DVD Program Notes

Part One: Annette Vande
Gorne, Curator

Curator’s Note

Satisfied since 1971 that acousmatic
music is the alpha and omega of all
aesthetic and technological research
in electroacoustics, that its very ex-
istence has changed the conditions
of production, reception, and percep-
tion of music, I could only offer for
this Computer Music Journal DVD
music produced for these new imagi-
nary relationships to sound, 没有
图片.

Teaching the techniques of ´ecriture

for media and acousmatic composi-
tion at the higher level of the music
conservatories since 1986 has finally
created an acousmatic “school” in
Belgium with its own specific charac-
特尔. I propose that the listener discover
here a selection from three genera-
tions of Belgian composers, 也
a guest of honor, Hans Tutschku, Pro-
fessor at Harvard, who combines the
rigor of his culture of origin, 德国,
with a richness of sound and musical
immediacy of play on a sounding
body—in this case of old pianos.

1. YAWAR FIESTA: Acte I,

Condor (extrait: Peuple aux
f ˆetes emplum ´ees)—Annette
Vande Gorne (Chief: 尼古拉斯
Isherwood, bass; Chorus:
Nicholas Isherwood, bass;
Paul-Alexandre Dubois,
baritone)

Can space, written and performed
居住, lead to expression and dramati-
扎化. . . 音乐? Opera? Even if the
project does not involve any singers
on stage, a majority of sound material
derives from the voice. 这不是
an electroacoustic work (with its re-
search materials and abstract writing),

but the dramatization of a text by,
除其他事项外, the placement
of the sounds and spatial figures. 这
technology of the music finds a link
with the tradition of singing opera.

The libretto describes how incan-

tatory ritual in Aeschylean tragedy
represents the fighting of duels within
我们, concepts of life opposed, 并且是
symbolized by the struggle of a con-
dor and a bull that still takes place
during the “feast of blood” in some
villages founded by the Spanish in the
Peruvian Andes.

An example between poverty and

the power of money, “Who to cut
the cord of misery?” This is also
the attraction of desire and brute
力量. Only art brings the two forces
一起, the author concludes: “That
here at least where the words are
acts for what they are: the party
continues. Here at least where the
words are sung, all come together in
games of shadow and light.”

The chief of the Indians, the tim-
bre of bass, reassurance personified
by a declamatory questioning, spiri-
tual wisdom whose strength always
wins eternal in duration, the material
contingencies, political and eco-
nomic. (The Dalai Lama is a current
example.)

The choir of the Indians is orga-
nized by alternating opposite timbres
crossing all the text, the choice of
words in the overall shape of the
three acts.

YAWAR FIESTA was produced
at Studio M ´etamorphoses d’Orph ´ee,
Musiques & Recherches, Ohain,
比利时.

Text (翻译: Anne-Marie
Glasheen)

Faisons savoir, aux maˆıtres des enclos
et des ar `enes,

Inform the masters of the pens and
arenas,

Que nous viendrons, comme chaque
ann ´ee, avec le fils des espaces sans
barri `ere.

That we shall be there, like every
年, with the son of the wide open
空间.

Qu’ils se pr ´eparent pour la corrida.
Elle est `a eux! A nous la lutte, Comme
chaque jour que nous vivons.

Tell them to prepare for the bullﬁght.
It is theirs! Here’s to our ﬁght, Like
every day that we live.

Chœur: A genoux, taureau! Plie, ploie
sous celui qui nous venge!

Chorus: On your knees, bull! Bow,
bend beneath he who avenges us!

Que sa victoire gonfle nos moissons
et que ses vastes ailes les prot `egent!

May his victory swell our harvests
and may his vast wings protect
我们!

Chef: Ils ont besoin de la souffrance
et de la peur ceux qui poss `edent, car
ils r `egnent sur du n ´eant.

Chief: They have a need for suffering
and fear those who possess, 对于他们来说
reign over nothingness.

Vous, je vous ai conduit vers celui qui
mange la mort pour qu’elle ne reste
pas inutile et serve encore.

