Streaming and in-person:
Click for stream CCRMA presents a live diffusion of the 16-channel work "Haïkus" by Annette Vande Gorne.
-.-. -.-. .-. -- .- -.-. -.-. .-. -- .- -.-. -.-. .-. -- .-
FREE and Open to the Public
Face coverings are strongly recommended. We encourage you to continue wearing masks for the comfort of our audience members, artists, and staff.
Directions, parking, accessibility: https://music.stanford.edu/venues-facilities/venues/ccrma-stage
-.-. -.-. .-. -- .- -.-. -.-. .-. -- .- -.-. -.-. .-. -- .-
Annette Vande Gorne studied music at the Royal Conservatories of Mons and Brussels, as well as the teachings of the composer Jean Absil. She discovered acousmatic music at a course in France and immediately realised, through the works of François Bayle and Pierre Henry, the potential within this art. She completed her training in musicology at the University of Brussels and in electroacoustic composition at the Paris Conservatory with Guy Reibel and Pierre Schaeffer.
Her models for an abstract, expressive language are nature and the physical world. Her music tackles different energy and kinaesthetic archetypes. Her research deals with the relationship to the word, in both sound and meaning, yet also on the notation of space. She has composed acousmatic music for the stage (Musiques pour Henri IV, 1980; Folie de Vincent, 1983; Action/Passion, 1987), for the radio (Bruxellesbivoque, 1997; Les écritures du son sur support, 2004), and for the concert: Tao, suite en 5 éléments, 1983-1991; Ce qu’a vu le vent d’Est, 2003; Figures d’espace, 2004; Yawar Fiesta, acousmatic opera, 2006-2012; Haiku, Printemps and Hiver, 2016-2017.
In Belgium she founded and directed Musiques & Recherches, the studio Métamorphoses d’Orphée and the acousmatic festival L’Espace du son, thanks to the formation of an acousmonium of 80 loudspeakers. She is also the editor of Lien, a periodical on musical æsthetics.
Cost: FREE