|
Search Result for Label RECOLLECTION GRM
viewing 1 To 7 of 7 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
REGRM 008LP
|
Recollection GRM, a label within the Editions Mego family of labels, offers a second selection from the vast archives of Groupe De Recherches Musicales (GRM). "The idea of the Traces series is to unearth from the GRM Archives short, forgotten, or ignored pieces of music. This second volume, which gathers works prior to 1976, features the 'early' works of four composers who each went on to leave a unique trail of music. In addition to reflecting the extraordinary vitality of the musical experimentation of bygone times, Traces aims to reactivate the audibility of such pieces, some of which have never been released before." --Christian Zanési & François Bonnet; Dominique Guiot, "L'oiseau de paradis" (1974): "The composition of this piece was inspired by the rules of cinematic screenwriting. Indeed, the possibilities of an electro-acoustic music studio are very similar to those found in the audiovisual field (particularly editing). Based on this similarity, I thought it would be interesting to compose a series of scenes, dramatic atmospheres, and suddenly interrupted soundscapes." Pierre Boeswillwald, "Nuisances" (1971): Starting from microphone recordings of numerous sounds, the author chose not to systematically use the "best ones." Therefore, this construction always tried to refine itself while constantly being polluted by interferences which are nuisances. As in nature, man seeks to refine his environment but destroys it through his mistakes. Rodolfo Caesar, "Les deux saisons" (1975-1976): "This piece results from instrumental improvisations: the first one with the Baschet brothers' glass organ, the second one with a frequency modulation device assembled by Bernard Dürr, who co-created the 'Trièdre Fertile' (Fertile Triad) with Pierre Schaeffer. These were two input channels for a kind of 'anecdotism' I was interested in." Denis Smalley, "Pentes" (1974): The main features of the piece evokes vast landscapes, with their ascents and descents, hence the title, 'Pentes' (both French and Latin, meaning slopes, inclines, ascents). Most of the music was created by transforming instrumental sounds, but there are also synthesized sounds. However, the only recognizable sound source is the Northumbrian Pipes, whose drone is responsible for the slowly-evolving harmonies out of which its haunting traditional melody appears.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REGRM 007LP
|
Recollection GRM assembles Greek experimental composer Iannis Xenakis' works for Groupe de Recherches Musicales circa 1957-1962. "Concret PH" (1958) was assembled for the Brussels World Fair. The industrialist Philips commissioned Le Corbusier's famous "Philips Pavilion": "I'll create an electronic poem for you, he said. Everything will happen inside: sound, light, color, and rhythm." Iannis Xenakis designed the architectural blueprint and composed "Concret PH" meant to psychologically prepare the public for the show created inside, accompanied by a musical piece by Edgard Varèse. The 400 speakers that lined the inner shell were meant to fill the space through the sound sparkles of "Concret PH" and achieve a joint emanation of architecture and music, conceived as a whole: the roughness of the concrete and its internal friction coefficient found an echo in the timbre of the sparkles. "Orient-Occident" (1960) was originally composed for a film by Enrico Fulchignoni for UNESCO. The film describes a visit to the museum comparing artifacts produced by various cultures and highlighting their interaction, dating back to ancient times. From an abstract point of view, the composer regards this work as a solution to the problem of finding highly diversified means of transition, meant to link a type of material to another. One indeed witnesses a varied gradation of mutations, interplays, overlaps, cross-fading, sudden shifts, and hidden junction points. "Diamorphoses" (1957-1958) portrays continuity and discontinuity within evolution. Here are two aspects of being, whether in opposition or in communion. In "Diamorphoses" this antithesis was illustrated sections of sound strongly opposed to others, and particularly in organizations of continuous variations of average or "statistical" heights. "Bohor" (1962): Bohor (referring to Bors the Younger, Lancelot's cousin), is a character from the medieval cycle of King Arthur and the Knights of the Round Table. "Bohor" is dedicated to Pierre Schaeffer. The author deliberately abstained from giving any descriptive information on his piece, letting the listener choose an imaginary route for himself. This release presents the 1968 version, revised by Iannis Xenakis himself and as yet not made available to the public. "Even though Iannis Xenakis never made 'musique concrète' in the sense given by Pierre Schaeffer, the GRM was a locus for experimenting with his ideas about sound and sound structures. These works, composed between 1958 and 1962, show a boldness as advanced as in his orchestral approach. The relationship between Xenakis and Schaeffer was often tense. It nevertheless entailed mutual recognition and respect towards each other's musical approach. Schaeffer found the piece disproportionate in terms of intensity but was indeed pleased by the dedication. The four pieces presented here, all produced at the GRM, undoubtedly demonstrate the experimental intent and the strictly 'physical' character of Xenakis' music, in that it provides the audience with a listening experience of a rare intensity." --François Bonnet & Christian Zanési; Cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2013. Layout by Stephen O'Malley. Executive Production by Peter Rehberg.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
REGRM 005LP
|
Recollection GRM presents four musique concrète masterpieces by French electro-acoustic innovator Luc Ferrari -- all of the Presque Rien's collected together in one vinyl set for the first time. Presque rien n°1, le lever du jour au bord de la mer (1967-1970): "Following the complete disappearance of abstract sounds, we can regard this piece as a sonic snapshot and the culmination of an evolution. This is a realistic rendering (as faithful as possible) of a fishing village waking up. The first idea of minimalism." Presque rien n°2, ainsi continue la nuit dans ma tête multiple (1977): "Description of a landscape at night that a soundman attempts to define through microphones, but the night surprises the 'hunter' and creeps inside his head. It then becomes a double description: the inner landscape transforms the outer night and by composing it, adds its own reality (a fantasy of reality) or, perhaps, a psychoanalysis of his nightscape..." Presque rien avec filles (1989): "Within paradoxical landscapes, a photographer/composer is hidden while girls are having a sort of picnic on the grass. Without being aware of it, they offer him the spectacle of their intimacy." Presque rien n°4, la remontée du village (1990-1998): "I always hesitated before releasing 'Presque rien.' For instance, it took two years for the first one to come out and things went on this way. The fourth one took nine years of hesitating. But here it is. Perhaps because this is a real 'presque rien' fake where reality and lies mix. This is the ascent into the old town of Ventimiglia." --Luc Ferrari; Produced by Peter Rehberg. Layout: Stephen O'Malley. Cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2012.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REGRM 006LP