你, I have led you to the one who
eats death so that it might not remain
useless but serve again.

Chef: Peuple aux f ˆetes emplum ´ees,
aux femmes en corolles de laines
rouges, allons!

Chœur: Qu’il soit notre h ´eraut!
Que sa col `ere d’otage parle pour
我们.

Chief: People of the plumed festivals,
whose women wear red wool corol-
拉斯, let us go!

Chorus: May he be our herald!
May his hostage’s anger speak for
我们.

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数字 1. Annette Vande Gorne.

Souffrance et peur, nous pouvons en
donner: nos greniers en sont pleins
plus que de r ´ecoltes!

Suffering and fear, we can dish them
出去: we have more of them than crops
in our granaries!

Chef: Il est temps. Regagnez vos
maisons o `u dorment encore les r ˆeves
f ´econds de vos femmes.

Chief: It is time. Return to your
houses where the fertile dreams of
your wives still slumber.

Allez, non comme des poules qu’on
emm `ene au march ´e la t ˆete en bas,
mais comme en troupe joyeuse qui
escorte son champion.

Go, not like chickens being taken
to market their heads hung down,
but like a merry band escorting its
champion.

Gens du ma¨ıs et des f `eves, soyez
comme le ciel qui br ˆule et qui brille
au-dessus de vos champs.

People of the corn and beans, be like
the sky that burns and blazes above
our pastures.

Chœur: Taureau, nous voici, et avec
我们, ton cavalier aux ´eperons en
couteaux de boucher.

Chorus: Bull, we are here, and with
我们, your horseman with spurs like
butcher’s knives.

Following her classical studies at
the Royal Conservatories of Mons
and Brussels, and her studies with
Jean Absil, Annette Vande Gorne
chanced upon acousmatics when on a
training position in France. 即刻
convinced by the works of Franc¸ ois
Bayle and Pierre Henry of the
revolutionary nature of this art form
(disruption of perception, renewal
of composition through spectromor-
phological writing and listening con-
归纳法, historical importance of the
movement), she took a few training

both of her own works and those of
international composers.

Professor of electroacoustic com-
position at the Royal Conservatory
in Li `ege (1986), then Brussels (1987)
and Mons (1993), she founded an
autonomous Electroacoustic Music
section at the latter, which was later
(2002) integrated to the European
graduate studies framework. 自从
1999, she has been managing an in-
ternational summer training session
on spatialization and, 自从 1987, 在
electroacoustic composition.

Her works can be heard in every
festival and on every radio program
presenting media-based (previously
“tape”) 音乐. Her current work
focuses on various energetic and
kinesthetic archetypes. Nature and
the physical world are models for
an abstract and expressive musical
语言. She is passionate about two
other fields of research: the various
relationships to word, 声音, 和
meaning provided by electroacoustic
技术, and the composition
of space seen as the fifth musical
parameter and its relationship to
the other four parameters and the
archetypes being used. Her work
falls essentially in the acousmatic
类别, including the Tao suite
and Ce qu’a vu le vent d’Est, 哪个
renews electroacoustic music’s ties
with the past, with a few incursions
in other art forms, including theatre,
dance, sculpture, ETC. (翻译:
Franc¸ ois Couture)

2. Protopia/Tesseract—
Elizabeth L. 安德森

The initial idea for the acousmatic
work Protopia/Tesseract was inspired
by a literary interpretation of the
tesseract, defined in the children’s
fantasy novel A Wrinkle in Time
by Madeleine L’Engle as a concept

positions to grab its basics, 然后
studied musicology (Universit ´e libre
de Bruxelles) and electroacoustic
composition with Guy Reibel and
Pierre Schaeffer at the Conservatoire
national sup ´erieur in Paris.

