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IN STOCK
01. PIERRE HENRY - Générique (Thème de Myriam)
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02. PIERRE HENRY - Catherine Malade
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03. PIERRE HENRY - Après la Mort Scène de la Trappe
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04. PIERRE HENRY - Le Gois (Scene de la Noyade)
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05. PIERRE HENRY - Theme de Catherine
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06. PIERRE HENRY - Mariage de la Feuille et du Cliché (Extrait)
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07. PIERRE HENRY - La Amoreux Musique
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08. PIERRE HENRY - Le Voyage Musique
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09. PIERRE HENRY - La Mort Musique
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ARTIST
HENRY, PIERRE
TITLE
Maléfices
FORMAT
LP
LABEL
CACOPHONIC
CATALOG #
CACK 006LP
CACK 006LP
GENRE
ELECTRONIC
RELEASE DATE
1/6/2015
2017 repress. Cacophonic presents
Maléfices
, an outstanding film score by
Pierre Henry
, often overlooked in lists of the composer's work. The score is a dream record for fans of early electronics, female vocal manipulation, and horror soundtracks. Widely recognized as one of the original sonic architects of the movement known as musique concrète (having joined
Pierre Schaeffer
's initiative as early as 1949), Pierre Henry was arguably the first musician to entertain the notion of this defiant musical revolution coexisting with traditional and popular music. Initially using the media of modern dance and spoken word as a platform to contextualize his tape-music mutations (notably in unison with
Maurice Bejart
), Henry's fusion of academic with thematic ideas led to the birth of electronic sound design for film and theatre, exemplified most prevalently in the macabre. His score for
Henri Decoin
's 1962 film
Maléfices
(
Where the Truth Lies
) (starring
Juliette Gréco
) is the missing link between his earliest avant-garde recordings and his later celebrated pop experiments with
Michel Colombier
and
Spooky Tooth
. It rivals such cinematic sound as
Daphne Oram
's work for
Jack Clayton
's 1961 horror film
The Innocents
, and features Henry at what is perhaps his most melodic, fragile, and enchanting (especially for this unforgiving, formative era in his career). Layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind, and brooding, industrial treated piano textures, Henry magnifies the film's intoxicated, hallucinatory narrative. This concise set of complete themes is presented here, fully remastered for the first time, alongside rare excerpts from two of the composer's very earliest and least obtainable forays into theatrical sound design: instrumental parts of Henry's first stereo reconstruction of Maurice Bejart's 1961 ballet
Orphée
, and his seldom-heard concrète interludes from
Darius Milhaud
and
Max Gérard
's opera
Mariage de la Feuille et du Cliché
(1958).
Other releases on CACOPHONIC
Other releases by HENRY, PIERRE