Day 1: 27/01/2010
–:– Atrium Suspended Imprints – Sam Horseman
17:30 Phipps Concert Hall Pre-Concert Talk – Geoff Cox
20:00 Phipps Concert Hall Portrait Concert – Geoff Cox

Day 2: 28/01/2010
–:– Atrium Suspended Imprints – Sam Horseman
17:30 Phipps Concert Hall Pre-Concert Talk – Bennett Hogg
20:00 Phipps Concert Hall Portrait Concert – Wormhole

Day 3: 29/01/2010
10:00 Phipps Concert Hall Circuit-bending workshop
–:– Atrium Suspended Imprints – Sam Horseman
17:30 Phipps Concert Hall Pre-Concert Talk – Rodrigo Constanzo and Phil Archer
20:00 Phipps Concert Hall Live Electronics – Phil Archer / Rodrigo Constanzo

Day 4: 30/01/2010
13:00 Phipps Concert Hall Max/MSP Powerusers Symposium 2010
–:– Atrium Suspended Imprints – Sam Horseman
20:00 Phipps Concert Hall Portrait Concert – Roger Doyle

Day 5: 31/01/2010
10:00 Phipps Concert Hall HISS Workshop
–:– Atrium Suspended Imprints – Sam Horseman
17:30 Phipps Concert Hall Pre-Concert Talk – Jamie Fawcus and Paulina Sundin
20:00 Phipps Concert Hall Portrait Concert – Jamie Fawcus / Paulina Sundin

Off Season @hcmf// : 24/11/2010
17:00 Phipps Concert Hall Empreintes Digitales @ 20: cinema for the ears
22:00 Phipps Concert Hall Empreintes Digitales @ 20: music for dark spaces

Portrait Concert – Geoff Cox

Sam Stocks – Foggy Rd 2000

Geoff Cox – I’m not Elvis

Geoff Cox – Introducing: wc lowry

Geoff Cox – A film about Nice
The inspiration for this documentary film came from the City Symphony filmmakers of the early 20th Century. Artists such as Walter Ruttman, Joris Ivens, Jean Vigo and Dziga Vertov created dazzling vignettes of everyday activity in some of Europe’s great cities, including those of Berlin, Amsterdam, Nice and Odessa. Their aim was not to present ‘facts’ about a specific place, rather they aimed to capture the rhythm and mood of everyday life and use the expressive capabilities of the editing process to invigorate and bring alive the footage that they had captured.

Whereas these early films were silent, we have utilized sound as a further way of representing the atmosphere of a place. All the sounds used were recorded on location and they have been layered and sequenced in particular ways in order to show how one can hear, as well as see a place. The 35 minute film was made in collaboration with Keith Marley of Liverpool John Moores University

Geoff Cox – No Escape
for piano and film

Portrait Concert – Wormhole

Scott Hewitt – Chuck strongly timed freedom #1
A live coding exploration of Chuck featuring Sine Waves noise and whatever else comes to pass.

Wormhole – Live set
Bennett Hogg and John Ferguson perform as the duo Wormhole

Live Electronics – Phil Archer / Rodrigo Constanzo

Phil Archer – Live set
Phil’s music emerges from a disparate array of sources, featuring modified and homemade electronic equipment alongside mechanical devices and even some ‘proper’ musical instruments. Based around short-form structured improvisations, each piece takes an arrangement of carefully selected objects and draws out unexpected sounds and musical structures. CD players skip and loop to create skittering rhythms; circuit-bent keyboards sing songs from deep within their hearts; living plants connect with electronics to become part of a single circuit. The music is never under the complete control of the performer – instead it emerges from an interplay of forces. Composed structures mix with happy accidents as organic and electronic instrumentalists meet to create music together.