She founded and managed
Musiques & Recherches and the
M ´etamorphoses d’Orph ´ee studios
(Ohain, 1982). She also launched a
series of concerts and an acousmat-
ics festival called L’Espace du son
(布鲁塞尔, 1984; annual since 1994),
after assembling a 60-loudspeaker
系统, an acousmonium derived
from the sound projection system
designed by Franc¸ ois Bayle. 她是
editor of the musical aesthetics re-
view Lien and R ´epertoire ´ElectrO-CD
(1993, 1997, 1998), a directory of
electroacoustic works. She also
founded the composition competition
M ´etamorphoses and the spatialized
performance competition Espace du
儿子. She has gradually put together
Belgium’s only documentation cen-
ter on that art (在线提供：
www.musiques-recherches.be).

She gives numerous spatialized

acousmatic music performances,

DVD Program Notes

113

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数字 2. Elizabeth Anderson.

数字 3. Ingrid Drese.

where intergalactic travel is made
possible through spatio-temporal
compression.

Much of the sound material
for the work was created during a
residency at the Centre de Cr ´eation
Musicale Iannis Xenakis (CCMIX)
in Paris with the support of Le
service de coop ´eration et d’action
culturelle de l’ambassade de France
en Belgique. The work was composed
in the multichannel electroacoustic
studio at City University; 这
studio M ´etamorphoses d’Orph ´ee at
Musiques & Recherches in Ohain,
比利时; and the Studio Akousma in
the Acad ´emie de Musique de Soignies,
比利时. I am grateful to Annette
Vande Gorne and Jean-Louis Poliart
for having opened their institutions to
我. This work is dedicated to them.
Protopia/Tesseract received the
first prize at the Musica Nova elec-
troacoustic composition competition
in Prague in 2008, and an honourable
mention in the VII International
Electroacoustic Music Contest of S ˜ao
Paulo in 2007. Protopia/Tesseract
was realized with the assistance of
the Communaut ´e franc¸ aise: Direc-
tion G ´en ´erale de la Culture, Service
de la Musique in Brussels, 比利时.
The work is recorded on the
compact disc Electro AC, produced
by the agency Wallonie-Bruxelles
Musiques, under the auspices of
Wallonie-Bruxelles International and
the Minist `ere de la Communaut ´e
franc¸ aise Wallonie-Bruxelles.

Elizabeth Anderson is a composer
specializing in electroacoustic tech-
好的. 在 1994 she received the Pre-
mier Prix, 并在 1998 the Dipl ˆome
Sup ´erieur, in electroacoustic music
composition at the Royal Conserva-
tory of Mons with Annette Vande
Gorne. Elizabeth Anderson com-
pleted a PhD at City University
London in 2011. Her dissertation,
Materials, Meaning and Metaphor:

Unveiling Spatio-Temporal Perti-
nences in Acousmatic Music, su-
pervised by Denis Smalley, 中心
on the perception of electroacous-
tic music and the elaboration of a
metaphorical language for electroa-
coustic art. Funding for her doctorate
was provided by an Overseas Research
Scholarship as well as subsidies from
the Fondation SPES and the British
Federation of Women Graduates
Charitable Foundation.

Elizabeth Anderson’s music has
received prizes in diverse interna-
tional competitions. Her works are
frequently performed in international
festivals in Europe, North and South
美国, and Asia. Details about
existing commercial recordings of
her music can be found online at
her personal Web site (www.helios-
and-selene.com) and at ElectroCD
(www.electrocd.com/en/bio/
anderson el/discog/). Her mono-
graph disc l’Envol will be released by
empreintes DIGITALes in early 2014.
She has been invited and funded by
diverse international institutions to
realize compositions, 以及
give performances and conferences
about her doctoral research.

Elizabeth Anderson organized and

developed a comprehensive course
of electroacoustic composition at
the Academy of Music in Soignies
(比利时) 从 1994 直到 2002. 在
2003–2004年, she joined the faculty
of the department of electroacoustic
composition at the Royal Conserva-
tory of Mons. She is currently respon-

sible for the course on semiology in
electroacoustic music there, 这是
based on concepts she developed in
her doctoral dissertation.

Io—Ingrid Drese

This third work tries to join different
元素, 材料, and strategies
from its preceding compositions: Voix
de l’aurore and Plis de la nuit. 这
first with fluidity, sonic geology, 和
melancholy; the second with light-
ness and weightlessness.

