|Ricardo Mandolini||La noche en que los peces flotaron 13'10"|
|Jon Christopher Nelson||Scatter 8'42"|
|David Berezan||Baoding 7'21"|
|Ricardo Mandolini||El cuaderno del alquimista 9'28"|
|Eric La Casa / Slavek Kwi||Vibratility.Mozaik 15'42"|
Winners of the 29th Bourges Competition 2002 Mandolini - Nelson - Oliveira - Berezan - Marinoni - La Casa/Kwi Coda Mémoire des Concours 1984 et 1978 : Souster - Brncic - Parmerud For 1987, the CD collection "Cultures Electroniques" is dedicated to the Bourges Competition winners and has gathered untill today 124 woks by 55 composers from 20 countries. Very important new pieces in electroacoustic music made in the last 30 years are included in the collection. The Mnémosyne publisher now prints out the number 16 devoted to the 2002 Competition winners : in "La noche en que los peces flotaron", Ricardo Mandolini built a fascinating atmosphere, a magic composition and signs one of his best works. Jon Christopher Nelson, already winner in 1996, is awarded an other time for a spectacular piece in its sound movements. But other figures appear in the prize-list as the canadian Berezan , very virtuose and original, the portuguese Joao Pedro Oliveira who built a fine musical structure with the help of the Ardittti quartett, or the duo La Casa/Kwi who follows a interesting project around the concept of "sound real".
Born in Buenos Aires in 1950. Ricardo took composition studies with Guillermo Graetzer and Francisco Kröpfl (Argentina). In 1977, he studied electronic music with Hans-Ulrich Humpert at the Musikhochschule in Cologne (bursary DAAD). He was composer invited in several European studios: IMEB's studio-Bourges, EMS of Stockholm (bursary Swedish Institute), IPEM of Gand, Technical University of Berlin, Academy of the Arts in Berlin, GRM of Radio France, etc. In 1983, he obtains the title künstlerische Reifeprüfung from the Musikhochschule of Cologne. In 1987, he receives his doctorate in Aesthetics and Sciences Art from the University Paris VIII (Director of researches Daniel Charles). Since 1988, he is Lecturer at the Musical Studies Department of the University of Lilie III where he teaches composition and musical creation. In 1993, he conducted researches (director enable Costin Miereanu) at the University Paris I Pantheon-Sorbonne. Director of the Musical Studies Department between 1994 and 1997. In 1998, he is nominated Professor of Universities and responsible for the DEM electroacoustic music studio at the University of Lilie III. As researcher; he is Associate at the Study Centre of the Contemporary Arts at the aforementioned University. In 2000 he is a co-organizer of the international colloquium "Around electroacoustic music". He received several distinctions for his electroacoustic and instrumental compositions. He is also the author of several articles on musical creation and electroacoustic music.
It is about a piece that explores the narrative possibilities of electroacoustic in general. Because of its title, a horizon of images and diverse associations occurs for the audition; these images accompany the perception of shape, and constitute the associative contents on which the listener weaves his own significances. From a technical point of view, the piece was realized on the basis of instrumental sounds sampled and transformed at the IMEB's Circe Studio in 2001. Commissioned by IMEB.
Composed by Mandolini in 1979 in the IPEM's studio of Gand, Belgium, this piece inaugurates a line of composition close to music for theme. The human voice is used here in three different ways : a) as accompanied soloist voice, that whispers an imaginary text. In the style of a magic avert, the "word" Someru serves for activating more important events. b) regular irruptions separated by long breaks (sighs). c) in big density choir; to produce the dramatic work outcome. The main element that characterizes the piece is, without any doubt, the economy of means. The particular role that the breaks play, which serve more to articulate than to separate different events, is the consequence derived from this austere management of the events in time. A very active reception so occurs (one could say, "as webern") which tries to catch the short-lived moment, and, because of the effort, discovers the musical shape.