Rodrigo Constanzo – Live set
Rodrigo Constanzo will perform a live set of improvised music using his ‘drums’ setup which includes very little drums at all. A three piece, nearly child’s sized kit, is modified, and augmented by home made electronic instruments including a three tiered zither like instrument, ‘electronic whisks’, circuit-bent drum machines, a nearly endless amount of brick-a-brack, and a vibrating sex toy, for good measure.

Max/MSP Powerusers Symposium 2010

The fourth annual symposium brings together some of the most advanced users of Max/MSP to discuss and share ideas. The symposium provides an open informal forum to present new ideas as well as swap code and forge new collaborations. P.A. Tremblay will discuss his use of ftm-based concatenative synthesis (Diemo Schwartz’s CataRT) in the design of his new laptop+bass instrument Sandbox#3. Dave Bessell will talk about convincing physical models for real time performance in Max/msp, with some illustrations from his piece Ophidian, for flute physical model. Alex Harker will discuss recent approaches to making complex and dynamic patches in MaxMSP – strategies include the development of reusable and reliable externals for MaxMSP. Oli Larkin will talk about some of his latest work, including new effects designs and externals. Scott Hewitt will be the odd person out by discussing new applications in ChucK.

Portrait Concert – Roger Doyle

Mark Bokowiec – Amera
Amera is composed using soundfiles derived from field recordings taken in various localities in Devon and Cornwall including the boat construction yard in Polruan and the Funicular railway at Lynmouth. This material was then processed using a variety of techniques in MSP, particularly Phase Vocoding and Granular synthesis to create a pallet of sonic motifs. This material was then taken into the Absynth environment where it was reprocessed, modulated and orchestrated in real-time using a variety of custom built hardware controllers to create a number of long sequences. The final piece was then constructed using ProTools and mixed in the Electro-acoustic Music Studios at the University of Huddersfield. Amera was as a finalist in the Bourges International competition for Electroacoustic Music and Electronic Arts 2009.

Roger Doyle – The Ninth Set – sectors 1& 2
From 2002 to 2005 I worked on a large-scale composition project called Passades, culminating in 2 hours of music. Structurally the music was divided into ‘sets’, made up of several related musical ideas joined together. Each ‘set’ lasted from about 10 to 20 minutes. After composing 8 sets I imagined the project was finished and Passades – Volumes 1 and 2 was released on two CDs on the BV Haast label in Amsterdam. A Passade is an equestrian term meaning to move backwards and forwards over the same space. The music software I was using transformed incoming sounds by ‘freezing’ them like a freeze-frame on video or DVD. I then moved the sounds slowly forwards and backwards onscreen by mouse manipulation, like a sound calligrapher, using real-time hand to eye to ear co-ordination. Early in 2006 I embarked on a ninth set. This Ninth Set is a 67 minute single-movement composition, constructed in 5 seamless sectors. The sounds in sector 1 and 2 come from frozen fragments of an orchestral work of mine, together with my wife Mary’s voice (much to her surprise). To me the music has a supernatural feeling to it, but I have kept the title neutral, so that you can imagine what it is yourselves. I completed it in the summer of 2007. Sectors 4 and 5 from The Ninth Set were awarded the Magisterium Prize at the Bourges International Electro-acoustic Music Competition, France, in 2007. The Ninth Set has been released on the German Die Stadt label.

Roger Doyle – Cool Steel Army
for piano and electronics
The work was commissioned by Bradyworks Ensemble, Montreal, with funds provided by the Arts Council of Ireland, and performed in Montreal in November 2007 in a version for piano, 2 percussion, electric guitar, saxophone and electronic sounds. Cool Steel Army is an anagram of my wife’s name: Mary Costelloe.

Roger Doyle – The Idea And Its Shadow
A short work whose title betrays the compositional thought and process behind it.