Metro Denfert-Rochereau, Observa-
tory in Paris.

The idea from separation, distance
and ascent is the central preoccupa-
的.

Io was commissioned by Ars Musica,
布鲁塞尔, 2011, and was realized in
the composer’s studio.

Ingrid Drese first studied piano,
chamber music, music history, 和
music analysis before signing up
for the electroacoustic composition
program at the Royal Conservatory
of Music (RCM) in Brussels, 然后
for the same program at the RCM
in Mons, in Annette Vande Gorne’s
班级, where she finished with a Prix
sup ´erieur in 1998.

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数字 4. Daniel Perez Hajdu.

She helped develop and implement
a course in Acousmatic Music Com-
位置 (1996) at the Acad ´emie de
musique de Soignies (比利时) 和
taught acousmatics (Trait ´e des objets
musicaux et perception) at the RCM
in Mons (比利时) in 2004–2005.
自从 2010 she is professor in acous-
tic composition in the same Royal
Conservatory of Mons.

Although she focuses her composi-
tion work on concert music, she also
likes to collaborate on stage projects,
films, and music videos. 一些
major institutions have commis-
sioned works from her, including Ina-
GRM (巴黎, 法国) and Musiques &
Recherches (Ohain, 比利时).

Her works have been programmed

for Belgian and foreign festivals,
and have won several competi-
系统蒸发散: Electroacoustic Composition
奖, Royal Academy of Belgium
(1997); Noroit-L ´eonce Petitot Inter-
national Award (Arras, 法国, 1998);
M ´etamorphoses Biennial Acousmatic
Composition Competition (布鲁塞尔,
比利时, 2000).

Invited by the Groupe de musique
exp ´erimentale de Marseille (GMEM,
法国), she also took part in a
Qu ´ebec–Belgium exchange program
在 1996, the Futura Festival in Crest
(法国) 在八月 2001, the Rien `a
voir Festival in Montreal (Quebec)
in April 2002, and the Ars Musica
Festival in Brussels (比利时) in April
2008.

She also teaches piano. (transla-

的: Franc¸ ois Couture)

4. Prologue for an

image—Daniel Perez Hajdu

This would be a gesture of going to. . .

A birth.

An embodiment.

An emergence.

An outgrowth of different nature from
what it grows out.

And that would be the image.

The image that takes place in the
mind of a listener who would also be
some mechanic of his thoughts.

–And the image has to come! And it
must!

That’s the project. 这个想法. My own
image of the thing.

It should be possible to provoke some
别处. Something that leaks out
and would be plural.

An ideal transfer from a domain to
其他, and one that happens just
那里, without looking for it.

The metamorphosis of a reality into
其他.

A music into an image.

A music in an image.

In consciousness or unconsciousness.

An appearance in the fog.

A vision without materiality, projec-
tion of an ecstatic dream.

Daniel Perez Hajdu (Havana). Having
left the image, crosses the road and
arrives at sound. 因此, frequents
the Royal Conservatory of Mons and
its acousmatic department (有
talk of montage, which is convenient).
Now teaching there.

Sometime did, along the way,
exhibitions here and there (filming,
installing, or assembling). Concerts as
出色地, in groups and mainly with a gui-
tar in hand, in something that bears
some resemblance to rock and espe-
cially to noise-based improvisation.

Today would be more centered on
acousmatic explorations. Especially
the tensions between abstract and
iconic sound forms. Or the playing
with perceived heard images.

Sounds and music for the theater as
出色地. Articles also, when the occasion
来了. Would quite like to write a
hit, just one.

5. Klaviersammlung (piano

收藏)—Hans Tutschku

Sixteen-channel electroacoustic com-
位置; duration: 9’58”; studio:
哈佛大学, 2011; dedicated
to Christoph von Blumr ¨oder; 第一的
表现: 28 十月 2011, 大学-
versity of Cologne.

