Name: PIERRE BOESWILLWALDHistoire De Petits Bruits OrdinaireS 10' 19122019 A2 by Pierre Boeswillwald
Duration: 10 min 7 s
Description: Un univers de petits sons qui bougent là ou là

para oboe, contrabajo y medios electroacústicos

óntico

Muito amor pelo DOMO! <3

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Almanac @ PARK.ART 10 Anos [11/06/2022]

Impromptu N° 112 « Ulysse » for Piano (January 2023)
Played and recorded in my home studio on Sunday, January 15, 2023
Score available on my website : www.franckdouvin.com (Tab : Enregistrements(s)du jour)
Franck Douvin © 2023 Piano Impromptus
Thanks for listening & sharing
I hope you'll enjoy !

Impromptu N° 112 « Ulysse » for Piano (January 2023)

SUR LES CHEMINS DE VENISES

Eté 2015 : Je rassemble mes bandes, comme on rassemble des notes et commence à associer les sons... Des sons de tous les jours, des sons de fête, des sons de rien... et puis des cris... comme ceux d'Edvard Munch, comme ceux des victimes...
Alors même inachevé, même raté... je le poste ce montage inachevé... en hommage aux victimes des attentats de 2015 dont la vie inachevée s'est brutalement arrêtée.

Soutien à Hadi Heidari :  https://www.instagram.com/p/-DeT1bh8sC/embed/captioned/?v=6


Le Cri Inachevé (R1 Session 2015 - 11 - 16) / Uncompleted Scream

(11:30)

¨Mi casa es la lluvia¨ (2013)  ¨My home is the rain¨Cuadraphonic 
The piece is based on spatial elaboration of a small number of sound images : my voice, environment sounds and synthetic sounds . The concept behind this work is the notion of Perturbation, which also serve as inspiration for other works I´m composing at this time. The perturbation of a  sound field, the perturbation of periodicity , the perturbation of  pitches and  rhythms are different aspects of the idea : Creation is the perturbation of a certain domain in a certain amount and extension  . At the end of the piece, a reflection about ¨l´objet sonore¨ ( every sound object is a lost object) , recorded at Rue Ontario, Montreal , during a  strong and short summer rain gives the tittle to the piece.

Jorge Sad electroacoustic works 1

Mi Casa Es La Lluvia

(10:21) 2009

If I  should write a score for this electroacoustic work, I would begin with this indication for a virtual, imaginary performer: Mourning, playing with a deep nostalgic feeling and rage.

My aim was to compose a piece that at the same time could refer both to rock music and electroacoustic music genre in an historical point : the year 1974 (mil nueve setenta y cuatro).

The composition process could be described as a constant modulation  between styles..

In this sense, two opposed themes could be identified by the listener, the ¨cut and paste¨  theme, that  is based on  very fast articulation between differents sound forms, alla Parmegiani, producing an unified sound stream, and the second, the ¨electric guitar¨ theme,in which  one sound source remains identically to itself producing very different sound qualitys.
No samples or recordings of live performance of real instruments were used to produce the electric guitar sounds, but physical models and synthetic sounds.

The original name of the piece evoked Leonardo´s words , ¨Per via di porre, per via di levare¨ and in a certain way the piece dramatically represents the process of its construction,  in which form is less a point of depart than a point of arrival.

Hiperrock 2nd Version

(7:37) 1998

(Enregistrement imaginaire de What if I never speed?  de John Dowland)

J’ai conçue cette composition comme une pièce pour chant et percussion  “en temps réel” qui aurait été enregistrée dans un monde imginaire, avec des lois phisiques differents des nôtres, ou enregistrée dans une rêverie ou il-y-a des elements qui restent invariables et des autres qui son variés ou ordonnés d’une façon imposible .

J’essai de retrouver  le geste instrumental  et de donner la sensation que cette pièce a été jouée a quelque part et  que ce qu’on entends ce un enregistrement, non une pièce électroacoustique.

Jorge Sad electroacousitc works 1

Aspavientos

In « l’Odyssée », with his acousmatic geophonies & heterotopias,  Jean VOGUET virtually explores other planets in the Universe that the humanity may discover one day, and see whether it is habitable or not, in order to survive.

An initiatory wandering punctuated by 13 Stations, ecosystems with  complex structures composed of synthesized sound materials, which define a  virtual & temporal mapping of time-space.

©2019JeanVoguet
Licence Creative Commons : CC BY-NC-ND   4.0 Deed

« l’Odyssée » part 3

« l'Odyssée » Station 13

Buy in .flac format

Jean VOGUET | « l’Odyssée » Station 13

Un univers de petits sons qui bougent là ou là

PIERRE BOESWILLWALDHistoire De Petits Bruits OrdinaireS 10' 19122019 A2

Vida Loka Parte 2 – Racionais MC’s

Álbum: Nada Como Um Dia Após o Outro Dia
Ano: 2002


PIERRE BOESWILLWALDHistoire De Petits Bruits OrdinaireS 10' 19122019 A2

Pierre Boeswillwald

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