Portrait Concert – Jamie Fawcus / Paulina Sundin

Monty Adkins + Pierre Alexandre Tremblay – Improvisation

Jamie Fawcus – Stoop
This piece is a compositional speculation into the experiences of the ancient ritual participant. Through this project i wanted to explore the possible processes in the mind of an individual involved in the rituals that took place in ceremonial/burial chambers such as New Grange in Ireland and Kiviksgraven in southern Sweden. It has been established that these places were actively used by people for many hundreds of years, rather than sealed off and left as undisturbed resting places, and as such they fascinate me, driving me to write Stoop. What sounds would have dominated such a burial site chamber?- Sounds specific only to that place; separate from it’s surroundings, enclosed and claustrophobic: Breathing, footsteps and heartbeats. Other sounds filtered or modulated by the chamber itself could be different 4000 years later – trees cut down, birds and animals vanished or extinct. It is not too great a leap to suggest that breath and footsteps within these spaces would sound the same today, magnified by the imagination and composition into something much more. Breathing and footfalls are the starting points for Stoop, and after working closely with the dancer and choreographer Ulrika Wedin in the dance performance project Vinkelben these sounds remained clear in my thoughts, eventually giving rise to this purely acousmatic piece. These sounds draw the listener into dancer’s focus and awareness of her physical prescence, surroundings and emotional and mental states. Stoop builds upon these closely recorded moments and patterns, moving through imaginary spaces and speculative visions. Stoop is a collection of camera perspectives on the ritual participant, built from the sounds of the body in motion, filtered through the lense of the acousmatic.

Jamie Fawcus – Resonances
Resonances is a piece for EAM and Theremin + processing, written primarily for performance by the composer and musician Lars Bröndum. This piece builds on the ideas explored in my earlier work Stoop, but focuses more on the specific area of standing waves in European Neolithic and Bronze Age chamber graves. Archaeological research shows that practically all of these constructions have a strong resonant frequency between 95 – 112 Hz, frequencies strongly present in the human voice, particularly that of the male voice when chanting or singing in a low register. This fact along with other archaeoacoustic findings inspired me to build a piece around these frequencies and shifting microtonal movement. I chose the Theremin for it’s specific sound and ready integration into and electronic sound world, along with the physical presence it creates along with the performer. Resonances creates an imaginary “chamber “ in 4 channels for the former to partly follow, partly interpret in his or own personal ritual.

Lars Bröndum – Chain of Events
The form of the piece is made out of seven events. The pianist initiates the events and the electronics responds accordingly. Some events are repeated and the electronics also has a cadenza half ways into the piece. The piano score is written to make use of the sounds inside and outside the piano. This involves scratching, bowing strings, closing lid etc. The “piano events” are also manipulated in Bröndum’s Max/MSP patch “Trap”. The electronic part is notated graphically and makes use of quartertones, clusters, feedback and noisy textures. The setup consists of a Theremin, a loop pedal, effects and a laptop. In this concert the piano part is pre-recorded and the piano events are triggered via a SP-404 sampler.

Paulina Sundin – Utresa
The composition Utresa is part of a project named Earblink created for the premises of the Textile Museum in Borås in Sweden taking place during September 2003. Earblink is textile-sound/music-light-installation where textile and music worked together as an integrated whole. Utresa is the name of a textile created by the Swedish textile artist Britt-Marie Hansson, used as a non-musical structure to determine the overall form of the piece sharing the same title. This piece explores harmony based on an inharmonic spectrum.

Paulina Sundin – Med lekande kval
Med lekande kval (roughly translated into “with playful toil”) is a play with traditional Western song harmony. The harmonic progression of the piece is based on the 18th century Swedish folk song Liksom en herdinna högtidsklädd. The idea was to see if the song harmony could be used as a foundation for an electro-acoustic piece without the harmony becoming too obvious to the listener, a folk song dressed in an electroacoustic “costume”. The sound material used is recordings of chairs, bikes, rain, carpet, door handles among others, i.e. normal musique concrète sounds.

Paulina Sundin – Clandestine Parts
Clandestine Parts is inspired by the dreams I remember from my childhood. At times, sleep was haunted by vivid nightmares, full of fear and technicolour dread. But ever so often, like a soft whisper drowning out the noise of chanting mob, I was relieved by a purely joyful dream with a happy ending.

