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new to stock as of
january 19th, 2010

threads:
1970s-electronic
electro-acoustic-composition
musique-concrète
field-recordings
site-specific
sound-art
guitar-themed

avatar (canada) #avtr 051 cd
ohm editions (canada) #avtr 051 cd

luc ferrari “chantal” compact disc

  • chantal (41:12)
december 2009 release ; first issue of this newly discovered archival piece by luc ferrari & his wife brunhild, documenting (“presque rien” style) a trip to small village in corbière, where they interview a young woman about her life & dreams ...

the continuous, stream-of-consciousness narrative (told in conversation & environmental recordings) is broken only by a series of (frankly, amazing) musique concrète cut-ups of a local “folk” guitarist (listen to the sound-sample for the very beginning of the piece) ...

digipack cd edition with a 20-page booklet of notes (both luc’s own in 1982, and brunhild’s contemporary reflections, all in french) ... not included on the recent “l’oeuvre électronique” set on ina-grm ...
avatar press release...

chantal

a work by:
luc ferrari

2009
cd

"chantal" de luc ferrari
(cd audio) ohm éditions

1976. un été très sec. luc ferrari et brunhild meyer chez des amis, près de paris, sont couchés dans l’herbe. ils étudient la carte de la france et font des projets de vacances. luc demande à son amie qui est en train d’arroser son jardin, de lui envoyer une goutte d’eau. elle tombe sur un petit village dans les corbière, une région viticole dans le sud de la france. c’est là où ils décident d’aller en vacances. il parlent avec les gens, avec le facteur, les jeunes, avec le curé et l’anarchiste. comment vit une jeune femme née dans le village, 22 ans, un enfant, mariée à un artisan maçon, le smig pour le ménage? elle dit ses occupations, ses désirs, ses troubles, ses problèmes de femme, la recherche de son émancipation.

1976. a very dry summer. luc ferrari and brunhild meyer with friends, close to paris, are lying in grass. they study the chart of france and make projects of holidays. luc asks his friend who is sprinkling her garden, to send a water drop to him. it falls on a small village in corbière, a wine-producing area in the south of france. it is where they decide to go on holiday. he speaks with people, with the factory, the young people, with the priest and the anarchists. how did an young woman see born in the village, 22 years, a child, married to a craftsman mason, the smug for the household? she says her occupations, her desires, her disorders, her problems of woman, the search for her emancipation.

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back in stock as of
august 25th, 2008

first in stock on
november 20th, 2007

blue chopsticks (usa) #bc 16 cd

luc ferrari “far-west news (episodes 2 and 3)” compact disc

  • episode 2: from page to the grand canyon (1) (3:51)
  • episode 2: from page to the grand canyon (2) (8:10)
  • episode 2: from page to the grand canyon (3) (4:31)
  • episode 2: from page to the grand canyon (4) (6:30)
  • episode 2: from page to the grand canyon (5) (6:31)

  • episode 3: from prescott to los angeles (1) (7:41)
  • episode 3: from prescott to los angeles (2) (4:39)
  • episode 3: from prescott to los angeles (3) (3:30)
  • episode 3: from prescott to los angeles (4) (4:46)
  • episode 3: from prescott to los angeles (5) (2:54)
  • episode 3: from prescott to los angeles (6) (4:26)
blue chopsticks press release...
luc ferrari, far-west news (episodes 2 and 3) - bc16 cd

far-west news is the late luc ferrari's three-part aural travelogue of time that he and his wife brunhild meyer spent in the american southwest in 1998. far-west news strains familiar categories of genre; as ferrari himself writes, 'it's not a report or a soundscape, not a hörspiel or an electronic work, not a portrait or a recorded reality exhibit, not a transgression of reality or an impressionist account, not a so on or so forth. it's a composition....[c]omposition in some cases, especially in mine, and increasingly in my life, is a perverted game with the truth.' there you go. file under 'perverted game.'

far-west news is constructed from field recordings, narration, and overlaid electronic music fragments. the electronic interruptions read as representations of musical accompaniment that likely existed in luc ferrari's brain to keep things interesting -- herky-jerky musical phrases are slathered ex post facto atop the sounds of a foundry, a garth brooks-ish singer-songwriter, a walk in death valley. these david lynchian sonic interruptions of the everyday have a found object quality that's central to far-west news. there's a steady macro-rhythm of cars passing along the highway, recalling the basso continuo of the train in glenn gould's the idea of north.

