Crane Lab IV. In this last episode about CraneLab the composers: Christian Eloy, Yérri-Gaspar Hummel and Jean-Marc Duchenne.
Born in Amiens, France, he first studied the flute and composition at the national conservatory of the region and then at the Conservatoire Nationle Supérieur de Musique de Paris. Prior to inspirational encounters with Ethnomusicology in Dublin, Electroacoustic music in Paris, Ivo Malec, Guy Reibel, GRM and IRCAM, he was a flute player in an orchestra.
As a composer of more than 50 instrumental, vocal and electroacoustic works, his work list has expanded greatly over the years. These include several pieces which were commissioned by the State and Radio France, and educational pieces such as operas for children and electroacoustic tales. Prizes include ‘the prize of the European Community Poetry and Music’ and the “François de Roubaix” prize. His works are published by Lemoine, Billaudot, Musical Consortium Combre, Jobert, Fuzeau, Notissimo, PUF (France), Johnston Ed. (Ireland), MIT press (US), The monthly literary and poetic (Belgium) and Confluences (France).
He was in charge of the Electroacoustic department of the National Conservatory of the Bordeaux region, as well as a senior lecturer at the Paris IV University and Bordeaux for more than 20 years. He also organised workshops at the Groupe de Recherches Musicales /City of Paris. During these years, he founded the SCRIME, a research and creation studio at the University of Bordeaux 1, and was active as the artistic director. http://christian.eloy.pagesperso-orange.fr/
== == == == == == == == == == == == == == ==
Yérri-Gaspar Hummel weaves his character between the studios of the Karlsruhe Institute of Computer Music and Strasbourg Conservatory. Also his self-taught practices during free-jazz sessions in Royaumont with Joëlle Léandre and Mat Maneri. Ethnomusicology in India, and sound poetry complete his appeal for sound phenomena. As a result, he is constructed as a cross-composer about Western culture open on extra-European vibrations. He is very infuenced by concrete music and is passionate about electroacoustic works. He plays several media and represents the spirit of music in a processional approach. His works have been performed at Manifest IRCAM / 104 in Paris, Internationales Darmstadt Musikinstitut, the Venice Biennale, in the United States and Europe with various projects including Iguan, KL4NG, ENNERI BLAKA or solo project. He is the current artistic director of the exhibitronic festival and works for the diffusion of electroacoustic creations with his radio podcast. http://yerrigasparhummel.com/
== == == == == == == == == ==
Jean-Marc Duchenne was born in 1959. After the classical music studies in Dijon (clarinette, composition, licence of musicology), he learned acousmatic in the class of Denis Dufour in Lyon. Since the late 80s, his aesthetical and technical researches on space and his compositions have continuously fed each other. This has led him to develop his own creation tools, like his studio-acousmonium in the early 90s (62 channels today), the series of AcousModules multichannel plugins in the 2000s, and the original speakers ensembles that constitute the AcousMobile. Concerts, installations or live situations, his compositions always tend to make sound feeling as touchable images. Working with high number of speakers allows him to create sensible sound constructions, from nearly narrative “movies-for-the-ear” to abstract mobile architectures. The proximity to the listeners also consitutes an important aspect of his work, where he can combine the pleasure of discovery with the experimentation of new artistic forms. Depending on the period, he has also taught acousmatics, digital sound techniques and MAO in various schools and universities. http://sonsdanslair.free.fr
== == == == == == == == == ==
1/ Dans les jardins de Cybèle/The Cybele gardens (2013), Christian ELOY. Duration: 14:41.
A walk, on a summer’s day, in the late afternoon, through the remains of a Gallo-Roman town, the gardens of Cybele … Impressions are diffused. A sacred place as well as a sanctuary … and also the aura of the nearby town is echoed. A special place, allegory of the spiritual and of materialism, duality between spirit and motion. Cybele, Kybélê in ancient Greek, means the “guardian of all knowledge”, a divinity of Phrygian origin, who personifies wild nature. Cybele is undoubtedly one of the greatest goddesses of the Ancient World of the Near East. She is also the goddess of fertility, why not the goddess of the creative fertility of the arts? Baudelaire mentions her twice in the “Fleurs du Mal”: “Cybèle, who loves them, enhances her greenery”, then in “I love the memory of those naked times”.
2/R.A.M. /Random Access Memory (1998), Christian ELOY. Duration: 5:00.
For tape alone. 50 years have passed since Pierre Schaeffer made his first explorations into the audio world. This short piece is a meandering voyage through the electro-acoustic memory of this first halfcentury. Colours, snatches, fragments, themes and signals created by the composers of these 50 years have produced the exclusive sound materials of this music.
3/ Fold-in (2017). Christian ELOY. Duration: 8:10.
Acousmatic piece. Dedicated to Ying-Chien Wang, highly talented ehru performer
Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017 Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu, sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediately asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the manipulations. The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacoustic music with the development of a true language arising from these elementary manipulations; the different experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimental studios will also be remembered (GRM, GMEB). Christian ELOY therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively simplicity of editing and mixing, including processes similar to fold-in. Thanks to Ying-Chien, for these precious sounds
4/ Point de contrôle C. (2016), Yérri-Gaspar Hummel. Duration: 6:33.
Composed at Studio Métamorphoses d’Orphée. Created for the festival musica October 3, 2016. Acousmatic piece thought as an ode to resistance, checkpoint C defends freedom of expression through the human condition in the face of the barriers that build the governments. It is also the best-known border post of the Cold War era in Berlin. A touching witness of the division in the Capital city of Germany. This piece refers to this barrier in its treatment of two contrasting subjects by the opposition of their texture. It is like a poem, a dreamlike conciliation of two worlds in the same space with distant echoes of laughter, crying sometimes and weightlessness. Music has always brought people together and creates bridges to new possibilities. Point de contrôle C. – 2016 C – freedom of expression and the unspeakable wisdom of a fascination with the afterlife. Dedicated to Charlie Imbach.
5/ Conversation nocturnes (2012), Yérri-Gaspar Hummel. Duration: 2:49.
Composed at studio LA[B]UT. As a sphere around which sounds absorb a nocturnal identity. The sounds are transformed and surround themselves with immersive characters. These dreamy felds are small windows giving a listening on the public squares. Each frame gives an infant point of view. A point of view allowing the listener to remember his identity. It is also a sound identity delivering these conversations by mixing them to forge an enigmatic universe. Conversations nocturnes open a way of night spaces.
6/LA TOUR AUX ÉCLATS DE MIROIR, Jean-Marc Duchenne. Duration: 8:10.
Initial recording of the seed sound was made by a friend (Marc Laurençon) in a glass weaving factory. The shape of the piece derives directly from the energy contained in this short recorded sound: tension, stretching, splinters, breakage, fragility and incision.
7/ AUX CRATÈRES DE LUNE, Jean-Marc Duchenne. Duration: 8:04.
In 1860, Édouard-Léon-Scott Martinville fixed the first trace of the human voice on a sheet of paper (the song of the first verse of Au clair de la lune). A century and a half later, researchers transcribe this image into possible sounds. When Duchenne first listened to this, the image of a tiny seed of life lost in an immensity jagged of dust and debris emerged.