Jon Christopher Nelson's (b. 1960) electro-acoustic music has been performed widely throughout the United States, Europe, and Latin America and has been honored with numerous awards including fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and the Fulbright Commission. He is the recipient of Luigi Russolo and Bourges Prizes and was recently awarded a Bourges Commission. He has composed in residence both at Sweden's national Electronic Music Studios and at the Institut International de Musique Electroacoustique de Bourges. His works can be heard on the Bourges, Russolo Pratella, CDCM, NEUMA, ICMC, and SEAMUS labels. Nelson is currently a Full Professor at the University of North Texas where he is an associate of the Center for Experimental Music and Intermedia (CEMI) and serves as the Associate Dean of Operations.
(1999, rev. 2000) was commissioned by the 20th Annual New Music and Art Festival at Bowling Green State University. This multi-channel work for tape is based on recordings of sounds that contain an element of motion. The composition explores the use of sound spatialization as a primary formal determinant. Scatter attempts to surround the listener with events from every direction that move at varying velocities and trajectories. The work also explores the composer's own multi-channel implementation of granular synthesis that "scatters" sonic grains throughout the multi-channel environment.
Canadian composer of electroacoustic music performed in Canada, France, Germany, Denmark, Sweden and the United Kingdom. He studied music composition, performance and Russian history and language in Calgary, Edmonton, Banff: and Stanford before enrolling in a PhD program at the University of Birmingham in 2000. His teachers include Harrison, Eagle, and Nicholson. Membercomposer of the BEAST. Awards in the Bourges Competition, the Hungarian Radio International Competition (EAR), the Russolo Competition, and the 2000 Canadian Electroacoustic Community Young and Emerging Sound Artists Competition.
i: ecstatic ii: intimate iii: pulsing These three miniatures bring together the sounds of Baoding Iron Balls, originating in China during the Ming dynasty and rotated in the palm of the hand for therapeutic benefits, with sounds from Beijing and Kun opera. I imagined the delicate musical chimes encased within the Iron balls to magically conceal the dynamic and theatrical opera sounds worlds. Each miniature evokes a different characteristic of these art forms – the ecstatic and acrobatic nature of Beijing opera, the intimate soundings of the more aristocratic Kun opera, and the inherent energy of both. A theme of vibration emerged as I composed the work – naturally evident in and underlying the opera samples, sonically cultivated from the recordings of the Baoding balls (the metallic points of contact and impact as well as the musical chimes), and developed in unique ways in each of the miniatures. Presented together here as a suite, the three miniatures are framed by a very brief prologue and epilogue.
Born in Tours in 1968. Lives and works in Paris. Higher education of art history in Paris 1 Pantheon - Sorbonne. First sound experimentations in 1988. Composer of electroacoustic music since 1991. At the same time, since 1993, he develops a search on the idea "a place-a work, the place-the sound" as plastic sound technician. Since 1994, he is a delegate producer at France Culture where he realizes radio tests for the A.C.R. Finally, since 1996, he writes and interviews sound creators for the magazine " Revue & corrigee ".
Kwi is sound-artist, composer and researcher whose main interest lies in the phenomena of "perception" as the fundamental determinant of relations with Reality. He has been fascinated by sound-environments for the past 20 years, focusing on electroacoustic "sound-paintings ". His works are performed, distributed and/or broadcast over Europe, Canada, USA, Australia, Mexico ...
This project inaugurates a sound art works series on the theme "The Place -The Sound ". The notion of "geophony" is in the centre of this collecting device of reality. For this project, La Casa produced 10 hours of recordings in the Paccard bells foundry (St Sevrier; Annecy, France). From these recordings, he built a piece, made in three parts. And all the materials not used were senf to Slavek Kwi (in Ireland) who did not know the site and who produced a totally different interpretation. Finally, "Vibratüity. Mozaik", with of all that is left, mixes both composer's approaches of reality and place.