Francis Dhomont

In collaboration with
Issue Project Room

Francis Dhomont



Friday, October 30, 7pm

Issue Project Room
At the Old American Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
Admission: $15 door, $12 advance


PROGRAM

Vol d’Arondes .......................................................................................................Francis Dhomont

Phonurgie.............................................................................................................Francis Dhomont

En cuerdas ...........................................................................................................Francis Dhomont

Premières traces du Choucas ..................................................................................Francis Dhomont

ABOUT THE ARTIST



Francis Dhomont
Francis Dhomont, pioneer in electronic music, has received awards from the Bourges International Electroacoustic Music Competition, Ars Electronica, Canada Council for the Arts, and others. He is an editor of Musiques & Recherches and Québec Electroacoustics: The Expansion, an Associate Composer of the Canadian Music Centre and president of the collective Les Acousmonautes, in Marseille.

ABOUT THE MUSIC

Vol d’Arondes

Commissioned by Musiques & Recherches, Vol d’Arondes (Flight of Swallows) was realized in the Métamorphoses d’Orphée multichannel studio (Ohain, Belgium) and premiered on November 21, 1999 during the 6th International Acousmatic Festival L’Espace du son in the XL-Théâtre du Grand Midi (Brussels, Belgium).

The composer writes:

"Provence. A summer evening, the window open wide on the slowly darkening sky. Through this deep, blemishless blue, the flight of swallows: a strident, constantly changing feeding dance. The delicious night continues to fall. There are the sounds of the village preparing for the night festival; the echoes reach me. A jet begins its descent into Marignanne. How simple it all is!

"It is a moment of pure, contemplative happiness, barely disturbed by a few familiar cares, which are quickly chased away. I think of Verlaine’s 'The sky above the roof, so blue, so calm…'

"This is music of memory: connotative, certainly, but not representational. It evokes and continues a previous work, Drôles d’oiseaux (1985-86), which provided some of the material for it.

"The space, too, belongs to memory."

· · ·

Phonurgie

Commissioned by Deutscher Akademischer Austauschdienst (DAAD), Phonurgie, 4th of the 4 works in the Cycle du son, was realized in 1998 in the Syter studio of Ina-GRM (Paris, France) and the composer’s studio. It premiered on September 25th, 1998 as part of the Inventionen ’98 festival (Berlin, Germany).

The composer writes:

"Phonurgie: making, working, and creating sound, presents, fifty years after the first gropings, and at the verge of the century under examination, one of the current states of this new art, which has become an independent art of sounds.

"Unlike the other pieces in the Cycle, Phonurgie quotes no more than a passing subject of Schaefferian study, bringing the sound of this legacy to a close; on the other hand, the first part, Objets retrouvés, draws all of its material and its structure from it. Paraphrased elements from Novars can, of course, be found — elements that themselves paraphrase Étude aux objets, making them commentaries on commentaries — while the opening and conclusion make reference to AvatArsSon. Nevertheless, in this fourth homage, the allusions to the origins melt away before the original propositions; filiation is not renounced, but here the child, finally grown, reveals its identity.

"While technology may have changed considerably and the 'sound color' may no longer be the same, morphological thought and writing still remain, in all of their many forms, true to the ‘spirit’ of the first concerts de bruit (concerts of noise)."

· · ·

En cuerdas

En cuerdas was realized in the composer’s studio in 1998 and was premiered on May 15, 1998 at the Festival international de musique actuelle de Victoriaville (Québec). It was commissioned by Arturo Parra with support from the Canada Council for the Arts. Special thanks to Arturo Parra, whose many textures and sounds make up the materials of this piece, as well as Ina-GRM.

The composer writes:

"Commissioned by the Colombian guitarist Arturo Parra, En cuerdas (In the Strings) is the version for solo tape of Sol y sombra… L’espace des spectres, a work for guitar and tape that was co-written with Parra. The composition heard here is completely independent from that work.

"Its sonic environment nevertheless remains one of strings that are plucked, rubbed and struck; but these are strings have been made virtual, transformed by computer processes and multiplied by electroacoustic writing. These are morphological variations that have been obtained primarily through the use of a variety of instruments of the SYTER system at Ina-GRM (Paris, France).

"Within this formal framework and the preliminary choices made with the software, I left myself, as always, a great deal of room for improvised séquences-jeux.

"Certainly, these moments of pure intuition do not involve the sense of vertigo and the irreparable risks that are found in real improvisation, for the choices are made afterward, allowing only those ‘magic moments’ to remain. Half-way between chance and will, this is perhaps an attempt to reconcile Pascal’s 'spirit of fineness and spirit of geometry.'"

· · ·

Premières traces du Choucas

Premières traces du Choucas was realized in 2006 in the composer’s studio in Avignon (France) and was first premiered on October 21, 2006 during the 13th International Acousmatic Festival L’Espace du son (Brussels, Belgium), then on November 2, 2006, the composer’s 80th birthday, during the Akousma (3) festival at Monument-national’s Studio Hydro-Québec in Montréal. Premières traces du Choucas was co-commissioned by Réseaux, with support from the Canada Council for the Arts, and Musiques & Recherches (Belgium).

The composer writes:

"Premières traces du Choucas (First Traces of the Jackdaw) is a second preliminary work for Le cri du Choucas, a long work in progress about Franz Kafka’s world, works, and character.

"'Kavka' is the Czech word for 'jackdaw' ('choucas' in French), a kind of crow whose image adorned the storefront of Hermann Kafka, Franz's father. The title came from the strong animal symbolics found in the works of Kafka: a deep, solitary, never-empathic, often-muted cry one can hear in each one of his novels and tales, even in the slightest fragmentary story. As for the capital C attributed to Choucas in my title, it confirms the presence of a proper noun.

"No text yet in these Premières traces du Choucas, but you will find sonic research on and an impressionistic approach to the Kafkaian themes highlighted in the writings of Marthe Robert."