To mark the publication of my book Partitions pour piano / Piano Scores
(14 solos and 1 duet, 286 pages of scores), I invited artists to interpret some of the pieces transcribed there. The scores were written in September 2018, from transpositions, into MIDI files, of some of my electronic pieces (loops generated automatically by a circuit-bent electronic toy) and electroacoustic improvisations. Most of the original versions of these sound art pieces have appeared on various compilations since 2015, and some are also included in my EP Le Labyrinthe de la Mort Symétrique (2016).
The participants could also work from recordings of these keyboard pieces and from MIDI files. This new project, titled Davidurgic Neadors: Playing David Nadeau's Compositions, has been released on the Camembert Électrique netlabel, formerly known as No Records. Two fellow ECers have participated in this project: William Davison and Frank Audiffret.
William Davison, the musician behind The Bim Prongs, was inspired solely by the score’s visual look and the title of “Two Chospticks And A Mixing Bowl”.
Frank Audiffret, Lavie Chabon and Olivier Nadeau respectively worked from MIDI files of “La Schola de Beauport”, “Un fluide irradie l’univers connu” and “Attached To A Frying Pan And A Butter Knife”.
Wilfried Hanrath was inspired by some of my keyboard pieces (“Ardent Demiurgic Creators”; “Les prophètes chancellent”, “Une pluie comme les autres?”; “La tonalité des méridiens”, “Sacrum Imperium De Meum Imaginatione”) and their scores for the pieces he played in association with the singer of Humanfobia, the guitarist Bill Boethius, and within the Hauchzart Ensemble. Wilfried plays piano, bass, saxophone and drum!
Muwn (Federico Bixert) extracted MIDI data from the audio files of “Holographic Corridor III”, which is the result of the saving as a wav file of a MIDI keyboard piece that is itself the transposition of a circuit-bending electronic music piece! You follow me? Federico then reworked this MIDI data, using virtual instruments. He also created a rhythmic part from the audio file.
I'm not sure, but I think that Yan Pillas practiced a sound collage from the piece “Ardent Demiurgic Creators”, to which he would afterward add effects.
Marco Marongiu describes his piece as a “kind of (partially) atonal composition for prepared piano”. He has deconstructed the different scores, in search of musical fragments that could be used in his interpretation of my musical material. These “musical cells” were then modified in their duration, and sometimes subjected to random operations, in order to be assigned/distributed to various instruments. At the time of post-production, in order to expand the sound space further and focus on some partition and timbre repetitions, Marco applied audio processors, particularly delays, distortions and compressors.
Davidurgic Neadors: Playing David Nadeau's Compositions
can be listened to and downloaded on the Camembert Électrique Bandcamp page.
The book Partitions pour piano / Piano Scores
can be downloaded from La vertèbre et le rossignol’s blog
Artwork © Sonya Rademeyer
1. THE BIM PRONGS - Two Chospticks And A Mixing Bowl
2. FRANK AUDIFFRET - La Schola de Beauport
3.LAVIE CHABON - Un fluide irradie l'univers connu
4. THE HAUCHZART ENSEMBLE - The Glinnis, reworking the piano music of David Nadeau
5. OLIVIER NADEAU - Attached To A Frying Pan And A Butter Knife
6. MUWN - Holographic Corridor III (MUWN Mix)
7. WILFRIED HANRATH feat. HUMANFOBIA - Yurei (reworking the piano music of David Nadeau)
8. YANN PILLAS - Davidurgic Neadors Ardemix
9. MARCO MARONGIU - Chromatographie fluide
10. WILFRIED HANRATH feat. BILL BOETHIUS - Piece For Peace (reworking the piano music of David Nadeau)
As its title suggests, my surrealist sound art piece "Thomas Park Generative Loops Compositions Project I" was made from a live mixing console conceived by Thomas Park, a member of the Electronic Cottage community, as part of his Generative Loops Compositions project. As with the other participants in this project, Thomas used eight sound clips of some of my electroacoustic pieces.
This piece was published on the BAEL300 compilation, launched by the British netlabel Throne Of Bael, to celebrate their three-hundredth release. The album contains 108 pieces by 96 artists or collectives, including Neal D. Retke ("The Popes of Shifting Sands").
The album can be listened to and downloaded on the Bandcamp page of Throne Of Bael:
And here is a link to the console:
As part of the Generative Loops Compositions project, Thomas Park, member of the Electronic Cottage community, realized for me, as for the other participants, a "live mixing console" using 8 sound clips of some of my electroacoustic pieces.
