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CD Program Notes CD Program Notes Contents very quick dynamic sounds are op- the Buenos Aires City Conservatory. posed in space to quick, close-range He has composed instrumental and microsounds, sometimes opposing electroacoustic music and his works electronic and acoustic sources. But are performed at international con- his originality, for me, is found in certs and festivals. Part One: Beatriz Ferreyra, the enormous, dynamic general Some of his compositions include: Curator breathing that we can also find in Tres piezas par Orquesta de Camara other of his works. (1958), Movimientos para piano, Elsa Justel puts microsounds into flauta, oboe y clarinette (1964), Estu- Curator’s Note primary place in her compositions, dio en Triptico (electroacoustic mu- including Alba Sud, creating incredi- sic, 1984), Faber Farven Christine Groult, Enrique Belloc, ble, original variations of qualities, (electroacoustic music, 1985), Sin- Roger Cochini, and I studied and colors, forms, and dynamics, not fonia Concertante for digital orches- worked in the 1960s and 1970s with only for each microsound but for tra and synthesizer (1988), Homenaje Pierre Schaeffer and his musical their relationships, articulations, op- a Pierre Schaeffer for live samplers method. Even if Elsa Justel came positions, and so forth. These rela- and synthesizers (1989), Para Bla, un along in the 1980s and searched for tionships occur on the small scale saludo a Barbara Belloc (1993), po- her own way, her work and interest along with larger sounds placed in Pierre (1994), Rugosidades del Incon- in acoustic sounds put her very near different points of audible space. ciente colectivo (1995), Suite the Schaefferian acousmatic ap- For Passagers imminents, Chris- Acusmatica (1995), Objetos Reen- proach. tine Groult worked with recorded contrados (INA/GRM commission, The term ‘‘acousmatic’’ comes sounds, both processed and unpro- 1997), Espacios Acusmaticos (octo- from Pythagoras and his method of cessed, at the same time creating a phonic, 1998), Canto Ancestral: On- teaching: he taught behind a curtain spatial antithesis. This produces two oma, Poieo, Tibet, Suenos (1999). so that his pupils could only hear his different and parallel worlds, a re- Mr. Belloc’s music is included on the voice without seeing him, without markable game between large ab- recording Panorama de la Mu´ sica visual support, without recognizing stract materials and elastic, Argentina (IRCO VIDEO SRL—Soni- the sound source. anecdotally formed sounds. dos y visiones del sur). I have chosen these particular 1. Triptico de Bahia Blanca— 2. Alba Sud—Elsa Justel composers because I find each to Enrique Belloc Alba Sud (1997–1998) was com- have a very personal approach to- Triptico de Bahia Blanca (2000) missioned by the Institut Interna- ward their sounds and the composi- was commissioned by the Town tional de Musique tional structure, always with an Council of Bahia Blanca. It is dedi- Electroacoustique de Bourges identifiable morphology and particu- cated ‘‘In Memoriam Eduardo (IMEB) and was composed in the lar ‘‘taste of sounds.’’ I wouldn’t Mallea.’’ studios of IMEB. This piece is an want to give an analysis of each homage to musique concre`te and composer, but instead offer a short Enrique Belloc (b. 1936, Buenos Ai- at the same time to the idea of general overview. res, Argentina) studied philosophy at compatibility between recorded In his Triptico de Bahia Blanca, the University of Buenos Aires. A re- and synthetic sound sources as Enrique Belloc opposes a morpholog- cipient of a Ford Foundation Grant, well as between analog and digital ical with a pictorial point of view. he participated in the Artist-in- technology. Even if I didn’t live Using a remarkable sensation of Residency Program in West Berlin during the ‘‘Schaefferian’’ revolu- tempi, his orchestral and acoustic (1964–1968), and also studied and tion, the ideas of Pierre Schaeffer processed sounds give emphasis to a worked with Pierre Schaeffer at the made a great impact on me. Alba sort of succession of waves, articula- Groupe de Recherches Musicales in Sud is dedicated to Beatriz tions with fast and slow general Paris. He has been Director of Ferreyra. movement. Buenos Aires Symphony Orchestra, Roger Cochini treats these sorts of second Director of the National Elsa Justel (b. 1944, Mar del Plata, articulations in a very different way. Symphony Orchestra of Argentina, Argentina) studied composition and In the background of La Schiuma dei and professor of instrumental and electroacoustic music in Buenos Ai- Rumori, large, slow waves built by electroacoustic musical analysis at res. She has resided in France since 118 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815332 by guest on 25 September 2021 1988, where she obtained her Mas- with my first musical essays, op- 1994), Tout est bon dans le poulet ters and DEA degrees in Computer portunities for associating sounds (homage to Pierre Schaeffer, 