Jonty Harrison - ainsi de suite...
  Year :   1992
  Location :   England
  Worktype :   Composition
  Materials:   -
  Info :   BBC Pebble Mill (live transmission of BEAST concert), 1992. Distinction, Prix Ars Electronica, Linz, Austria, 1993; First Prize, Musica Nova, Prague 1994; preselected, Bourges International Electroacoustic Awards 1994.

  Work Details  
  I had wanted for some time to compose a French suite, rather in the manner of the musique concrète tradition. Sounds from some rough-textured wine glasses, which had been transformed in the Studio Numérique of the Groupe de Recherches Musicales in Paris using predominantly time-domain manipulation (ETIR), brassage (BRAGE and BRAGGE) and spatialisation programs, provided a promising starting point. These individual sounds were onwardly transformed in the Electroacoustic Music Studios of The University of Birmingham, using a variety of digital signal processors (Publison, Yamaha, AKG), combined with a number of other sound sources, further transformed, recombined...and so on. I ventured into this pool of material from time to time in order to compose short, essentially self-contained movements. The reassembling of new, specific musical utterances from the same source material led to the idea that, by analogy, complete movements (which would inevitably contain a plethora of cross-references) could be assembled in various ways to create pieces of different lengths and pacings for different occasions, spaces...and so on. Over a dozen movements have been composed to date. Their different functions are characterised, to continue the link with the musique concrète suite, by French titles: à propos and résumé are, respectively, expository and recapitulatory statements of the basic array of sound-types found in the work, and the longest and most elaborate movements are designated commentaire; the first version of the work (Version Bourges 1990) contained only these movement categories. From 1991, with access to a Sound Tools system, I was able to achieve the seamless continuity of material needed for the family of gentler, more reflective and static movements which offset them. These interspersed movements are grouped under the general heading of (parenthèse), though some carry additional, descriptive titles such as réflexion, résonance and souffle dinsectes . The CD version (prepared for Articles indéfinis on the empreintes DIGITALes label, Montreal, and itself a revision of the Birmingham Version 1992) has eleven movements, whose durations range from 40 seconds to nearly 4 minutes:- 1. à propos 2. (parenthèse 1) 3. commentaire 1 4. (parenthèse 2) 5. réflexion 6. commentaire 2 7. souffle dinsectes (parenthèse 3) 8. résonance (parenthèse 4) 9. résumé 10. (parenthèse 5) 11. commentaire 3 A characteristic of this version is the overlapping of movements (movements 6 to 9 form a continuous whole, as do the final two movements), emphasising the more dramatic potential of the material. Overall, however, the work is not a vehicle for a dynamic or dramatic musical argument; I am more concerned to create a network of connections within a sound-world more conducive to dalliance than discourse.