The idea for Klaviersammlung de-
veloped over several years. Each time
I visited the University of Cologne,
I was fascinated by the long hallway
between the musicology department
and the concert hall, which houses an
impressive collection of desolate pi-
anos from different centuries, 带电
with musical remembrances. 一
walks with respect, almost on tip-
toes along them, to not disturb their
dreams of a better past. Many times
I thought about how their sounds
could become the source material for
a new composition. In July 2011, 我
finally spent some hours and elicited
quite “un-pianistic” sonic expres-
sions from some of the instruments.
A large spectrum of those played
序列, together with their

DVD Program Notes

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数字 5. Hans Tutschku.

数字 6. Laurent Delforge.

composition at IRCAM, 和来自
2001 到 2004 at the Conservatory of
Montb ´eliard.

在五月 2003 he completed a
doctorate (博士) with Jonty Harrison
at the University of Birmingham.
During the spring term 2003 他是
the Edgar Var `ese Gast Professor” at
the Technical University Berlin.
Since September 2004 Hans
Tutschku has been working as
composition professor and direc-
tor of the electroacoustic studios
at Harvard University (剑桥,
马萨诸塞州, 美国).

He is the winner of many inter-
national composition competitions,
除其他外: Bourges, CIMESP S ˜ao
保罗, Hanns Eisler Prize, Prix Ars
Electronica, Prix Noroit, and Prix
Musica Nova. 在 2005 he received the
Culture Prize of the City of Weimar.

6. Dragonﬂy—Laurent Delforge

Dragonfly is a continuation of my two
previous pieces, Nautilus and Kh ˆa ˆa.
It feeds on the border, close to my
心, between the artificial and the
natural. Artificial because this kind
of work is of a complex craft. 那里
are numerous “snippets” of studio
work that shape, sound by sound, 这
musicality of this mechanism, 甚至
perhaps this sonic scheme. . .

Miniaturist precision has always
been a field of research and develop-
ment for me. Equally, it appears to be
a fascination.

But these devices that are present
in the composition, these countless
fragments of sound, these confronta-
tions of materials, these ruptures
of plans and of colors, are brought
to recompose another more global
movement and to recreate a natural
musical logic.

Sometimes preventing the mate-

rial from developing according to

it own logic enables me to sculpt a
new one.

Just as a swarm of insects with
their own paths, sometimes chaotic,
form a homogeneous cloud that
moves as a whole.

Laurent Delforge is a composer
and musician based in Brussels. 他
finished his degree in acousmatic
composition in 2008, working with
Annette Vande Gorne at the Royal
Conservatory of Mons, 他在哪里
currently teaches electroacoustic
instrumentation.

He is interested in various forms of
musical expression, its terrains of cre-
ation range from purely acousmatic
music to improvised instrumental
音乐, from contemporary classical
music to “popular” electronic music.
Working with various artists and

musicians in different formations
or projects, he amuses himself by
confronting these “other worlds” to
enrich his own personal work.

He has also composed music for
contemporary dance for more than
two years, working alongside choreog-
raphers Roberto Oliv ´an, Fatou Traor ´e,
Katja F. 中号. Wolf, 除其他外.

He also works with “Antivj,” a
collective of creation/installation/
audiovisual performance based on
“video mapping projection.”

在 2006, he was awarded the Young
Composer 1st Prize at TIME (内特纳-
tional Rostrum of Electroacoustic

transformations, became the starting
point for an outrageous sound travel
into the sonic world of piano.

Christoph von Blumr ¨oder’s
relentless work for the study and
performance of electroacoustic
and acousmatic music has been an
inspiration for my own work for
many years. Klaviersammlung is an
homage to him; a sounding, rattling,
screeching, and singing present for
his 60th birthday.

Hans Tutschku (born in Weimar,
德国) has been a member of
the “Ensemble for intuitive music
Weimar” since 1982. He studied
electronic music composition at
the College of Music, Dresden, 和
has had since 1989 the opportunity
to participate in several concert
cycles of Karlheinz Stockhausen to
learn the art of sound direction.
He further studied sonology and
electroacoustic composition at the
Royal Conservatory in the Hague
(Holland) in 1991–1992.

