Gérard Pape

Gérard Pape (born April 22, 1955 in Brooklyn, New York) is a composer of electronic music, author, and psychologist. He is a former student of David Winkler, George Cacioppo, William Albright, and George Balch Wilson. He became the director of Les Ateliers UPIC (now CCMIX) in 1991 (CCMIX Paris 2001; Makan 2003, 21).

Biography

Gérard Pape studied clinical psychology and music simultaneously at the University of Michigan, and is a practicing Lacanian psychoanalyst as well as a composer (Makan 2003, 23–24). After moving to France at the beginning of the 1990s, his compositions came under the influence of the Mexican composer Julio Estrada. Estrada shares with Pape an interest in psychoanalysis and focuses on what he calls "sound fantasies"—fantasies that occur "inside the head of the composer and take the form of sequences of sounds" (Makan 2003, 25). Pape extended Estrada's conception by treating chaos as a formal concept (McHard 2006, 28). For example, in his opera-in-progress, Weaveworld, Pape "employs sudden and unpredictable patterns in streams of sound in a plasma that draws from chaos models" (McHard 2006, 288). The tape part for Makbénach I and III convolves "timbre paths", made from chains of sampled saxophone sounds, together with a dense series of grains following particular trajectories (produced by a computer program called Cloud Generator), in order to produce timbral transformations (Feller 2000, 95; Roads 2001, 319)

Pape's 1995 chamber opera Monologue uses as text the Samuel Beckett play A Piece of Monologue (Makan 2003, 29–30). His most important work is Feu toujours vivant for large orchestra and 4 sampler keyboards (1997), which was commissioned by Art Zoyd and the National Orchestra of Lille, conducted by Jean-Claude Casadesus (CCMIX Paris 2001).

In 2007, Gerard Pape created the CLSI ensemble (Circle for the Liberation of Sounds & Images) with various musicians and composers like Olga Krashenko, Paul Méfano, Jacqueline Méfano, Lissa Meridan, Michael Kinney, Martin Phelps, Rodolphe Bourotte, Stefan Tiedje, Jean-Baptiste Favory.

Compositions

Orchestra
  • Cosmos, symphony for large orchestra and tape (1985)
  • Three Faces of Death, for orchestra (1988–89)
  • Feu toujours vivant, for large orchestra and four samplers (1997)

Opera and musical theater
  • Ivan and Rena (text: Gérard Pape), music drama for reciter, three vocal soloists, orchestra, and tape (1983–84)
  • A Little Girl Dreams of Taking the Veil, surrealist opera for tape and slides; texts and slides by Max Ernst (1990)
  • Monologue, chamber opera based on Samuel Beckett’s play, A Piece of Monologue, for bass voice and eight-channel tape (1995)
  • Weaveworld (in progress), after the novel by Clive Barker
    • Battle, for four vocal soloists and tape (1996),
    • Weaveworld Prologue, for bass, flute, oboe, clarinet, bassoon, trumpet, trombone, horn, percussion, 2 violins, viola, cello, contrabass (1998)
  • Les Cenci, opera in four acts, for seven vocal soloists, orchestra of 24 flutes, three percussionists, tape, and live electronics (text: Antonin Artaud) (2000– )

Chamber music (with or without electronics)
  • Soundbook, for instruments and live electronics (1982)
  • Tableaux, for acoustic and electronic instruments (1983)
  • In Memoriam: George Cacioppo, for eight trombones, two percussionists, and tape (1984)
  • String Quartet No. 2 "Vortex" (1988–89)
  • X-Stasis, for ensemble and tape (1992)
  • Le Fleuve du désir III, for string quartet and tape (1994)
  • Le Fleuve du désir IV, for eight solo violins, or one violin, tape, and live electronics (1994/2002)
  • Makbénach I, for saxophone, ensemble, and tape (1996)
  • Makbénach II, for saxophone and ensemble (1996)

Solo instrument (with electronics)
  • Recordare, for soprano recorder, live electronics, and tape (1984)
  • Cerberus, for organ and tape (1987)
  • That Burning Thing, for flute and tape (1989)
  • Le Fleuve du désir V, for violin, tape, and live electronics (1994)
  • Le Fleuve du désir VI, for viola, tape, and live electronics (1994)
  • Le Fleuve du désir VII, for cello, tape, and live electronics (1994)
  • Le Fleuve du désir VIII, for contrabass, tape, and live electronics (1994)
  • Makbénach III, for saxophone, live electronics, and tape (1996)
  • Makbénach IV, for trombone, live electronics, and tape (1998)
  • Aquarelles, for basset horn doubling clarinet, tape, and live electronics (1999)
  • La Naissance du son, for amplified cello (2002)
  • For Maurizio, for amplified viola (2003)
  • Ascension au Purgatoire, for percussion and computer (2004)

Vocal music
  • Pour un Tombeau d'Anatole, for voice, saxophones, and percussion (1984)
  • Catachresis, for soprano and chamber orchestra (1987)
  • La Tristesse de la lune (text: Charles Baudelaire), for baritone, soprano (pre-recorded), and tape (1986)
  • Two Electro-Acoustic Songs for soprano, flute, and tape; poems by Dahlia Ravicovitch (1993)
  • Funeral Sentences, for two sopranos, percussionist, and live electronics (1998)
  • The Ecstasy of St. Theresa (homage to Bernini) (text: St. Theresa of Ávila), for nine mixed voices and live electronics (2001)

Electronic music
  • Triple Requiem, for multiple tapes and turntables (1982)
  • Dreamwake (texts: Gérard Pape), for tape (1984)
  • Resonance, for tape (1984)
  • Prélude Electronique, for tape (1992)
  • Variations Varèsiennes, for tape (1992)
  • Le Fleuve du désir II. for UPIC-generated tape (1994)
  • Fabula, for eight-channel tape (1999)
  • Mon autre Peau, installation for 20-channel tape and DVD (based on paintings by Ana-Paula Portilla with digital video by Anney Bonney; texts by Ana-Paula Portilla, Parmenides, and the Upanishads) (1999)
  • Tantric Transformations, for eight-channel tape and digital video; video by Anney Bonney (2000)
  • Clouds for six-channel tape (2002)

Sources
  • CCMIX Paris. 2001. Mode Records 2-CD set, MDE 98.
  • Feller, Ross. 2000. "Gerard Pape: Electroacoustic Chamber Works". Computer Music Journal 24, no. 1 (Spring): 94–95.
  • McHard, James L. 2006. The Future of Modern Music: A Vibrant New Modernism in Music for the Future, second edition. Livonia, Michigan: Iconic Press; Salt Lake City: American University & Colleges Press. ISBN 0-9778195-0-7.
  • Makan, Keeril. 2003. "An Interview with Gerard Pape". Computer Music Journal 27, no. 3 (Fall): 21–32.
  • Roads, Curtis. 2001. Microsound. Cambridge: MIT Press. ISBN 0-262-18215-7.

Further reading
  • Kozinn, Allan. 1988. "Review/Recital; Albright at the Organ". New York Times (May 5).
gollark: A lot of the builtins in JS similarly just act as containers for static methods.
gollark: Yes.
gollark: Thus, """object""".
gollark: You can do `str:sub` and such because something something metatable.
gollark: It has built-in tables for stuff. Them being "objects" is not hugely relevant.
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