October 27, 2016
|Location:||Il Suono di Piero [Aula Bianchini]|
|Sound Direction:||Leonardo Mammozzetti|
|Alexis Langevin-Tétrault||Apax • 8’02|
|Gilles Gobeil||Un cercle hors de l’arbre • 10’00|
|Demian Rudel Rey||Che-toi • 8’15|
|Vanessa Massera||Éclats de Feux • 10’07|
Apax  Apax reflects a creative process marked by a desire to disconcert my usual composition reflexes. The workpiece consists essentially of different variations of a single sound. It demonstrates a search for variation in continuity with the gradual changes of timbre and spatialization. The composition process is inspired by the phenomenology of time and by the reading of The Dialectic of Duration, Intuition of the Instant and The Poetics of Space by Gaston Bachelard. This octophonic piece was composed with the spatialization tools developed by Robert Normandeau’s research group at Montreal University (GRIS). This composition won the Métamorphoses 2016 prize, student category.
Un cercle hors de l’arbre [2014-15] Commission: PANaroma Studios (Sao Paulo, Brazil) To Flo Menezes Inspired freely by the film La Jetée by Chris Marker (1921-2012). Un cercle hors de l’arbre was realized in the studios of PANaroma in Sao Paulo (Brazio) in September and October 2014 and was premiere on October 24, 2014 during the BIMESP festival (Bienal Internacional de Musica Electroacustica de Sao Paulo). Thanks to the Canadian Council for the Arts (CCA) for their support. Un cercle hors de l’arbre was award the Second Prize at the 8th Destellos Electroacoustic Composition Competition (Mar Del Plata, Argentina, 2015).
Che-toi  Che-toi (2016) is an electroacoustic work whose conceptual axis the French and Argentina culture that are linked from materials that refer to them. These are related through the use of monosyllabic words like che, no, toi, moi, temp, etc. Moreover, there are quotes and fragments of French Baroque and Argentine Tango, also instruments like the bandoneon and accordion, which interact in another level of significance.
Éclats de Feux  Transitional work of my journey in composition, Éclats de Feux started with many sound recordings of objects and spaces found around Sheffield. As the first piece of my doctoral portfolio, this one acts as a bridge between the school of Montréal, where I come from, and the effervescence of British acousmatic. In this piece, I explored the contrasts between powerful masses and up-close solo objects, with a particular sensitivity to the use of space in stereophony, as my research is focused on the interpretation and performance of acousmatic music. The title refers to the impressive bonfire nights and endless fireworks I have been exposed to in the early weeks after my arrival in the UK. ‘Shards of Fire’, as it translates, also represent the extreme rapidity and intensity with which one’s life may be completely changed with one single travel.