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Playing the NAISA Space, Part I
Performance of Fluid Intentions by Lisa Conway
October 16, 2015, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10

The first Playing the NAISA Space performance will be Fluid Intentions by Lisa Conway. This performance is a re-imagination of a multi-channel work from the artist's ongoing Imaginary Headscapes series, originally composed during her sonic explorations at the Sonic Arts Research Centre in Belfast. Subtle and slow-moving gestures will be folded into the hums of the Barns and surrounding urban landscape, and further embraced and distorted through live diffusion, improvisation, and digital processing. Following her performance audiences will also have the chance to Play the NAISA Space installation.

Lisa Conway is a composer, artist, and musician. Raised in the mountains of Northern British Columbia, she holds a BFA Honours, spec. Music, from York University, Toronto, and an MA in Sonic Arts from Queen’s University Belfast, Northern Ireland. She has composed for and collaborated with filmmakers, dancers, and performance artists, and has completed creative residencies from Sackville, New Brunswick, to Aubagne, France. Lisa's work both live and in studio continually garners critical acclaim. She is currently a songwriter in residence at the Canadian Film Centre.
Playing the NAISA Space, Part II
Performance by Scant Intone
October 25, 2015, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10

The second Playing the NAISA Space performance features a special Sunday night performance by Scant Intone from Vancouver. Scant Intone is the solo project of Canadian artist Constantine Katsiris dedicated to experiments in modern audio. Focused on researching psychoacoustics, the perception of sound, and spatiality, his compositions are excursions in abstract electronic music with influences including ambient, lowercase, microsound, noise, glitch, and drone. Following his performance audiences will also have the chance to Play the NAISA Space installation.
Trilogie d'ondes with Gilles Gobeil and Suzanne Binet-Audet
Presented by Array Music in association with New Adventures in Sound Art
October 30, 2015, 8:00 pm
The Array Space, 155 Walnut Ave, Toronto
General $20

Suzanne Binet-Audet will perform a trilogy of works composed by Gilles Gobeil on the ondes Martenot as part of her international tour. Array Artistic Director Rick Sacks will also perform a version of Gilles Gobeil's GOLEM that Sacks commissioned for the MalletKat. Gobeil will also diffuse his work Les lointains noirs et rouges.

Program of works by Gilles Gobeil:

Voix Blanche (1989 / 13:02), ondes Martenot and fixed sounds
Là où vont les nuagesŠ (1991 / 11:20), ondes Martenot, real-time processing and fixed sounds
La Perle et l'Oubli (2002 / 21:17), ondes Martenot and fixed sounds
Les lointains noirs et rouges (2008-09 / 10:44, fixed sounds
Golem (2013 / 10:35), MalletKat

Golem by Gilles Gobeil

Inspired freely by the novel The Golem by Gustav Meyrink (1868-1932). This piece is designed to be fully “played” by a percussionist on a malletKAT (a marimba-like MIDI instrument) controlling a sampler.

Golem was realized in November/December 2012 in the studio of Miso Music in Lisbon (Portugal) and in July 2013 at EMS in Stockholm (Sweden). It was premiered on March 22, 2014 by Rick Sacks as part of the concert Rick Sacks Solo Electronic Show presented at The Array Space in Toronto (Canada). This work was commissioned by Rick Sacks with support from the CCA and the CALQ. Thanks to Rick Sacks, Miguel Azguime, Mats Lindström, and jef chippewa.

Les lointains noirs et rouges by Gilles Gobeil

Part of the sound materials of this piece comes from recordings made in the apartment of Folkmar Hein, the sponsor of this work. These many and various materials (grandfather clock, sliding doors, dish noises, thumps on various pieces of furniture, coffee machine, ancient scales, food processor, heating system, gas stove, range hoods, shawm, zither, refrigerator, birds heard from the balcony, as well as the bells of the Rathaus Schöneberg) can be perceived with a very special colour for the dedicatee of this piece. I completed this list by integrating to it a multitude of concrete sounds, and I also tried to breathe poetry into this everyday universe to carry it to far-away imaginary worlds of blacks and reds.