You can create your own mixes from these eight loops.
Here is the link to the console:
CALL FOR MUSICIANS AND SOUND ARTISTS
To mark the publication of my book of scores for piano, I invite musicians and sound artists to interpret one or more pieces among those transcribed in it.
14 solos and 1 duet, 286 pages of scores.
The scores were written in September, from transpositions of some of my electronic pieces (loops generated automatically by a circuit-bent electronic toy) and electroacoustic improvisations into MIDI files. Most of the original versions of these sound art pieces have appeared on various compilations since 2015, and some are also included in my EP Le Labyrinthe de la Mort Symétrique (2016).
The Egg Hatches At Dawn
Sacrum Imperium De Meum Imaginatione
Après la Grande Tribulation
La tonalité des méridiens
Une pluie comme les autres?
The Pralaya Blues Illusory effect
Les hybrides impersonnels
L’ère de la dispersion
Ardent Demiurgic Creators
Un fluide irradie l’univers connu
Les prophètes chancellent
Attached To A Frying Pan And A Butter Knife
Two Chopsticks And A Mixing Bowl
La Schola de Beauport
The Holographic Corridor + accompaniment
"Partitions pour Piano / Piano Scores" can be downloaded at the following address:
If you have trouble downloading the document at this address, contact me and I will send it to you by email. I can also provide recordings of the pieces, to give you an idea. I can provide .mscz and MIDI files as well.
You can play the pieces on the piano, synthesizer or any other instrument. You can freely take inspiration from these musical notations. The pieces that will be sent will be part of a compilation for which the label or netlabel is still to be found. I accept your suggestions on this subject! And do not hesitate to invite those who might be interested in this project!
Deadline: January 8, 2019
To: davidnadeau4 at gmail dot com
subject: PARTITIONS, in capital letters
The natural sounds correspond to the currents of subtle energy that pass through the physical body. The tactile qualities of a descent into the Underworld combine the elements of a vibratory architecture. The anatomy of the ambient air defines this sound matter.
Stereophonics adjusts vertigos to each other. The magnification of the tiny by microphone transfers the physicist to “another space-time where he is likely to be absorbed without return” (René Alleau, in the “Alchemy” article, Encyclopedia Universalis). The inner space returns to chaos. Complex rhythmic combinations mark the transition from one psychic state to another. The editing of contrasting natural sounds carves the electromagnetism unexpectedly. The microphones capture the structure of the overwhelming manifestation. The internal dynamism of nature's elements records the sounds emitted by the spine. The crickets' song succeeds the fairy hardship. Strange intensities brush against the Orphic sounds, with the rhythm of the re-creation of the world in ourselves. A puddle of water shapes the ambient air. The celestial spheres shiver.
First, isolate the murmur of the chemical reactions. The passage from one psychic state to another forms hybrid sound chains. The symbolic exchanges may last as long as desired. The inner necessity then establishes a classification.
The sound recording booth reflects the sky's activity. The chemist discovers the peaks and the contrasting editions of the trance. The murmur of the chemical reactions brushes against the sound textures of the celestial spheres.
Several of the compilations launched by the Institute For Alien Research, a concrete music project led by Shaun Robert, focus on a specific theme. On each album, there are fifteen pieces, and these all last 4 minutes and 33 seconds, as if to fill, in a multitude of different ways, the famous Silence of John Cage. For "Musique Concrète Beginners Guide", participants were asked to integrate a text explaining what "concrete music" is for them in a sound art track. The piece "Patakousmatikoi", of which above is the English translation of the text originally in French, is my answer to this project call...
The sounds used in the non-verbal part of "Patakousmatikoi" were chosen because they refer to sound phenomena that are named in the text, written beforehand. So, by searching online for sounds produced by chemical reactions (microcosm) and celestial bodies (macrocosm), I found a number of Youtube videos documenting the absorption of water by silica gel beads, as well as mp3 files of sounds emitted by Jupiter, Saturn and the interstellar plasma, recorded by NASA and available on its website. The title of the piece evokes ‘Pataphysics, acousmatic art and the initiation to the Pythagorean Mysteries (the term "akousmatikoi" referring to a category of disciples).
The album can be downloaded and freely listened to on the IFAR Bandcamp page.