M​é​moire / Erosion

from VOI (rex) by Aventa Ensemble

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Mémoire/Erosion is a typical example of the influence that studio techniques had on instrumental writing at a certain time. The work was born from the observation of the electronic process of the classic "feedback loop": two tape recorders are connected by a loop of magnetic tape which runs from one to the other - the first records the injected sounds, the second, a few seconds later, reads them and sends them back to the first where they mix with the new injected sounds, and so on ad infinitum. After a while, by dint of being copied, mixed, recopied, the sounds become deformed and eroded. This process serves as a model for a purely instrumental score featuring the French horn. The sounds emitted by the horn are taken up, as in canon, by all the instruments successively, after a period of time which varies (from one to three seconds) during the work. This gives the piece a certain periodicity, a rhythmic base, and at the same time builds a frame that evolves slowly, under the effect of the injection of new elements by the horn. It is the memory system. But memory is disturbed by the phenomenon of erosion: imitations are constantly modified, by leveling off, by budding, by proliferation, by drift within the sound itself. Thus is born a second dynamic principle of the work, that of entropy, which tends to return the music to the state of noise (like the breath and the parasites accumulate on a magnetic tape constantly copied). The music therefore oscillates perpetually between "clear" harmonies, pure timbres, simple and regular rhythms, and complex aggregates, sounds distorted instrumentals, a rhythmic proliferation tending to lack of differentiation. However, the decomposition of the original sound provides new germs which develop, like a plant is born from a seed, and which restart the musical process.

We will also hear some ironically imitative effects of the electronic process that Mémoire/Erosion evokes, for example the effect of instrumental breath with which the piece begins and ends, the final "click" or the sound of "sticky" which follows a saturation effect of the imaginary reinjection device.

Unfortunately, since digital sound and computer editing-mixing, all this poetry of the breath and the click has disappeared... – Tristan Murail

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from VOI (rex), released May 1, 2022
Born in Le Havre in 1947, Tristan Murail received advanced degrees in classical and North African Arabic from the Ecole Nationale des Langues Orientales Vivantes, as well as a degree in economic science, while at the same time pursuing his musical studies. In 1967, he became a student of Olivier Messiaen at the Paris Conservatory, and also studied at the Institut d'Etudes Politiques in Paris. In 1971, he was awarded the Prix de Rome, and later received a First Prize in composition from the Paris Conservatory. In the 1980s, Tristan Murail used computer technology to further his research in the analysis and synthesis of acoustic phenomena. He developed his own system of microcomputer-assisted composition, and then collaborated with Ircam for several years, where he taught composition from 1991 to 1997. In 1997, Tristan Murail was named professor of composition at Columbia University in New York, teaching there until 2010 and is currently guest professor at the Shanghai Conservatory.

Originally from Saskatoon, Darnell Linwood was Principal Horn with the Regina Symphony Orchestra and since moving to Victoria in 2003, she has been active as both a chamber and orchestral musician playing with the Royal Winnipeg Ballet, Calgary Philharmonic, Vancouver Symphony Orchestra and the Victoria Symphony. A strong advocate for new music, Darnell is a co-founder of Aventa Ensemble, where she has been featured on local concerts, tours and recordings. Performance highlights include the world premiere of Giorgio Magnanensi’s Ethuia V for horn and electronics, as well as recordings of Gilles Tremblay’s Le signe du lion (Centredisc) and Pierre Boulez’ Derive II (CBC). She works closely with composers in developing the horn repertoire and presented the world premiere of Sir Peter Maxwell Davies’ horn trio, Stormwatch, Stormfall of which the composer wrote: “the new piece was wonderfully performed, to the extent that I can’t remember a better premiere.”

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Redshift Music Vancouver, British Columbia

Redshift was founded in Vancouver, Canada with a focus on championing the music of contemporary composers.

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