Les lointains noirs et rouges [The Distant Blacks and Reds] was realized in 2008-09 in the studios of the Technische Universität (TU) in Berlin (Germany) and at the composer’s studio in Montréal. The work was premiered on January 25, 2009 during the Ultraschall festival at the Haus des Rundfunks (Berlin, Germany). It was commissioned by Folkmar Hein. Thanks to Folkmar Hein, and Ingrid Beirer. The work was awarded the Special mention Musiques & Recherches at the 4th Destellos electroacoustic composition competition (Mar Del Plata, Argentina, 2011). Remixed by the composer in 2015.

Trilogie d'ondes, works for ondes Martenot and fixed sounds by Gilles Gobeil

Gilles Gobeil’s body of work to date has been characterized by a rupture or break æsthetics, in which large-scale musical gestures are developed and brought to their acme before being immediately crushed into silence. It is a musical way of being, of breathing, a natural mark, a style, immediately identifiable and thus much more than a habit. The Trilogie d’ondes is testimony to this approach, so deeply rooted in the composer’s musical thought.

The ondes Martenot’s electronic timbre and acoustic resonance are perfectly suited to the musical fabric of the electroacoustic tape part, turning it into a rich and complex mixed work. In places the instrument melds almost perfectly with the tape, while in others the ondes stand out from the sonic material, due either to the expressive quality of some melodic interventions or the contrast between the ethereal quality of the timbre and the colourful complexity of the tape sounds. In this case, Gilles Gobeil has chosen to rely mostly on the musician’s expressive accuracy in addition to virtuosity.

Among the various contributions from the ondes, two themes stand out and underpin the entire structure: the “wrench theme,” which is always tightly woven into the tape and manifests itself through a long rising glissando, and the “cell theme” — or “soul theme” — a cell consisting of four neighbouring, distempered notes.

Voix blanche
The wrench theme, with its slow dramatic build-up, appears at the very beginning of this movement. Halfway through, the soul theme emerges, very legato. Following its long unfolding, it will be reintroduced in a form that is more spelled-out than linear, a form which will become definitive in the other two parts of the trilogy. Inhabited by a subtle form of poetry, this is the most lyrical movement of the cycle.

Là où vont les nuages…
This movement features a different technique. The ondes are almost always used as a trigger for prerecorded sound elements that are juxtaposed with the ondist’s playing. Through the ondes’ various interventions, the aforementioned themes are transformed into something more closely related to a sense of traveling. This movement is full of vitality and playfulness; at times, sound masses are built and taken down at vertiginous speed.

La perle et l’oubli
Inspired by an apocryphal initiatory text from the second century, this piece consists of twelve sequences, six of which are variations on the “soul theme” cell played by the ondes. In this movement, the ondes play the part of the soul in its journey of incarnation. The final coda brings back the wrench and soul themes. The latter, modified one last time, closes the work in the bass register; its missing fourth note seems to irradiate from the dark aura of the last note played.

Introduction to Trilogie d'ondes by Suzanne Binet-Audet [English translation: François Couture in electrocd.com]

Suzanne Binet-Audet studied organ at the Conservatory in Montréal, and later perfected her technique with Jean Langlais in Paris. At the same time, she became fascinated with the ondes Martenot, and enrolled at the Conservatoire where she worked with the instrument’s inventor, Maurice Martenot, eventually earning a Première Médaille. She also received instruction from Jeanne Loriod at the École Normale Supérieure de Paris, and was awarded a concert diploma from the institution. Since then, Binet-Audet has appeared in concert as a soloist, and as a member of both the Parisian Sextuor Loriod ondes Martenot ensemble, and the Ensemble d’ondes de Montréal, the latter since its foundation in 1976. She has performed with various orchestras and music ensembles in Canada, the United States, Japan, and Europe. For the past ten years, she has composed for the stage, and performed as an improviser in multimedia events.

Gilles Gobeil has completed a master’s degree in composition at Université de Montréal, after studying writing techniques. He has been focusing his work on acousmatic and mixed music since 1985. His works fall close to what is called ‘cinema for the ear.’ Many of his pieces have been inspired by literary works and attempt to let us ‘see’ through sound.