mimaroglu music sales ☞ artists ☞ jacques lejeune

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previous artist: ville leinonen		there are 5 titles featuring jacques lejeune in stock. they are listed below.		next artist: lemon bear

$10.73

new to stock as of
march 2nd, 2007

threads:
musique-concrète
1960s-electronic
1970s-electronic
electro-acoustic-composition
psych-prog

creel pone (france) #creelp clozier cd

jacques lejeune / christian clozier “perspectives musicales” compact disc recordable

christian clozier - lettre a une demoisselle

1er mouvement: brouillon (6:22)
2éme mouvement: ratures (4:47)
3éme mouvement: post-scriptum (4:11)

jacques lejeune - petite suite

prélude (1:27)
arioso (1:28)
danse (2:05)
sérénade (1:27)
toccata (1:42)

jacques lejeune - d’une multitude en fete (18:11)
christian clozier - dichotomie (4:37)

well... mr. p.c. c.p. has clearly taken a peek at my “holy grail” list - in there, nestled amongst such unattainable classics as karel appel’s “musique barbare”, paul boisselet’s “le robot”, and il gruppo nuova consonanza’s ill-fated cinevox-label album is the lp in question; a split release featuring a pair of pieces made at the tail-end of the 1960s at the g.r.m. by jacques lejeune and christian clozier, respectively.

released as part of emi/pathe marconi’s mythical “perspectives musicales” series (parodied by sonic youth via their “syr-series”) this lovely creel pone reproduces by far the hardest-to-find title in a series known for being elusive to collectors of “contemporary music” ...

... which isn’t to over-emphasize the scarcity of the object; this is one of the most “happening” sets of musique concrète in the entire ina-grm canon; lejeune’s killer “petite suite” especially rocks with its ruthless plundering of first the lone free-time hi-hat, then the entire drum-kit of a studio “funk” drummer, interspersed with blasts of processed guitar & full-on psych-rock. coupled with the sparse electronics & plunderphonic choir of “d’une multitude en fete” you certainly begin to get a sense of the sheer scope of lejeune’s compositional vision...

christian clozier’s “dichotomie” uses familiar elements from the concrète lexicon: mutated/extended instrumental techniques & percussion, heavy use of phasing and tape-speed effects, tons of close-mic’ed/distorted sounds interspersed with distant, reverb-laden atmospheres; it’s the dense tapestry that makes the sparse “lettre a une demoiselle” seem so... barren in comparison.

once again (and for the last time in a few months; or so i’m told) this lovely creel pone edition puts an outststanding suite of hitherto unheralded early electronic genius into the hands/ears of enthusiasts whom most likely would never have even heard of this music. if you’re feeling “blanche neige” this will be right up your alley ...

creel pone press release...

this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a black / gold foil stamp affixed to the exterior
1 x single-sided six-color inkjet-printed hand-cut glossy-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

...

[1]

christian clozier
lettre a une demoiselle

a) 1er mouvement: brouillon 6'20
b) 2éme mouvement: ratures 3'45
c) 3éme mouvement: post-scriptum 4'07

jacques lejeune
petite suite

d) prélude 1'45
e) arioso 1'26
f) danse 2'00
g) sérénade 1'24
h) toccata 1'32

œuvres réalisées au groupe de recherches musicales de l'o.r.t.f.

[2]

jacques lejeune
a) d'une multitude en fete 18 '12

christian clozier
b) dichotomie 4'33

œuvres réalisées au groupe de recherches musicales de l'o.r.t.f.

