Stuart Marshall, The Sound Projector
“… Annette Vande Gorne’s compositions probes sound sources such as water to dissolve the walls between inner and outer worlds.”
Annette Vande Gorne
Illusion
Labelempreintes DIGITALesGenreElectronic
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Three works by Annette Vande Gorne: Au-delà du réel, built from Arsène Souffriau’s collection of sound bodies, the 28-minute Déluges et autres péripéties on a Werner Lambersy poem with inhaled singing, and Faisceaux in both its fixed and piano versions.
Illusion presents three works by Annette Vande Gorne, two of them conceived for 16 channels and heard here in stereo reductions, the third in two versions. All were realized or finished at her Métamorphoses d’Orphée studio in Ohain, with definitive versions dating from 2015 to 2020.
Au-delà du réel, in memory of Arsène Souffriau, draws its sounds only from the vast collection of sound bodies he had gathered since 1959, sorted by material and range: metal, wood, glass, wind, skin. Played by Sylvie Bouteiller and Marie-Jeanne Wyckmans, they are organised by type of motion (accumulation, oscillation, rotation, friction) so that the gesture of the player stays audible. Déluges et autres péripéties, dedicated to Francis Dhomont, sets a poem by Werner Lambersy built on the leitmotif “We await destruction” as a cantata-like hörspiel of short tableaux. It was commissioned by soprano Françoise Vanhecke, whose doctoral research at UGent concerned singing while inhaling; her voice joins Lambersy’s reading, and part of the material was generated at Studio PANaroma in São Paulo at the invitation of Flô Menezes. The composer notes that the stereo version only partly conveys the expressionist staging of the 16-channel original.
Faisceaux dates back to 1985, made in the analogue studio for pianist and composer Piotr Lachert, and was revised in 2016. Beams of spectral rays rise from a single diminished fifth, C-sharp to G, moving from inharmonic sound to harmony. It appears first on its own, then in the mixed version with Ana Cláudia de Assis on amplified piano, recorded in Brussels in 2019; here the pianist must follow and accompany the fixed sounds, reversing the usual roles.
Born in Charleroi in 1946, Vande Gorne studied with Guy Reibel and Pierre Schaeffer in Paris and founded Musiques & Recherches and the festival L’Espace du son in Brussels.
CD in OGpak, empreintes DIGITALes IMED 20165, 2020.
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Arian Bagheri Pour Fallah, Computer Music Journal
“Slavers Throwing overboard the Dead and Dying, Typhoon coming on, better known as The Slave Ship (1840), is among Joseph Mallord William Turner’s finest paintings, and one of the most recognizable visual artworks of the romantic movement.”
François Bayle, November 15, 2020
“La comparaison de l’écoute en stéréo des Haïkus et de leur agrandissement en octophonie — le travail de dentelle spatiale, les «sonorités opposées», la progression des couleurs — ouvre un éventail de techniques, provoque une variété d’impressions musicales dont j’ai — trop succinctement — noté les nuances [plus bas].”
