CD Metharcana
Since 2002, the Forum de la Création Musicale has been bringing together composers of written instrumental music and electroacoustic music in the Wallonia-Brussels Federation. On the occasion of the association's twentieth anniversary, a series of albums has been put together to help you discover the creative wealth of its members.
This boxed set presents a sample of composers from the contemporary Belgian electroacoustic scene. Through their relentless pursuit of sound facts using concrete writing techniques, as well as forays into instrumental or mixed music, dance, theatre and image, these artists have contributed to the development of contemporary music in all its aspects, transcending artistic boundaries and drawing on multiple sources of inspiration to create a captivating and eclectic sound experience.
The title 'Metharcana' refers to the eponymous piece that opens this opus as a tribute to the late composer and friend Stephan Dunkelman.
Discover an exceptional work celebrating the twentieth anniversary of the Forum de la Création Musicale, an organisation dedicated to musical innovation and sound exploration. This double CD is much more than a simple compilation, it's an invitation to an incomparable musical journey, where the boundaries between genres are erased to make way for a unique aural experience.
With the support of the Fédération Wallonie Bruxelles and Sabam for Culture.
..沙 沙 shasha through the passes, whispering seeds
will pass, will pass
within leaves listening
grasses, not only the revelation
but the nature behind
to sustain it, over- land grasses seeds
spread and grow, rhizome, stolon to sod, curly
mesquite cotton- top, draft to draft 草
ten thousand grasses, 草 dancing
Ces quelques lignes tirées du poème ‘The Grass’ du poète sino-américan Jeffrey Yang furent suffisantes pour provoquer l’émergence d’un flot d’images sonores dans mon esprit. Le beau mot anglais ‘graze’ qui apparaît souvent dans le poème, avec ses multiples signifiants tels paître, frôler, érafler, froisser, m’a fait penser à la fonction dynamique des filtres sur le spectre des sons. Fabrice Moinet a donc développé un patch Max utilisant la synthèse croisée, le morphing et le modèle de source-filter. Le son des mots du poème, lus par l’auteur, fait moduler le reste des éléments sonores: une brosse dansant autour de microphones binauraux, un piano éraflé, des percussions grattées, du vent.