* * *

christian adrien clozier
1 45 08 60 159 035

joueur de violon curieux sonneur d'hydrophilus rimeur, on le vit passant: du cnsm, de "ephe, du grm où il travailla. instrumentiste, improvisateur, mit à jour opus "n", cellule d'improvisation électroacoustique avec alain savouret.

a ce jour responsable du groupe de musique expérimentale de bourges, g.m.e.b. avec françoise barrière.

toujours partisan du front unique ouvrier.

fit surtout : lire à lully - en avant la zizique - marché calme et irrégulier - et si c'était vrai -- lettre à une demoiselle dichotomie -. la discordatura - ena vie : concret-opéra, commande ortf. musiques : court-métrage, théàtre, tv.

lettre a une demoiselle 1969

musique écrite sur un journal, une feuille, dans une mansarde, en vue d'une fenêtre ouverte sur un fleuve impassible, à une table fleurie, vers les deux heures du matin. à mivoix, au souvenir des compagnons de la pleïade.

le texte est une vieille lettre à peine jaunie trois mouvements : brouillon - ratures post-scriptum.

"quand on vit seul, on ne parle pas trop haut. pas plus qu'on écrit trop haut, car on craint la creuse résonance, la critique de la nymphe echo" n.

dichotomie 1970

divertissement en forme d'étude devant les, magnétophones. plaisir du faire pour le plaisir. c'est un peu la bataille de fontenoy, où chacun des maréchaux y jouait sa partie, de loin en loin, ou peut-étre l'effet doppler saisi entre madame thellier et un lorry. dérisoire comme les dichotomies, mais volontaire.

a lire : ces musiques sont aux œuvres ce qu'un manuscrit est au livre. elles ne cherchent pas la perfection formelle ou sonore, mais recherchent par touches, par impressions, par approximations, l'expression faite à son temps d'une histoire à dire, d'un plaisir à conter. il n'est qu'à les écouter jouer' dans leurs ratures, leurs rayures, leur élan, leur concert, en démasquant les leurres. et si cela est insatisfaisan t, livrez les à la nouvelle critique, à l'analyse structurelle, à ... , peutêtre alors sera la musique, car vrai, où estelle, où en est-elle? l'homme à l'homme s'écrie dans le langage des choses.
p. schaeffer écrit: décri. savoir?

cnsm ': conservatoire national supérieur de musique. ephe : ecole pratique des hautes etudes. grm : groupe de recherches musicales.

jacques lejeune

né en 1940 à talence. s'initie à la musique en autodidacte. etudes musicales à la schola cantorum. stage de musique électroacoustique au groupe de recherches musicales de l'o.r.t.f. auquel il est associé depuis 1968. cofondateur du groupe international de musique electroacoustique de paris (glm ep), il participe, dans ce cadre, à de nombreux concerts, tant en france qu'à l'étranger.

(zagreb, montréal, varsovie, vienne, hanovre, fribourg, berne, etc.)

fit partie, dès sa fondation, du groupe d'expression directe d~ chateauvallon créé par pierre boësvillwald en' 1968, avec lequel il continue aujourd'hui une echerche d'un langage électroacoustique spontané se situant entre l'interprétation exacte de la partition et l'improvisation libre et qui s'intègre, sous forme de spectacles, à la parole, au gcste, à la danse et à la lumière.

oeuvres principales: le chantefait de supe~ besse, d'après un fait divers (1967) - variations d'un thème funèbre - quatre regards sur l'homme (1968) - d'une multitude en fète (1969) - petite suite - géo 'es - tératologos (1970). diverses musiques pour la télévision et le théàtre (n. lelubre, r. weingarten, l. ferlinghetti).

d'une multitude en fete 1969

multitude: nombre; fête: cérémonie. toute situation de foule pourrait être une forme de cérémonie : prêtre et fidèles, guide et visiteurs, camelot et badauds, manifestants dans la rue, public au concert, instrumentistes dans un bal. etc.

l'idée musicale se conçoit ici comme un regard autour de soi, comme un choix de différents reportages d'où se dégagent et se structurent les principaux thèmes et leur développement anecdotique. exposition et proposition à l'imagination, tendant à créer des évènements insolites et ambigus débouchant sur le rêve, sur une histoire qu'il convient à chacun de se raconter.

petite suite 1970

chaque morceau, volontairement concis comme un exercice, se réfère à une forme musicale traditionnelle, utilisant à la fois l'anecdotique et l'instrumental. successivement :

prélude, l'accordage et le départ instrumental; arioso, forme dramatique se situant entre l'air et le récitatif (gémissements, cris, souffles, etc.) ; danse, le rythme simple et régulier et la progression énergétique des matières ; sérénade, l'aubade (cantilène des violons, vocalises, boîtes à musique, rires, berceuses); toccata enfin, la brillance, la fantaisie et la virtuosité.

les éléments d'origine, de batterie et de guitare, sont dus à michel foudrinoy et jean-pierre vassout.