in his dual role as composer and tape editor, luc ferrari had a supreme knack for musicalizing the comedy of linguistic confusion. luc and brunhild, far-west news's main characters, treat locals and yokels alike -- with exquisite visitor-hospitality. lewis and clark, meet bouvard and pécuchet. this could be a case study in cross-cultural sociality.

far-west news takes place during the lead-up to the clinton impeachment -- innocent time -- and lewinsky looms over the landscape. it's all punctuated by luc's laugh. far-west news, like ferrari's classic presque rien no. 1, is a work of landscape. where presque rien no. 1 presented a landscape wiped of speech, far-west news revels in the locals' voices and their choice of words.

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back in stock as of
february 16th, 2009

first in stock on
august 25th, 2006

 best of 2006 !!! 
blue chopsticks (usa) #bc 08 cd

luc ferrari “cycle des souvenirs (1995-2000) exploitation des concepts no.2” compact disc

  • untitled (8:13)
  • untitled (5:45)
  • untitled (5:59)
  • untitled (7:05)
  • untitled (7:16)
  • untitled (5:16)
  • untitled (8:26)
  • untitled (6:53)
  • untitled (4:56)
  • untitled (7:43)
blue chopsticks press release...
luc ferrari, cycle des souvenirs - bc8 cd

"i have been composing a new series of works under the general title 'exploitation des concepts.' the point is to take concepts i have been experimenting with throughout my entire life as a composer, and to put them to use in every possible direction: in instrumental as well as electroacoustic music, in video, in multimedia installation, in new technologies as well as old ones . . . . these exploitations go in all directions: the tautology, superimposed cycles, the minimalism of the "presque rien" series, architectures of chance, anecdote, narrative, everyday sounds, arte povera . . . souvenirs . . . etc. -- all these concepts that have always preoccupied me but which until now i hadn't really exploited.

"so we find images of my childhood, my street, my subway; places i passed through and which struck me enough to record them, certain villages in italy or the sea in portugal; of my present, too: workplaces, my souvenirs, my house. the "cycle des souvenirs" also means that all the elements are structured in cycles which, when superimposed, produce chance encounters." -- luc ferrari made over a period of five years, luc ferrari's cycle des souvenirs is a large-scale electroacoustic work that revisits numerous periods from his five decades of composition. this is its first release. seventy-two years young, luc ferrari has been raiding his archives. armed with the series title exploitation des concepts, the first fruit of this labo was les archives sauvées des eaux ("the archives saved from the waters"), a piece for cds and turntables that has been performed by ferrari in duo with dj olive as well as with montreal-based turntablist martin tétreault. les archives sauvées des eaux was originally scheduled for the delayed sonic youth-curated "all tomorrow's parties" festival in los angeles. cycle des souvenirs is the second work in this series. it initially took the form of a multimedia installation that included video work by ferrari. given the densely detailed, elliptically refracted, imaginative sweep of the soundtrack for the installation, ferrari decided to revisit the material and craft this stand-alone audio version. luc ferrari is one of the pioneers of musique concrète. he was an early participant in the groupe de musique concrète and assisted in the founding of the groupe de recherche musicale (grm). his work has been performed in numerous retrospectives, most recently in two concerts at the museum of contemporary art in chicago. (released february 2002)

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$31.01

back in stock as of
august 9th, 2011

first in stock on
january 16th, 2008

threads:
modern-composition
concert-recordings
electro-acoustic-composition
live-electronic
minimalism-drones

 best of 2008 !!! 
die schachtel (italy) #ds zc01 cd

manuel zurria “repeat!” triple compact disc set

  • lászló sáry - pebble playing in a pot(8:01) 1980
  • arvo part - pari intervallo (4:23) 1976 -1980
  • luc ferrari - madame de shanghai (15:17) 1996
  • louis andriessen - lacrimosa (9:05) 1991
  • salvatore sciarrino - immagine fenicia (5:18) 2000
  • arvo part - spiegel im spiegel (9:37) 1978
  • louis andriessen - de lijn (0:38) 1986
  • lászló sáry - canon (4:53) 1978

  • tom johnson - kirkman's ladies - rational harmonies in three voices (14:13) 2005
  • kevin volans - walking song (5:28) 1984
  • john cage - ryoanji (17:27) 1984-6
  • morton feldman - trio for flutes (4:26) 1972
  • alvin lucier - 947 (7:42) 2001
  • tom johnson - 32 breaths (5:40) 2000)