1994 followed a one-year study
stay at the Institut de Recherche et
Coordination Acoustique/Musique
(IRCAM) in Paris. He taught in 1995–
1996 as a guest professor of elec-
troacoustic composition in Weimar.
在 1996 he participated in composi-
tion workshops with Klaus Huber
and Brian Ferneyhough. 期间
1997–2001 he taught electroacoustic

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数字 7. Loup Mormont.

数字 8. Rafael Mu ˜noz.

数字 9. Jean-Louis Poliart.

Music of UNESCO), 里斯本, 为了
exhibit palimpsest on memories.
在 2008, he was awarded the
1st Prize of the Spatialization Per-
formance of Acousmatic Music at
L’espace du son in Brussels.

7. Belle Inconnue—Loup

Mormont

This piece was composed as part
of the composition classes directed
by Annette Vande Gorne. A sweet
ballad meandering between the joy
of horizontality and the pleasure
of articulations, the piece may also
be understood as a work on tones,
textures, and on the processes of
unfolding that reveal them. We may
also notice a penchant for harmonic
naivete as well as an inclination for
impurity. It was awarded the Limerick
Diffusion Prize in 2010.

Loup Mormont settled in Brussels
在 1999, where he discovered exper-
imental and electroacoustic music.
He attended the Royal Conservatory
of Mons where he completed his
Master’s degree in acousmatic com-
position with Annette Vande Gorne.
Loup Mormont has written pieces
for singers, dancers, and filmmakers.
Presently, he is also Lecturer at the
Royal Conservatory of Mons.

Invitation `a prendre le
temps—Rafael Mu ˜noz

Based on a repetitive pattern, 骗局-
stantly evolving during the piece,
Invitation `a prendre le temps [Invi-
tation To Take Time] (2011) gives
you the opportunity to listen to the
fullness of time and to savor its
slowness.

Fascinated by electronic music for
年, Rafael Mu ˜noz (布鲁塞尔) 有
been playing as a DJ in Brussels
自从 2004. This passion for music,
especially for the minimal techno
movement, led him to the Royal
Conservatory of Mons (比利时) 在
the acousmatic composition class of
Annette Vande Gorne. Rafael is keen
on repetitive music, rhythm, 声音
特征, and the study in minute
detail of it. Nowadays, he tries to
base his work on a mix of all these
元素.

9. A Pianistic Adventure—

Jean-Louis Poliart

After asking a five-year-old novice
pianist to improvise at the piano
without any guidance from me, 我
realized that she had actually made a
“play-sequence” (one of the first ex-
ercises students do in electroacoustic
composition courses), with evident
乐趣. This play-sequence was

particularly successful in terms of
形式, rhythmic patterns, 和能量.
实际上, the young pianist imitated,
in a very personal way, the gestures
and movements of a professional
pianist in concert. It was a partic-
ularly beautiful and magnificent
adventure.

I recorded this improvisation, 和
it became the pretext for a project that
I amplified through electroacoustic
作品. Another narration was
constructed—an intimate adventure,
strictly private—that was a mirror
to the first one. In the second nar-
配给, the sound material of the
piano improvisation was transformed
extensively in light of extra-musical
facts tied to personal experience, 不-
tably the theme of adventure (already
present in the experiment realized by
the young student).

A Pianistic Adventure (2011)
was composed with the help of
the Wallonia-Brussels Federation,
Directorate of Culture, Department
of Music.

Jean-Louis Poliart completed tradi-
tional musical studies in the classes

DVD Program Notes

117

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of piano and composition at the Royal
Conservatory of Mons (比利时). 在
1996, he obtained there a graduate
diploma in electroacoustic composi-
tion in the class of Annette Vande
Gorne. Professor of harmony in this
institution until 2008, he was also

the director of the academy of mu-
sic “La Chantrerie” of Soignies. 他
created a course of electroacoustic
composition there in 1994 (a first in
Belgium on the level of the music
academies), a course of carillon, 和
a musical workshop for people with

特殊需求. His production ranges
from electroacoustic to instrumen-
tal music along with audio arts and
music for theatre. He is a member
of several associations of composers
and/or electroacoustics and is the
holder of diverse awards.

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