* * *

les industries musicales et électriques pathe marconi paris

$15.29

new to stock as of
june 22nd, 2009

threads:
printed-matter
musique-concrète
electro-acoustic-composition

ina-grm (france) #ina pp 09 book
portraits polychromes (france) #ina pp 09 book

jacques lejeune “portraits polychromes nº 9 (french)” book

portraits polychromes de jacques lejeune (122 pages)

ina-grm press release...

jacques lejeune
portraits polychromes

pensés comme un guide monographique pouvant servir à tous les acteurs de la vie artistique d'aujourd'hui, les portraits polychromes, initiés par le cdmc (centre de documentation de la musique contemporaine) et le grm (groupe de recherches musicales), sont élaborés de la manière suivante: un propos général sur la biographie et/ou l'esthétique d'un compositeur de notre temps, un entretien, un texte du musicien lui-même, une analyse d'une œuvre phare suivie in fine d'un catalogue commenté.

portraits polychromes nº9 : jacques lejeune

avant-propos, par pierre-albert castanet

entretien avec jacques lejeune, par michel rigoni

qu'est-ce que la musique anecdotique? (à propos de jacques lejeune), par jean-christophe thomas

musicalité, théâtralité et poétique, par jacques lejeune

jacques lejeune: question(s) de forme(s), par yves krier

pour goûter fragments gourmands ... , par gilles racot

catalogue des œuvres musicales

index alphabétique

$16.46

new to stock as of
june 22nd, 2009

threads:
electro-acoustic-composition
musique-concrète

ina-grm (france) #ina e 5201 cd

jacques lejeune “fragments gourmands • l’eau primesautière” compact disc

fragments gourmands (16:09) 1995
l’eau primesautière (12:48) 1993

click the play button to hear an excerpt of "fragments gourmands"

1999 release ; two mid-90s concrète pieces from lejeune - both based on brillet-savarin’s “greedy fragments” (the english version of lejeune’s exceedingly detailed / gross libretto is printed below en toto) & performed by daniel kientzy ...

delightfully wonky digital-era concrète, replete with bad “lounge” drum-machine beats & endless french-language insinuation(s) whose subtlety is lost on a part-time speaker such as myself ...

ina-grm press release...

“gourmet passages”
after brillat-savarin

animal tongues do not exceed the scope of their intelligence ; but the human tongue however, through its delicate texture, enrobed in its various membranes, heralds the sublime purpose for which it is destined. animals have limited tastes : some live on plants only, others will only eat grain foods ; others only eat flesh or blood. man on the other hand is omnivorous ; anything that can be eaten is subjected to his vast appetite. as soon as a succulent body passes his lips, it is confiscated forever, gases and juices all in one. closed lips prevent its return ; it is seized and crushed by the teeth; it is moistened by saliva ; it is mixed and turned by the tongue ; a suction movement pushes it towards the gullet ; and keenly sensed by smell on its way, it is precipitated into the stomach where it undergoes further change. the sequence to this perfection is that fondness of food is the prerogative of man.

various single or multiple circumstances can contribute to heightening thirst. heat increases thirst ; hence man's historic propensity to set up abode on the edge of rivers. physical work increases thirst; those who hire labour always to seek to replenish their labourers' strength by quenching their thirst. dancing increases thirst ; refreshing drinks have always been a part of dance gatherings. the pleasures of love increase thirst; hence the poetic descriptions of the various places inhabited by venus which never lack cool shade and twisting, twining, babbling rivers. a discerning palate is not unbecoming for the gentle sex. nothing is more pleasant than to see a pretty person appreciating her food ; her napkin is flatteringly arranged; one hand is rested upon the table ; the other raises elegantly cut, dainty morsels to her mouth ; her eyes are ashine, her lips glisten, and her conversation is pleasant ; each and every movement is made with that dash of flirtatiousness which women never fail to apply.

