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De souffles et de machines III (Download) Track listing detail

De sphères et d’écumes

Jimmie LeBlanc

  • Year of composition: 2018
  • Duration: 20:58
  • Instrumentation: saxophone quartet and processing
  • Commission: Quasar, with support from the CCA

Stereo

ISRC CAA4J2010113

  • 48 kHz, 24 bits

The title De sphères et d’écumes refers to three works by the German philosopher Peter SloterdijkBubbles, Globes, and Foams. In this trilogy, Sloterdijk revisits the history of Western thought from a spatial perspective, through the concept of the sphere: the intimate sphere that unites mother and child, the inner space in which we experience ourselves, the social sphere, and finally, in a radical change of perspective, the image of foam. In this world view, the idea of a unified and all-encompassing whole gives way to the concept of a foam, in which an infinite number of microspheres — each one with its own depth and logic, its own centre — collide in endless improbable configurations. The goal is thus no longer to find one exhaustive explanation for the world, but to accept that thought, in this foam, requires the navigation of unstable currents.


Thanks to Martin Bédard for the original sounds recordings.

Recording

  • 2018-06-18 – 2019-06-19, Boris Kellenbenz • SWR, Funk — Studioproduktion studio, U-Musik Studio, Stuttgart (Baden-Württemberg, Germany)

Mixing

  • 2018-06-18 – 2018-06-19, Roland Kistner • SWR, Funk — Studioproduktion studio, U-Musik Studio, Stuttgart (Baden-Württemberg, Germany)

Mastering

Premiere

  • April 17, 2018, De souffles et de machines III, Amphithéâtre — Le Gesù, Montréal (Québec)

Interjections

Georgia Spiropoulos

  • Year of composition: 2018
  • Duration: 7:03
  • Instrumentation: saxophone quartet and processing
  • Commission: Quasar with the support from the SACEM

Stereo

ISRC CAA4J2010116

  • 48 kHz, 24 bits

In Interjections, saxophones and machines form one single “sounding” body, whose organs share temporality, sonority and space, but can also remain autonomous. The title refers to interjection as a short, independent element inserted into musical discourse, or as an instrumental or digital interference that highlights or interrupts the dialogue between instruments and machines. Interjections is a game and a battle between the saxophonists and their instruments, between the score and the electronics, between sonic phenomena and time. The instrumental gestures are inspired by the sonority and temporality of the electronics, and vice versa.

Recording

  • 2018-06-18 – 2019-06-19, Boris Kellenbenz • SWR, Funk — Studioproduktion studio, U-Musik Studio, Stuttgart (Baden-Württemberg, Germany)

Mixing

  • 2018-06-18 – 2018-06-19, Roland Kistner • SWR, Funk — Studioproduktion studio, U-Musik Studio, Stuttgart (Baden-Württemberg, Germany)

Mastering

Premiere

  • April 17, 2018, De souffles et de machines III, Amphithéâtre — Le Gesù, Montréal (Québec)

Not thinking about the elephants

Annesley Black

  • Year of composition: 2018
  • Duration: 16:18
  • Instrumentation: saxophone quartet and processing
  • Commission: Quasar

Stereo

ISRC CAA4J2010115

  • 48 kHz, 24 bits

The quartet has been severed. Two members are isolated, in separate rooms. They are only connected to the other members of the quartet via live audio transmission. Their signals are projected by two mini-loudspeakers, which are inserted in the bells of the two saxophonists on stage. The divided ensemble allows for heightened perception of certain acoustic phenomena — the sound of the missing saxophonists is filtered by the embouchure or by key-changes of the tenor and baritone saxophones, or mixed with their sound in such a physical proximity that combination tones are audible. Psychological consequences of separation are expressed in a restless, tightly woven counterpoint in which the excluded / invisible and included / visible instruments colour, shadow, reciprocate, refute or eventually overpower one another.

Recording

  • 2018-06-18 – 2019-06-19, Boris Kellenbenz • SWR, Funk — Studioproduktion studio, U-Musik Studio, Stuttgart (Baden-Württemberg, Germany)

Mixing

  • 2018-06-18 – 2018-06-19, Roland Kistner • SWR, Funk — Studioproduktion studio, U-Musik Studio, Stuttgart (Baden-Württemberg, Germany)

Mastering

Premiere

  • April 17, 2018, De souffles et de machines III, Amphithéâtre — Le Gesù, Montréal (Québec)

construct-deconstruct

Sergej Maingardt / Sergej Maingardt

  • Year of composition: 2018
  • Duration: 15:36
  • Instrumentation: saxophone quartet, processing and video
  • Commission: Hellerau European Centre for the Arts

Stereo

ISRC CAA4J2010114

  • 48 kHz, 24 bits

The construction of a virtual identity can go in directions not solely specified by the individual in question. If desired, it can allow one to move away from their actual identity and create alternative ones communicated on the internet. Thus, the virtual identity of a person can both correspond and differ in a different degree from their identity in real life. When creating a virtual, network identity that contrasts with real life, the user has recourse to a sort of distortion of personal information: free to hide or deny certain facts about themselves. Most of the time, such distortions are conscious and inclined towards the facts the individual considers as ideal. As such, the image created by a person on the internet gives them the opportunity to self-actualize and to try out a role one does not have the opportunity to try out in real life.

Recording

  • 2018-06-18 – 2019-06-19, Boris Kellenbenz • SWR, Funk — Studioproduktion studio, U-Musik Studio, Stuttgart (Baden-Württemberg, Germany)

Mixing

  • 2018-06-18 – 2018-06-19, Roland Kistner • SWR, Funk — Studioproduktion studio, U-Musik Studio, Stuttgart (Baden-Württemberg, Germany)

Mastering

Premiere

  • April 17, 2018, De souffles et de machines III, Amphithéâtre — Le Gesù, Montréal (Québec)