between the individual, the urban environment and the sounds that are specific to its identity.
The work Cathédrales (2018) as a whole has been awarded the 2018 édition of the Marcelle Prize, by the professors and teachers from the Université de Montréal’s faculty of music, while Ville Aux Cent Clochers (2018) has won the 2nd prize of the JTTP 2018 contest, attributed by the Canadian Electroacoustic Community (CEC), and has been presented in many international events, including KLG/klingt gut! at HAW Hamburg (DE), Sounds In Space at Derby University (Wales, UK), ISSTA at Ulster University (Northern Ireland, UK) and Cube Fest at Virginia Tech (US).

Cathédrales : I - Ville Aux Cent Clochers (stereo reduction)

Cello par Lara Laverdure

Montage par Léa Boudreau

Originally composed for 8 speakers (during the autumn of 2017)

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Pour entendre la version complète et masterisée : electrocd.com/fr/album/6348/lea-boudreau/limacon

To hear the full and mastered version: electrocd.com/fr/album/6348/lea-boudreau/limacon

Impromptu[e] - EXTRAIT

A piece to get on my nerves
And then to recover

Voix par Gabrielle Cloutier

Composée durant l'hiver 2018

En 2019, Recovery obtient la 3e place de la compétition SIME (Semaine Internationale de la Musique Électroacoustique, tenue à l'Université de Lille en avril 2019).

In 2019, Recovery arrived in 3rd place in the SIME competition (International Electroacoustic Music Week, Lille University, April 2019.)

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Pour entendre la version complète et masterisée : electrocd.com/fr/album/6348/lea-boudreau/limacon

To hear the full and mastered version: electrocd.com/fr/album/6348/lea-boudreau/limacon

Recovery - EXTRAIT

electroacoustic composition
2018

The Maneki Neko (the inviting cat) is a spirit of fortune and happiness in the Japanese tradition.
In « Maneki-Neko’s dream », I play with different patterns of bounces, suspensions, tumbles and rythms. These patterns follow one another quickly and linearly at the beginning, to evolve towards a more fragmented writing at the end. In an artificial and dreamlike universe, this music tries to be as agile, joyful and mocking as a jumping cat.

2019 :
Puls Concert #7, Sentralen, Oslo, NO.
Akousma@Mutek , Gesù, Montréal, CA.
2020:
Puls Concert #9, Finlandsinstitutet, Stokholm, SE.

Credits : 
Composition : Estelle Schorpp
Mastering : Antoine Lussier

Le rêve de Maneki-Neko

electroacoustic composition, 2019

Microscopic Dancewas realized with a tuning fork, a piezzo microphone and feedback from a delay pedal. It's a short minimalist interlude inspired by Bernard Parmegiani's piece Incidences/Résonances, from the 'De Natura Sonorum' series.

MicroscopicDance

trip de synthé et de glitch

datant de l'an 2018 après J.-C.

déterré puis partagé avec toi internet

Forgive Reboot or Both

En janvier 2019, de jeunes élèves de l'école primaire Jean-Baptiste-Meilleur à Montréal ont participé à un petit remue-méninges : imaginer des machines fantastiques sous la thématique « Quatre machines pour sauver le monde ». Aucune limite, aucune autre consigne, toutes les idées étaient les bienvenues. C'est donc à partir de leurs suggestions que j'ai composé cette pièce, exprimant en son et en musique les engins pensés par les jeunes, mais également l'environnement les entourant. L'oeuvre est divisée en quatre sections qui respectent les titres originaux donnés par les étudiant.e.s :

 
1- Une machine volante qui fonctionne à la pollution et qui la transforme en air pur

2- Une machine-robot en forme d'animal pour sauver les animaux qui n'ont pas de maison et qui sont dans la rue

3- Une machine pour envoyer toute la neige qui tombe ici au pôle Nord pour ne plus que ça fonde

4- Une machine-bateau-sous-marin pour nettoyer les océans


Montréal, 2019, avec la collaboration d'élèves de 1ère année du primaire de l'école Jean-Baptiste-Meilleur et de leur enseignant suppléant Samuel Cadieux

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In January 2019, young students from Jean-Baptiste-Meilleur elementary school in Montréal took part in a little brainstorm : to imagine fantastic machines under the theme «Quatre machines pour sauver le monde» (Four machines to save the world). No limit, no other instruction, all ideas were welcomed. Based on their suggestions, I composed this piece, expressing with sound and music the devices thought out by the youngsters but also their surrounding environment. The work is divided into four parts which respect the original titles given by the schoolchildren :