fondness of good food is flattering for beauty. artists and sculptors are well aware of this truth as they never depict those who abstain, such as misers and ascetics without showing the pallor of disease, the scragginess of destitution and the wrinkles of decrepitude. last and not least, fondness of good food has the deepest influence on the happiness of marital union. two food-loving spouses at least have one pleasant moment to share in the day; as even those who sleep apart, and there are a great number, at least eat at the same table; they not only talk of what they are eating, but also of what they have previously eaten and what they intend to eat.

gruel is a healthy food which calms the pangs of hunger, is easily digested but eaten alone is not very restorative. we divide gruel eaters into four categories : creatures of habit who eat it because their parents taught them to do so and hope to teach the same to their children ; those of little patience who, loathing idleness at table, have taken the habit of immediately devouring the first edible matter than presents itself ; those who are inattentive who, not having being blessed with the same zeal, rank everything that can be eaten on the same level; and gluttons who, seeking to conceal the size of their stomach, eagerly pour into it a first victim to allay the gastric fire consuming them which will serve as a base for the subsequent missives they intend to deliver to the same destination.

i firmly believe that the gallinaceous species was created solely to fill our larders and enrich our banquets. we have not contented ourselves with the qualities afforded by nature to the many members of this large family ; they were taken over by art which, on the pretext of bringing an improvement, has made martyrs of them; they are deprived of the means of reproducing themselves, they are kept in solitary confinement, they are force fed and they are led in this way to reaching a degree of stoutness for which they were not intended. it is true that it is with these abominable methods that they are given that fineness and succulence which make them the delight of our best tables. improved in this way, poultry is for cooking what a canvas is for an artist. it is served boiled, roast, fried, hot or cold, whole or in portions with or without sauce, boned, skinned, stuffed and always with the same unvarying success.

$16.46

new to stock as of
june 22nd, 2009

threads:
electro-acoustic-composition
musique-concrète

ina-grm (france) #ina e 5004 cd

jacques lejeune “pour entrer et sortir d’un conte” compact disc

pour entrer et sortir d'un conte (8:55) 1990
l’église oubliée (21:05) 1997

click the play button to hear an excerpt of "pour entrer et sortir d'un conte"

1997 release ; two “extracts” from a long-form piece entitled “les contes de la forêt profonde” (tales from the deep forest) by jacques lejeune ... sparse entries, with an emphasis on sliding shepard tones & digitally mutating concrète textures ... classic lejeune, 90s upgrade ...

ina-grm press release...

pour entrer et sortir d'un conte - 1990 - 21'05

to regis renouard lariviere

the "entrance" is like passing through a maze. the elements are propelled by processes of repetition and recurrence and tend towards stagnation within a structure consisting of blocks set side by side and thick. compact, opaque masses. the "exit" narrrows the field of the spectrum; confining itself to the medium colours of the bell, it presents an unusual light, moves more freely, briskly enumerates a variety of figures containing sudden new developments, phases of stability, impulsions, while . gradually allowing organic and animal life, then human presence to appear.

l’église oubliie - 1997 - 8'55

the contrasts and breaks in sound recurring in the dynamic tensions emphasise the dramatic aspect of the subject. such a climate is treated not only by mouvement but also by the gradual emergence of a story, cleverly worked out, with two or three anecdotes as points of reference. thus, l' eglise oubliee ("the forgotten church") may be taken as something archaic and primordial, which is to be felt in the very great restraint of the elements used, in the gradual dulling of the colours and the speeds .

