actuellecd

Track listing detail

Awakening of a City

Luigi Russolo

  • Year of composition: 1914
  • Duration: 7:03

Stereo

ISRC CAA4J2010122

  • 44,1 kHz, 16 bits

“Every manifestation of life is accompanied by noise. Noise is therefore familiar to our ears and has the power to remind us immediately of life itself. Musical sound, a thing extraneous to life and independent of it… has become to our ears what a too familiar face is to our eyes.” — Luigi Russolo

Luigi Russolo and his assistant Ugo Piatti built one of the first mechanical orchestras, the “intonarumori” (noise machines), 27 different types of machines, each producing a unique sound assigned to several “families” of instruments, including “howlers,” “exploders,” “crumplers,” “hissers,” and “scrapers.” In the 1920s, Russolo performed numerous concerts with these outrageous instruments emitting their startling sounds. Risveglio di una città /Awakening of a City suggests a larger purpose, its arsenal of noises, evoking the sounds of urban sirens and factory whistles, is a call to awakening our ears to the dawning of a new music of noise.

[source: zakros.com/mica/soundart/f02/futurist.html]


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Scores

Seuils

Émilie Girard-Charest

  • Year of composition: 2018
  • Duration: 13:17
  • Commission: Productions SuperMusique supported by the SOCAN Foundation’s Commissioning Assistance Program

Stereo

ISRC CAA4J2010123

  • 44,1 kHz, 16 bits

Thresholds as limit states:
a threshold of perception.
a threshold of listening, a threshold of understanding.
the hinge between two states, the dawn of change, the edge of something else, the short moment that is neither before nor after.

Émilie Girard-Charest


Premiere

  • November 22, 2018, Commutation, Amphithéâtre — Le Gesù, Montréal (Québec)

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For Now

Anestis Logothetis

  • Year of composition: 1975
  • Duration: 11:06
  • Instrumentation: orchestra

Stereo

ISRC CAA4J2010124

  • 44,1 kHz, 16 bits

This score, which is read from top to bottom, right to left, and then left to right, and so on, evokes the movement of a stream becoming a river with its meanders and rapids. Logothetis sought to create music scores that would express as much as possible the mobility and alternation of electronic music’s new sounds, thus allowing greater flexibility in interpretation. Unfortunately, I couldn’t find anywhere the original recordings of the piece, as conducted by Logothetis himself in 1975. This is therefore my own orchestration; I sincerely hope it is as close as possible as to what the composer wished to express with this magnificent score.


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Collision

Maxime Daigneault

  • Year of composition: 2016
  • Duration: 11:07

Stereo

ISRC CAA4J2010129

  • 44,1 kHz, 16 bits

Collision is a piece for a flexible group of improvisers; it was created during a special project revolving around graphic scores that I conducted at Université de Montréal. Together with the Cercle des étudiants compositeurs (CÉCO), we invited composers Danielle Palardy Roger and Joane Hétu to lecture us about the historical background of this musical practice as well as its different approaches. In addition, Roger and Hétu offered to become mentors to students who expressed the desire to embark on this peculiar adventure that is writing graphic scores. My piece explores the different characters that sound masses can evoke when they move and collide with each other.


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