1- Une machine volante qui fonctionne à la pollution et qui la transforme en air pur (A flying machine that functions with pollution and turns it into fresh air) 

2- Une machine-robot en forme d'animal pour sauver les animaux qui n'ont pas de maison et qui sont dans la rue (An animal-shaped robot-machine to save homeless animals that live on the street)

3- Une machine pour envoyer toute la neige qui tombe ici au pôle Nord pour ne plus que ça fonde (A machine to send all the snow falling here to the North Pole so it doesn't melt anymore)

4- Une machine-bateau-sous-marin pour nettoyer les océans (A machine-boat-submarine to clean the oceans)

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Quatre machines pour sauver le monde a reçu le 3e prix du concours JTTP 2019 de la Communauté Électroacoustique canadienne.

Quatre machines pour sauver le monde won the 3rd prize of the Canadian Electroacoustic Community's JTTP 2019 contest.

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Pour entendre la version complète et masterisée : https://electrocd.com/fr/album/6348/lea-boudreau/limacon

To hear the full and mastered version: https://electrocd.com/fr/album/6348/lea-boudreau/limacon

Quatre machines pour sauver le monde - EXTRAIT

The oven sings to me each morning. A universe of old metal secrets and fire. Who could resist its temptations?

Oven Playground

For Hannah is an immersive acousmatic music piece inspired by the royal cobra (Ophiophage Hannah). I wrote this composition because the first time I heard the hiss of this animal I was surprised by the way it sounded like a musical phrase. Forcing this comparison, I asked myself: do cobras play electroacoustic music? I deepened my knowledge of the animal through the studies of herpetologist Bruce A. Young who kindly sent me some of his recordings of the reptile. My intention is to give the public the opportunity to get closer to the world of the king cobra, by allowing them to know about the way this animal perceives the world, its sound production strategies and its behaviours. 

I decided to compose an immersive piece dedicated to this snake also because the sounds that characterize this animal are well adapted to spatialization strategies. The sounds produced by its movements can easily evoke sinuous and enveloping circular trajectories. In addition, their hissing sounds are easy to localize since humans have developed a very good ability to localize sounds that may refer to dangers. 

When king cobras feel threatened, they lift the front part of the body, extend the cervical ribs, take the so-called hooded position and hiss loudly. As they have no vocal cords, the sound they make depends on the passage of air through the trachea. Thanks to Young's studies, I made a physical model of the trachea to record the sound. I used a perforated stainless steel tube, latex, rubber tubes and compressed air. I also used physical model synthesis techniques to create other versions of the hissing sound. I would like to emphasize that although my inspirations come from studies in biology, my work has no scientific intent. I have therefore put these sounds in dialogue with Young's recordings.

Composer Emily Doolittle states that writing music inspired by the animal world is a way to re-establish contact with nature. Composing this piece allowed me to explore visceral aspects of the relationship between humans and nature.

This is the stereo version.

For Hannah (stereo version)

Nicola Giannini is a Sound Artist and an Electroacoustic Music Composer based in Montreal, Canada. His practice focuses on immersive music, both acousmatic and performed.

His works have been presented at the Toronto International Electroacoustic Symposium (TIES), San Francisco Tape Festival, Cube Fest, ICMC, New York City Electroacoustic Music Festival (USA), TEDxLondon, Sound-Image Colloquium, Serge Postgraduate Conference (UK), Sound Spaces (Sweden), File Festival (Brazil), Electroacoustic Music International Exhibition (Mexico), Palazzo Strozzi Museum, Audior and Tempo Reale (Italy), among others. In July 2017 he has been a guest composer at the EMS in Stockholm.

His piece “Eyes Draw Circles of Light” obtained the first prize at the Jeux de Temps / Times Play (JTTP) 2019 competition organized by the Canadian Electroacoustic Community, and an Honorable Mention at the XII° Fundación Destellos (Argentina) Electroacoustic Competition 2019. His piece “For Hannah” was chosen as finalist at the International composition competition Città di Udine 2018 and it was performed at the festival “Contemporanea”.

Originally from Italy, Nicola has a master degree in Electroacoustic Composition from the Conservatory of Florence. Nicola is a doctoral student (D.Mus) at the Université de Montréal, under the supervision of Robert Normandeau, and he is presently a research assistant with the Groupe de recherche en immersion spatiale (GRIS). His academic research focuses on immersive music composition, exploring from an artistic perspective the contribution of the spatial auditory perception field to sound spatialization strategies.
Nicola is one of the student coordinators at CIRMMT for the Research Axis on Expanded musical practice.

For Hannah (stereo version)

Nicola Giannini

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