$20.93

new to stock as of
june 22nd, 2009

threads:
1980s-electronic
electro-acoustic-composition
musique-concrète

ina-grm (france) #ina c 2016 cd

jacques lejeune “messe aux oiseaux” compact disc

premier temps : kyrie (18:40)

eleison (7:32)
kyrie eleison (1:35)
christe eleison (3:56)
kyrie eleison (5:37)

deuxième temps : gloria-credo (29:12)

gloria in excelsis deo (3:54)
et in terra pax (2:52)
laudamus te (1:22)
qui tollis (1:02)
quoniam tu solus sanctus (1:10)
credo in unum deum (3:37)
et incarnatus est (3:28)
crucifixus (1:52)
et resurrexit (2:03)
credo in spiritum sanctum (4:54)
et exspecto (2:58)

troisième temps : sanctus - agnus dei (19:03)

sanctus (0:17)
hosanna (0:45)
benedictus (3:24)
hosanna (2:02)
agnus dei (4:35)
dona nobis pacem (8:00)
ave maria (5:29)

click the play button to hear an excerpt of "agnus dei"

2000 release ; ina-grm edition of the 1987 gmvl cd, covering jacques lejeune’s “mass for the birds”, composed during 1986 & 1987 at the grm & gmvl studios & “revised” at the grm in 1999 ...

this one has “1986” written all over it, from the ungainly pitch-shifter algorithms (the voices are slathered with it throughout) to the brassy, low-bit digital textures throughout ... coupled with copious use of birdsong & heavily filtered / modified concrète elements made to sound like birdsong and, well, you’ve got one of the classic mid-late-80s long-form grm pieces ...

ina-grm press release...

messe aux oiseaux

the music of the first section of messe aux oiseaux (mass for the birds) presents sharp contrasts of material and syntax and moves through an exploration of the voice as feeling, via a series of cries, wails and moans, before eventually reaching a place of peace. this exploration, which moves in fractured, dislocated steps from one extreme to another, also presents the antagonism between the various expressive registers of the human voice. more than anywhere else in the work the musical material draws its being from feelings of heaviness. it surges and explodes into bursts of sound that generate cells of more or less identifiable meaning. these cells jostle with one another evoking feelings of crisis and danger; the hieratic mingles with the familiar and the dramatic. in the polyfiguristic approach underpinning this continuous back-and-forth between realism and idealism, between the realms of living beings and the merely plastic, individuals, groups and crowds all rub shoulders. the mixture contrasts children's voices with those of adults; anticipation and anxiety; realism, impressionism, expressionism and the stylised; cries and moans, speech and song. the result is both disturbing and entertaining .and open to a variety of levels of meaning and interpretation.

the kyrie starts out against a dark background from which emerge harsh bursts of sound and gusty, brassy implosions. there follows a short breathing-space characterised by the sound of heartbeats before the initial texture returns to reveal images of frightened birds. the first exposition of this theme creates a feeling of a nameless, elusive vocal element like a dull blade rising that leads to the return of the brassy motif followed by the frightened bird music in a series of shattered chords. the vocal feeling develops to give way to the syllables e-i-son. two cries of pain then suddenly transform the kyrie eleison into a nervous, febrile texture of multiple broken voices.

this fresco-like movement is followed by a temporary feeling of greater intimacy. against a background similar to that of the beginning of the movement, overlapping voices hesitatingly begin the christe eleison. the bird theme returns over a vocal baseline. in the second section of the christe eleison, the conflicting sounds of the broken crowds are again present before a brief reminder of the brassy motif introduces an agitated climax that leads into a repeat of the kyrie eleison. the addition of muted, humble, plaintive voices gives the overall sound an ambiguous character before the explosions and cries acquire a more exclamatory, urgent tone. the final section introduces a choir of female voices whose repeated formulations gradually give the music a calmer, more stable feel.

the keystone of the mass's structure is the combined gloria and credo. this twofold movement has a dynamic, radiant character and is built on the repetition and interplay between, on the one hand, textures that are specifically designed to move the music forward, and on the other, material that is more anchored in a feeling of inert flow and archetypes of breathing or resonance.