Empreintes Digitales @ 20: cinema for the ears

Jean-François Denis – Point-virgule
The sound material was sculpted by sampling (thanks to Philippe Moënne-Loccoz) and then tamed and articulated on the keyboard in the studio. Point-virgule (Semicolon) is developed through five approaches, enunciated one after the other, and concludes with an exclamation point. Point-virgule was realized in July, 1990 at the studio of Collectif & Cie (Annecy, France) with the collaboration of Bernard Donzel-Gargand with support from the Canada Council for the Arts (CCA) and of the French Government.

Marcelle Deschênes – Le bruit des ailes
To all those who feel the urge to stretch their wings

Is the bird scared of the sound its wings make when they open?

Clarissa Pinkola Estés

I reign in the azure like an unknown sphinx;
I unite my heart of snow to the whiteness of swans

Charles Baudelaire, Les fleurs du mal: XVII. La Beauté

The trampled otherness, the wrench, the wandering, the freezing, and then the itch and the explosive freedom of the stretched out wings of an Ugly Little Duckling (Hans Christian Andersen). Le bruit des ailes (The Sound of Wings) was recomposed from Musique défilé (1999-2000) and contains self-referential quotes from the music works Écran humain (1983), Lux (1985), D-503 (1987) and Ludi (1990). The materials used for this piece are taken from a “soundbase” of ice storms (from the ice storm that struck Quebec in 1998; thanks to Jean-François Laporte for helping with the recordings), erupting volcanoes and nuclear tests in forgotten deserts. This soundbase was created together with Nicolas Boucher.

The pieces composed for the Nouvel Ensemble Moderne’s music/fashion show event “Musique défilé pour une fin de siècle” were later reworked into standalone acousmatic works — Indigo and Le bruit des ailes. They became the first two parts of the large-scale work Griffes (Claws), still in progress and inspired by Clarissa Pinkola Estés’s research in psychoanalysis (Women Who Run With the Wolves) and by Marie-Louise von Franz (Feminine in Fairy Tales). Through the use of sonic metaphors and highly evocative referential sounds, the music stages mental pictures associated with various “wild woman” archetypes taken from myths, dreams and tales. These first two parts are introspective works digging into the intimate space of affects. Also rolling through them are the tragedies of the origins and the fascinating forces of creation. Attempting to explore these buried memories, these untamed torrents, cannot be done without some commotion or tidal waves.

Le bruit des ailes was recomposed in 2002 from Musique défilé (1999-2000) at the Bruit Blanc studio and the PRIM, centre d’arts médiatiques, studio in Montréal (thanks to its residency program); the first mastering was performed by Bruno Bélanger in 2004 at Studio Prim in Montréal (thanks to its coproduction program); the final master was made by Dominique Bassal in 2005. The piece was premiered on November 2, 2002 at the Notre-Dame-de-Jacques-Cartier Church during the Festival des musiques sacrées in Québec City. Thanks to PRIM, centre d’arts médiatiques. Le bruit des ailes was selected as finalist at the 5th Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’03, Brazil).

Francis Dhomont – Points de fuite
To Jean-Louis Ostrowski

Term of perspective. The point of convergence of parallel lines.
Audition/reading on many levels:

  1. technical (kinetic study: glides in tessitura, mutations of masses, of densities; modifications of timbre; energetic eruption/dispersion; spatial mobility);
  2. impressionistic (encounters, crossings, fusion of heterogeneous events which carry similar connotations; trajectories, velocities, displacements; the near and the distant; the passage);
  3. symbolic (flight: running away; departure, wandering, lapse, obliteration. The horizon, Kafka: Disappearing — America);
  4. ad libitum…

Points de fuite (Vanishing Points) was realized at the composer’s studio in Montréal in 1981-82 and premiered on June 13th, 1982, at the 12th Bourges International Experimental Music Festival (France). Points de fuite was awarded 2nd Prize at the 12th Bourges International Electroacoustic Music Competition (France, 1984), 1st Prize at the Brock University Tape Music Competition (St Catharines, Ontario, 1985), and was selected by the international jury of the International Society for Contemporary Music (ISCM) for the 1984 World Music Days in Montréal.

