new to stock as of
june 22nd, 2009
|ina-grm (france) #ina c 1014 cd|
daniel teruggi “syrcus • sphæra” compact disc
- syrcus (19:54) 1992
- sphæra (42:24) 1993
eterea (14:03) 1984
aquatica (13:35) 1986
focolaria (3:09) 1989
terra (10:41) 1989
|1993 release ; a pair of pieces incorporating live-processing via teruggi’s computer-based syter system(s) ...|
while the concert-percussion cliche-riddled “syrcus” only has its moments, the zonal voids of “sphæra” are always close at hand, yielding some fine low-bit zap & the tell-all grunge of early time-stretch / granular algorithms ...
|syrcus - 1992 -19'54 |
for boobama, ududrum, syter and various sources
florent jodelet, percussions - daniel teruggi, syter
|i remember a percussion concert in a stairwell. the percussionist was one of the greats of the '60s and the composer was also at his height at that time. i could not hear very well (i was on the third floor) ; i gazed down on the interpreter from the top of the stairs: i could not see the instruments, but only the body and the arms of the instrumentalist, who, seen from my angle, moved around in a strange manner. the musical memory has drifted away in the mists of vertical reverberation, but the visual image is still there. |
some months ago, at a circus where circumstances had again placed me too far away, i gazed at the jungler and his various props, which i could not make out very well. all i could really see was the movements of his arms. the memory of the stairwell merged with the synchronized movements, the play on words did the rest: syter and percussion giving rise to syrcus.
this time - unlike those memories - i am near the source of sound and the precise playing of the percussionist. i pick up the sound, the playing and mingle them with the memory of his playing that has already been recorded. florent jodelet masters the playing; after the dialogues, advice, trials and blendings, he enters the arena and enables the syrcus to materialize ...
let the show begin!
to cc and ks
syter is a real time digital processor, developed at ina-grm. it permits various possibilities for sound transformation and also permits sound synthesis and sound sampling.
sphæra - version 1993 - 42'24
|« ... this spherical shape being the most perfect of all and the most similar to itself, for he thought similarity was infinitely more beautiful than dissimilarity. » |
- plato, timaios
working on the four basic substances and merging them was central to my acousmatic perception between 1984 and 1989. each « element » gradually became linked to the others, crystallizing my subjective perception of their materiality. what, at the outset, was a journey of exploration became over the years, and thanks also to the enthusiasm of a greek friend who plunged me into the universe of socrates, a circular, spherical unit, in which each occurrence simultaneously belongs to one of the four substances and to the whole.
these four sections, of unequal length, materialize the different resonances of each of the « elements » on my imagination. the order of the movements is compositional and goes progressively from ethereal immateriality to the extreme density of the earth.
in eterea, the dual nature of the air - a space for the propagation of sounds and an environment for moving masses - structured the work and the development of forms. now immensity of particles in organized movement, now shifting sources in our three-dimensional perception, the etheric air fills space and propagates immaterial movements and gestures.
aquatica situates the materiality of water in relationship to its prodigious extremes: from the drop to the ocean, an immense distance forms through the different situations of liquid reinvented. static waters, deadly waters, raging waters succeed one another, leading to the aerial fusion of an original balance at last rediscovered.
foeolaria follows, with unsteady fires, unreasonable, elusive will-o'-the-wisps, which open and adorn the entrance to the depths of the earth.
the earth of terra is atmosphere less, an earth of matter before the arrival of life. the sounds of original matter combine and evolve towards purer forms. the movements give rise to progressions towards new balances of forces, towards the last fusion, the ultimate attempt, that is necessary for the emergence of life.
the sphere is complete, the world is ready for creation ...