after the rising introduction of the gloria in excelsis deo, a dense, lyrical mass explodes, dominating the aural space. into this space the text is repeated in the form of far-off chords. this section is followed by the sustained voices of the et in terra pax, which are punctuated by snatches of sparkling sound that move against a harmonic background. these ideas are developed in an atmosphere of fluidity that gives rise to the dislocated repetitions of the laudamus te. the anguish of the qui tollis comes as a violent contrast to this movement of exultation before the earlier rhythmic material returns to the words quoniam tu solus sanctus.

the texture and rhythm of the beginning of the credo are generated by the end of the gloria that precedes it. the word credo is vehemently repeated and the musical material appears to swell. the credo in unum deum is sustained by bursts of percussive material in a succession of choral motifs. against a background of breathy, flutelike textures, in which ticking sounds and insect noises start to be perceived, the sound gradually builds into a rich, organic musical fabric that ends by opening into the warm, mellow key of the et incarnatus est. the breathy, flutelike texture is repeated before the crucifixus begins in an atmosphere of tension between different types of musical material and fragmented utterances. after the et resurrexit, which is written in the same climate of gentle, warm harmonies as the et incarnatus est, the flutelike texture returns before gradually fading into nothing.

energetic repetition again characterises the setting of credo in spiritum sanctum in which the text is first divided into three sections that alternate with the solo percussive accompaniment that gradually takes on the character of a train. the voices return with the word credo before the entire text is repeated set to the same sequence punctuated by the sound of bells. at the end of the movement the music is transformed into a realistic image of flight before metamorphosing into a stylised harmonic flow that is a variant on the «birds» theme from the kyrie. the words et expecto are set to a huge, muted, fluctuating vocal chord. the movement ends with a second reprise of the «birds» theme.

while the images evoked by the first section of the mass are ones of suffocation and the labyrinth, and those of the second section ones of the arches and pillars of a bridge, the third section is less violent and dramatic in character, despite the contrasted character of its linked sections. the atmosphere has an almost oriental flavour, full of arabesques and pointillist writing. it is in the benedictus that the bird theme, which has hitherto been used as an individual colour and acted as a witness to the unrolling events, is finally fully integrated into the musical development.

the sanctus is initially announced by a solo choir in fast, triumphant steps. a musical fabric composed of vocal melismas, birdsong and sparkling, free-floating electronic droplets soon gives way to the first hosanna. to this pearly, luminous texture is added a solo voice chanting the word benedictus while an off-stage choir recites the full text like a litany on a gently rising scale. the final repetition brings the second, barely modified hosanna. the conclusion of the movement is a miniature gossamer of tiny, whirling electronic motifs and phrases mixed with instrumental colours of the same type.

the pointillist, slightly mysterious short-wave sounds of the agnus dei bring a change of register. the music is made up of electronic sparkles, ticking and insect noises. as the text of the first two stanzas moves through this texture, whose tension and density change from moment to moment, it too is transformed. the third stanza minus the word pacem is briefly enunciated in a mood of sadness and expectation; it is answered by the tinkling, crystalline percussion, rubbed glass and pedal notes of the et in terra pax material.

the entire structure is illuminated by sustained vocal notes through which one can barely hear the ill-defined word pacem, its colour alone being perceptible, evoking the syllables e-i-son from the beginning of the work. there is a brief recapitulation of the plaintive phrase of the dona nobis and a return to the crystalline material and vocal layers rising through a long, luminous development that leads to an electronic continuum of tinkling bells and insect noises. the end is very gentle and peaceful: there is a brief resolution in which a choir finally enunciates the words dona nobis pacem.

...

ave maria

in stark contrast with the huge structure of the messe aux oiseaux, the ave maria is a very short piece; another difference is that the prayer it sets is very simple. the two pieces were, in fact, composed virtually at the same time. the piece is an exercise in writing for the voice in a way that distances it from the meaning of the text. it is an attempt to make the voice remote, to dramatise it and distance it by multiplying the tone colours. the voice becomes anxious and carnal as in a cruel dream; only it surroundings remain angelic.

jl

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... this page was last updated on thursday, march 18th, 2010 @ 8:36 pm