Yves Daoust – Mi bémol
Around a small tonal object (E flat, Mi bémol in French) developed into a drone used as a thread in this piece, I have brought together some of my ‘fetish’ sounds. A stereotypical form emerged, a hyper-condensation of my style, of my articulation and construction processes: confrontation of widely different sound elements, a preference for the anecdotal, the crossfading of textures, oscillation between the musical discourse and the documentary approach. Mixtures of levels, polyphony of sounds and of meanings. A pastiche where I attempt to imitate myself…

Mi bemol was realized in 1990 at the composer’s studio. It premiered on 2 November 1990 at Théâtre Les Loges, during the New Music America/Montreal musiques actuelles Festival. Commissoned by empreintes DIGITALes, recorded on the Electro clips CD (lMED 9004, lMED 9604)

Gilles Gobeil – Le vertige inconnu

… here, on the roof of the world, I feel a shadow of uneasiness… It’s not at all the height, nor the kind of suction exerted by the abrupt depths and its emptiness which troubles me. It’s an altogether different emptiness which affects an altogether different sense… the essence of solitude…

Paul Valéry, Le solitaire

Le vertige inconnu (The Mysterious Vertigo) was produced in 1993 at the studios of the Groupe de musique expérimentale de Bourges (GMEB, France). It premiered in June 1993 at the 23rd Bourges International Electroacoustic Music Festival (France). Le vertige inconnu received the 1994 Stockholm Electronic Arts Award (Sweden) and was selected for the 1994 World Music Days (Stockholm, Sweden) and the 1994 International Computer Music Conference (ICMC ’94) in Danmark. The piece was commissioned by the GMEB, with support from the Canada Council [for the Arts].[v-94] Since, Le vertige inconnu was awarded the prize of international competition Stockholm Electronic Arts Award (Sweden, 1994) and the 2nd prize at the Prix Ars Electronica (Linz, Austria, 1995).

Stephane Roy – Crystal Music
To Claudine

Material substances and sound substance have never been so closely associated as in the acousmatic genre. Crystal Music, which originates in this genre, is a music of forms, colors and materials shaped by kinetic energies and perspectives in the inner space of the work. Like glasswork, the material has been expanded, moulded, transmuted in the fiery furnaces of experimentation. Like crystal, it has been worked upon by the imagination which imbues its transparency with the power of illusion.

Beyond pure matter, there still remain certain sham voices lost in factual collages, but also rhetorical phenomena of ruptures and antagonistic relationships between musical characters, strained nodes, suddenly subjugated by the whimsicality of an arabesque. The work is permeated by a bountiful style employing sound material as others use flat areas of color which they scratch with a nervous, angular graphism: it thus reveals a desire for plasticity which soon enough betrays a dramatic expression.

This work, composed largely with Bill Schottstaedt’s Common Lisp Music program, could not have been realized without the technical support and exceptional conditions I enjoyed at CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University (California, USA) during the year 1992-93, as well as in the studios at the Faculty of Music of the Université de Montréal in 1994. The work was premiered on March 3, 1994 at the Chapelle historique du Bon-Pasteur in Montréal during the 15th anniversary concert of ACREQ (Association pour la création et la recherche électroacoustiques du Québec). Crystal Music was commissioned by ACREQ with support from the Canada Council [for the Arts]. I wish to thank the Faculty of Music of the Université de Montréal for having lent me its studios in order to complete the piece. Crystal Music was awarded the First Prize at the 3rd Prix international Noroit-Léonce Petitot (Arras, France, 1994). Crystal Music previously appeared on the compact disc Prix international Noroit-Léonce Petitot 1993 (NOR 3).