|
Recollection GRM presents two electroacoustic works by Croatian composer Ivo Malec. Triola (1978): "This piece marked my return to the studio after several years of absence, a return, which for unknown reasons, needed to be part of a rather ambitious project -- a strictly personal idea. This is how my mind slowly turned towards the design of a musical narrative meant to stand for a relearning of the trade, the temptation to use purely electronic material so as change it into something other than itself, a wide range of form(s) and, when possible, a work, if not a musical piece. The title, Triola ('triplet'), was chosen to emphasize these three movements, each with their own title and which, just like the three equal values of the triplet, sustain a basic unit through interference. This is quite symbolic, as is the alternative title: the 'symphony for myself' is not only named so because I wanted to offer myself something -- which I did -- but perhaps and above all, because I had a score to settle with myself. One could even say that the piece is autobiographical. We could do it but we do not need to: that is not the question." Bizarra (1972): "In order to understand this piece, it has always been possible to follow two paths, quite different if not divergent. The first one relies on imagery whose roots I would gladly trace back to Lautréamont's 'deserted swamps' and 'emanations' and to which I would add boiling lands, wet forests, volcanic landscapes, and all kinds of entrails. The other path is that of the realities of a studio where, like a craftsman, the composer manipulates, stretches and releases with his fingers a (magnetic) tape, facing the ears of a (magnetic) head, trying to find the narrow door for the 'real' sound to pass through. The rest is mere work, stewardship. How can one bring these two distant paths together? It is indeed necessary, since the second one precedes the first one, while the first one transcends the second one." --Ivo Malec; Cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2012. Layout by Stephen O'Malley. Produced by Peter Rehberg.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REGRM 003LP
|
2013 repress. L'Oeil écoute (1970): "From the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece, woven with different materials, triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like Panurge. This form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories. Perhaps, in looking too hard, man eventually stops listening. And, as I said when creating the piece in 1970, the eye, now a 'solitary wanderer' only has ears for what assaults it." Dedans-Dehors (1977): "When listening to the sound material, we metamorphose the inside into an outside. This notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluidsolid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some while it takes us away from others: each with their own inside." --Bernard Parmegiani; Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REGRM 001LP
|
Limited repress. Recollection GRM is one more label within the Editions Mego family of labels. Its aim is to make available on vinyl the vast archives of Groupe De Recherches Musicales (GRM). Being released in batches of two every three months, it will present both known and lesser-known works. All releases will be re-cut at Dubplates & Mastering and packaged in new artwork by Stephen O'Malley, featuring bi-lingual (French/English) texts. Some of these pioneering works have been out-of-print in this format for over 30 years, and would be a valuable addition to any serious collection of electronic music. It is worth pointing out that this series is neither a re-run of the original Collection INA-GRM series or the Phillips Prospective 21e Siècle series, but something new altogether. This is Pierre Schaeffer's Le Trièdre Fertile, full version 1975-1976, with the participation of Bernard Dürr. This trihedron, Schaeffer's last piece, echoes the physicists "reference trihedron," linked to the three fundamental measurements of sound: frequency, duration and intensity. The basic signs of traditional sol-fa that enable the transcribing of pitches, rhythms and nuances also correspond to these three measurements. However, it is precisely outside or beyond these parameters that, all through his life, Schaeffer researched music. Hence, qualifying this trihedron as "fertile" is the confession "of a late repentance." On the other hand, and against all odds, this piece was only composed from synthetic sounds, developed by Bernard Dürr. It is Pierre Schaeffer's only purely electronic music work. Here, the synthesizer is rather monitored by sensitivity than by computation principles, thus letting uncanny structures emerge. Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012. Layout: Stephen O'Malley.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REGRM 002LP
|
Franges Du Signe, the third part of an electroacoustic triptych completed in 1973-1974, is the first major "purely acousmatic" work composed by Guy Reibel. Franges Du Signe explores the mathematical idea of the limit by translating it musically, searching for unstable states of equilibrium. Thus, several conflicting tendencies or logics act upon the sounds. They overlap and fight, each one seeking to assert its trace on the phenomenon in progress, generating de facto an ambiguity that is unique to all phenomena that obey the "logic of the living." Granulations-Sillages (1976) develops an idea glimpsed at in Franges Du Signe: the existence of extreme times at the edge of our faculties of perception, which only the electroacoustic music tools allow us to realize. Two natures of phenomena, opposed in all respects (the "Granulations-Trails" and the "Tutti"), alternate through seven movements that constitute the piece. The work is designed for six channels diffused in concert on a main stereo system facing the public and two auxiliary stereos (group of crossing speakers: front-back and left-right in the room). Featuring bi-lingual (French/English) texts, with translation by Valérie Vivancos. Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012. Layout: Stephen O'Malley. Executive Production: Peter Rehberg.
|
|
|
|