1996). Music from the Universite´ de Paris with revived affinities. And a little 4. Passagers imminents—Christine VIII. She taught avant-garde tech- bit later, with Chansons de Gestes Groult niques of music at the Conservatory (1997), I had the occasion to ques- of Mar del Plata from 1980. Awards tion their analogical links as much We have known, we have include: TRIME (Argentina), Prix Ars as their heterogeneous distances. It touched a world, where a man con- Electronica, Stipendienpreis of is to this suite of musical composi- fined in poverty was at least guar- Darmstadt (1990), and International tions that La schiuma dei rumori anteed in his poverty. It was like a Electroacoustic Competition of is related. There are some human deaf agreement between mankind Bourges. Her work has been included gestures, some sounding elements and fate, and to that agreement the in international festivals (Interna- and instruments. But there is fate has never failed before the in- tional Computer Music Conference, much more than this, like move- auguration of modern times. It was Bourges, Darmstadt, Japan, etc.). Ms. ments easy to locate, coming from a fact that the one who sought fan- Justel has received commissions the animal world, from a natural tasy, arbitration, the one who in- from INA/GRM, Groupe de Musique environment, from different musi- troduced a game, the one who Electroacoustique de Bourges cal cultures. There are vocal im- wanted to escape from poverty, he (GMEB), Elektronik Musik Studio of pulses, sounds of elementary risked everything. Because he in- the Hochschule of Vienna, Instituut synthesis . and any sounding be- troduced the game, he could lose. voor Psychoacustica en Elektronis- ing that moves freely, jokingly, But the one who didn’t play, che Muziek—Ghent (IPEM), Labora- without disguising its identity. couldn’t lose. They couldn’t sus- torio de Informa´tica y Electro´ nica And—also—the gestures of the pect that a time came, and that it Musical–Madrid (LIEM), and Phonos– studio, those of our self- was already there, and it was pre- Barcelona. Her music is recorded on expression. The time of a meeting. cisely the modern time, where the Comme si l’hydroge`ne (J&W, Can- one who doesn’t play loses all the ada), ICMC 1996 Hong Kong, Minia- Roger Cochini (b. 1946, Marseille, time, and more surely than the tures concre`tes (Diffusion i Media). France), studied music and science, one that plays. (C. Pe´guy, The Compositions include: Feuillage graduating as an engineer in physics money) de Silence for flute and oboe (GRM, from the National Institut of Sci- Christine Groult (France) studied 1995), Du libe tu? (1996), La ventana ences in Lyon, France. He also stud- music at the Conservatoire de Pan- deshabitada for harpsichord and tape ied at the Conservatoire National tin, musicology and linguistics at the (IPEM/IMEB, 1990/92), Au loin . Supe´rieur de Musique de Paris, at Sorbonne, electroacoustic composi- bleu (Royaumont Foundation, 1997), GRM with Pierre Schaeffer (1969– tion at GRM with Pierre Schaeffer, Sikxo for saxophone and tape (1989), 1971), and was a member of GRM and computer composition at Chi-pa-boo (Empreintes Digitales, from 1970–1972. He was also a IRCAM under the direction of Pierre for double bass and tape םAll ,(1996 member of GMEB (Bourges) from Boulez. She worked in the Depart- (Ateliers Mixture, 1993), Ichihu- 1972–1996. From 1983, Mr. Cochini ment of Pedagogy at IRCAM (1984– alasto (IMEB, 1989), Fy Mor (1991), has taught electroacoustics at the 1995), and since 1985 she has taught Tiempo de Antorchas for oboe and Bourges National School of Music electroacoustic music at the Ecole tape (IMEB, 1990), Megots (1995), La- and Dance, and has taught at the Nationale de Musique at Chalon-sur- tido Estival (LIEM, 1992), Mats Universite´ de Lille 3 from 1996. His Saone. She is also co-founder of the (GRM, 1999). music is recorded on Chrysope´e Elec- LIGYS Studio. Ms. Groult has re- 3. La Schiuma dei Rumori—Roger tronique Bourges (LDC 278 1103). ceived commissions from various as- Cochini Some electroacoustic pieces in- sociations, and composes acousmatic La Schiuma dei Rumori (The clude: Remparts d’Ainay (GRM, and mixed pieces, along with music foam of noises) (2000), was com- 1972), Eva ou les yeux ferme´s for theater, ballet, and films. She cre- missioned by INA-GRM. The be- (GMEB, 1975), Chansons de Gestes ated the sound installation, Le chant ginning of the 1970s was, for (GMEB, 1977), Lullaby (GMEB, de la Tour Eiffel, that is permanently electroacoustic music, the rise of 1979), Chaste Fleur, mon capitaine installed on the first floor, north pil- the first polyphonic audacities. I . Chaste Fleur (National Educa- lar of the Eiffel Tower. Her music is followed this beautiful adventure tion, 1993), l’Ouı¨e lumie`re (GMEB, recorded on the Metamkine label. CD Program Notes 119 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815332 by guest on 25 September 2021 Some of Ms.
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