Denis Smalley – Base Metals
The title refers to the metal sounds that provided the central material for the piece, and it also evokes the creative process of transmuting these raw sources to a higher musical and expressive plane.

All the metal sources derive from sound sculptures created by the artist Derek Shiel from metal objects collected over a period of time. From the wide range of objects I selected those with the internal resonant properties that could provide me with variegated spectral families. Some possessed intervallic and tonal properties, others were inharmonic or noisier, and some sounded more synthetic than truly metallic. Although there are a number of orchestrated impacts and resonances in the piece, I was less interested in the clash of metal than in more sustained morphologies. Thus there is a focus on varied pushes, surges, swirls and sweeps of spectral energy, balanced with calmer drifts, undulations and dips, all of which move in and out of more clearly pulsed moments. These motions are also spatial so there are approaches, emergences, dispersals and distant disappearances, sometimes leaving behind the residues of spectral trails. The metal-based families, which are hardly ever absent, are brought into relations with a few other sound-types, and those who know my other pieces might spot the occasional refugee-sound from the past, recontextualized.

Base Metals was composed in 2000 in the composer’s studio and premiered on October 15, 2000 during the 7th International Acousmatic Festival L’Espace du son (Brussels, Belgium). The piece was commissioned by Sveriges Radio Malmö — Swedish radio in Malmö — (Sweden). Thanks to Derek Shiel for making his sound sculptures available, and to Bosse Bergqvist for initiating the commission.

Robert Normandeau – Bédé
À mes parents

Cette miniature a été réalisée à partir de sons (onomatopées) provenant des bandes dessinées, traditionnellement rattachées au monde de l’enfance. La pièce est divisée en trois sections: Le monde de l’enfanceLa vallée des fantômes, et La quête de la voix. Ici la voix est celle de Marie-Hélène Blain, 11 ans, seul et unique élément sonore de cette œuvre. Bédé a été réalisée dans mon studio personnel, à la faculté de musique de l’Université de Montréal et au Ina-GRM grâce, notamment, au Conseil des arts du Canada. Dédiée à mes parents. Une version multipiste de cette pièce a été enregistrée sur compact en 1994.

Empreintes Digitales @ 20: music for dark spaces

Jonty Harrison – BEASTory

Pierre Alexandre Tremblay – Ces énigmes lumineuses
(These radiant enigmas)
for she who helps me to tame happiness

Something is instilled into me when, whilst sitting on a park’s bench watching my kids at play, I contemplate the drift of my thoughts. Or, when the sun surprises me halfway through an errand, I take the time to stop and to let its rays caress me through my eyelids. Or when I am cuddled against my lover, half-listening dreamily to the radio. These moments share a slowing down, a serene opposition to the polyrhythm of contemporary life, a well-being into contemplation… Happiness, ineffable, emerges as a slow, voluptuous meditation… To paraphrase Pennac: they are radiant enigmas.

Monty Adkins – Five Panels
monty adkins – electric guitar, organ, sound processing
pierre alexandre tremblay – bass guitar

panel no.1 (to luke) 08’59
panel no.2 (to ethan) 09’51
panel no.3 (to annis) 07’32
panel no.4 (to rose) 09’44
panel no.5 (to finn) 10’11

Five Panels is a series of abstract electronic pieces based on the paintings of Mark Rothko. The pieces seek to explore a limited palette of sounds focussing on their spatial and musical interplay rather than sound processing techniques. Each work is concerned with drawing the listener into the sonic environment rather than leading them through a gesture filled musical space.

Ned Bouhalassa – The Lighthouse
This work is the soundtrack for the video The Lighthouse (third work of the Theseus triptych) by Khrystell E Burlin. Loops of filtered noise, synthesizer textures, urban samples. Horse hoof rhythms, creaking doors, a bell — all bring a kind of welcoming tension. Drum and bass sounds, breakbeats, crackling smackdowns push the tempo, very urban; my version of the city’s pulse. Radio whispers from an old war as the city traffic chaos becomes symphonic. Barely-held-together melodic fragments drown in a sea of raw noise. The ocean, now light, blinding in the end.

