Close this search box.

Déluges et autres péripéties

Déluges et autres péripéties’ (Floods and other adventures) 

Annette Vande Gorne, concerts + sound spatialisation workshop

Programming of acousmatic concerts with sound spatialisation on the INFLUX acousmonium proposed by Annette Vande Gorne / Musiques & Recherches 

  • Déluges et autres péripéties (16.2 channels, 28′) based on a text by Werner Lambersy, voices by W. Lambersy and F. Vanhecke. Vanhecke (A.Vande Gorne)

“We await destruction” :  This leitmotiv is brutally asserted over the course of ten verses, which demonstrate, by drawing on all human activities and sensations, with the evocative power and sensitivity of one of our most eminent French-speaking Belgian poets, that the only way for our civilisation to be reborn under different auspices is by dying.

  • Icebergs (MJ Wyckmans) 11’10 for an exhibition by Michel Bocard

The glaciers are melting slowly, inexorably and continuously. Time stands still, punctuated by tiny phenomena or great ruptures. With no apparent drama, these events merge and grow in the immobile flow of time.

  • Fin de crise (MJ Wyckmans) 7’10

Last part of a trilogy composed throughout the years of the pandemic.

  • Turbulences (MJ Wyckmans) octophonic, 8’02 world premiere

Musical translation of the eco-anxiety climate we are experiencing. Unexpected phenomena that come to nothing and constantly change trajectory put the listener under tension, as in real life where meteorological phenomena can at any moment trigger disasters conducive to a feeling of dread if not fear. This piece was composed in octophony to immerse listeners in this ‘turbulence’.

Debussy’s writing and compositional techniques, so varied, find a direct echo in the techniques of writing on a support and the electroacoustic treatment of sound. And then there is the special relationship with nature as a model. Nature is heard in all its diversity of energetic movements and spectral colours by a musician’s ear that attempts not to describe it with anecdotal ‘sounds’, but to re-read it, to transpose the energy that drives natural phenomena. Debussy, in turn, is taken as a model of energetic and musical behaviour, not just as a source of sound, but as a stylistic reference and dialogue, a hundred years on.



Annette Vande Gorne

Since 1980, she has given numerous concerts as a performer of spatialized acousmatic music, both the international repertoire and her own works. More than 500 concerts have enabled her to express her passion for space as a new mode of performance and as a 5th sound parameter for composition.

Nature and different relationships to words and meaning are his models for an abstract and expressive language.

Professor of electroacoustic composition at the Royal Conservatoires of Liège, Bxl and Mons (1986-2016), she founded an independent EA section (15 teachers).


Marie-Jeanne Wyckmans

A professional foley artist for the cinema, Marie-Jeanne Wyckmans’ passion for sound and listening led her to discover acousmatic music in 1984. After graduating in film editing at a film school (Institut supérieur des arts (INSAS), she went on to win a first prize (1990) at the Brussels Royal conservatory, and then the Diplôme supérieur de composition acousmatique (1993) at the Royal conservatory of Mons.

While continuing to work in the film industry, she has also created numerous sound effects for cinema, dance, television, theatre and video. However, her main interest remains electroacoustic and acousmatic composition, which she teaches at various art colleges in Belgium, including the Royal conservatory of Mons/ Arts2, the Institut des arts de diffusion (IAD), the Institut supérieur des arts (INSAS) and the Royal Institute of Theatre, Cinema and Sound (RITCS).