The Lighthouse was realized in 2005 at the composer’s studio (soundtrack) and the video artist’s studio (video) and premiered on December 10, 2005 during Akousma (2), presented by Réseaux at Espace Go in Montréal. The piece was commissioned by Réseaux des arts médiatiques, with support from the Canada Council for the Arts (CCA).

Natasha Barrett – Mobilis in Mobili
The ocean’s physical nature, mystery, drama, mythology and concept have inspired art and culture throughout history and throughout the world. Mobilis in Mobili is the central axis of the larger electroacoustic work Trade Winds (2004-06) reworked into a self-contained composition inspired by this vast expanse of sea.

The title Mobilis in Mobili is from Twenty Thousand Leagues Under the Sea (Vingt mille lieues sous les mers, 1869) by Jules Verne (1828-1905).

“Several times, during various lulls of wind and sea, I thought I heard indistinct sounds, a sort of elusive harmony produced by distant musical chords” “A few moments later, eight strapping fellows appeared and dragged us down into their fearsome machine.” “[…] suddenly plunged into darkness, utter darkness. The ceiling lights went out so quickly, my eyes literally ached.” “[…] a sliding sound became audible. You could tell that some panels were shifting over the Nautilus’s sides” “Suddenly, through two oblong openings, daylight appeared on both sides of the lounge.” “What a sight! What pen could describe it? Who could portray the effects of this light through these translucent sheets of water, the subtlety of its progressive shadings into the ocean’s upper and lower strata?”

Mobilis in Mobili was realized in 2006 in the composer’s studio and premiered on 8 June 2006 during Synthèse, the 36th Bourges Electronic Music and Creation International Festival (France). (The original Trade Winds was commissioned by Notam (Norwegian network for Technology, Acoustics and Music) with funds from the Norsk Kulturråd (Arts Council Norway) and the Norsk Komponistforening (Norwegian Society of Composers).) Thanks to Storm Weather Shanty Choir (sea shanty extract), and Jon Varhus (captain of the Anne Christina.

Louis Dufort – Pointe-aux-Trembles
An impression of the refineries of east-end Montréal

Night beneath the glittering refineries,
time stands still, I am but a lost child
on the gravel of Pointe-aux-Trembles
Machine Mother take me.

Pointe-aux-Trembles was realized in 1996 in the studio of the Faculty of Music of the Université de Montréal. The present version was premiered in 1997 at the concert of the 5th Prix international Noroit-Léonce Petitot (Arras, France). Thanks to Marcelle Deschênes who has always understood my work so well. Thanks to Alexandre Burton for his capable fingers during the mixing sessions, and especially for getting me out of technical nightmares. Pointe-aux-Trembles was a finalist for the Prix international Noroit-Léonce Petitot in 1997 and was first recorded on the Prix international Noroit-Léonce Petitot 1997 disc (NOR 5).

Pete Stollery – ABZ/A

The first two letters of Aberdeen’s postcode (AB) imply a latent episodic musical structure to the Granite City that is made explicit in this piece. We are thrown from sonic encounter A to acoustic ambience B (via moments of dangerous articulation that seem to have the energy to provide such propulsion) and so ever onward towards Z. Whether we arrive is open to question (the lengthening nature of the episodes working against such a goal), and we most certainly never return to A. It is as if our journey has been somehow interrupted, like an accordion player assassinated in mid-squeeze…

Andrew Lewis

ABZ/A was realized in the early part of 1998 in the composer’s own studio and premiered on February 10, 1999 at Concordia University (Montréal). It was was commissioned by the BBC. This version was mastered by Dominique Bassal in 2005 in Montréal.