  • stefano scodanibbio - ritorno a cartagena (9:14) 2001
  • aldo clementi - canzonetta (2:32) 2005
  • viktor ekimovsky - in canes venatici (7:58) 1986
  • jonathan harvey - ricercare una melodia (5:31) 1987
  • zoltan jeney - landscape ad hoc (12:07) 1980
  • aldo clementi - parafrasi 2 (11:09) 2004
  • stefano scodanibbio - voyage resumed (12:17) 2005
january 2008 release ; an impressive, triple-disc recital-set from alter ego flautist manuel zurria, featuring a hand-picked selection of pieces by alvin lucier, luc ferrari, salvatore sciarrino, morton feldman, john cage, lászló sáry, arvo part, louis andriessen, tom johnson, kevin volans, stefano scodanibbio, aldo clementi, viktor ekimovsky, jonathan harvey, and zoltan jeney. much emphasis on psycho-acoustic interference (listen to the clip of the lucier piece), live-electronics & delay-lines ...
die schachtel press release...
dszc1 manuel zurria repeat!

genre: minimalism, electro-acoustic
format: 3xcd digipack
description: triple cd – multi-fold deluxe digipak + 16-pages booklet

the restless experimentation and creativity of manuel zurria (of alter ego fame) has resulted in a brilliant series of collaborative works with legendary composers such as luc ferrari, alvin lucier, arvo part, john cage, morton feldman, lászló sáry, louis andriessen, aldo clementi, zoltan jeney, stefano scodanibbio, salvatore sciarrino, jonathan harvey and kevin volans. a truly stunning mixture of electronic and longform electro-acoustic pieces, repetitive ethnic rhythms, drones and delay, field recordings, flute and the human voice.

repeat is the diary of an obsession that has been accompanying me for four long years. alighiero boetti, one of the fathers of italian conceptual art, had fit out along a wall of his house in rome his most introspective work: the wall. on this wall he showed, continuously modifying their choice and position, objects and works belonging to his own production or to the one of other artists friends, together with objects he found by chance on the street, family pictures and drawings of his children. in other words, his own world. during the realisation of this project i have been reading “difference and repetition” by gilles deleuze, which gave me the occasion to ponder on the involvements that bring back to the principle of repetition in music of our time. in a certain sense, deleuze’s writing allowed me to focus on the importance of repetition as a perceptive fact, and as an experience of listening in accumulation. in the same time, i thought of repetition as difference, as a minimal fact, as trance. this element has been determinant in my activity and allowed me to collaborate during the years with musicians who look at repetition as an exciting experience, both physical and mystic.

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$15.54

back in stock as of
november 18th, 2010

first in stock on
january 6th, 2009

threads:
modern-composition
electro-acoustic-composition
musique-concrète

 best of 2009 !!! 
robot (usa) #rr 39 cd

luc ferrari “archives génétiquement modifiées • société 2” compact disc

  • archives génétiquement modifiées (24:46) 2000
  • société 2 (27:35) 1967
december 2008 release ; two works from the late luc ferrari here making their debut on disc ...

“archives génétiquement modifiées” is a six-part electro-acoustic work from 2000 thank ranks as one of the more amazing / busy pieces in his decades-long career ... a constantly shape-shifting array of concrète and synthesizer noises on par with his 50s/60s tautologos pieces (proof that he was making relevant music up until his final decade) ...

“société 2” is a three-part chamber work from 1967, more than capably realized here by konstantin simonovich and the ensemble instrumental de musique contemporaine de paris ... originally appearing opposite “presque rien” on the original deutsche grammophon lp release, the alternatingly sparse/dense tapestries created as each instrumental section of the ensemble vies for attention of the piano (ferrari’s figurative “woman”) makes the perfect counterpoint ...

cd comes in a full-color digipack, with a 20-page booklet containing extensive liners (including a long dialogue between jim o’rourke and jay sanders in both english and french) ... highly recommended !!!
robot press release...

luc ferrari: archives génétiquement modifiées / société 2 cd (robot 39)

robot records is honored and pleased to present two historic compositions for the first time on cd by the late, great luc ferrari. the programme opens with "archives génétiquement modifiées" (genetically modified archives), a work for "memorized sounds" from 2000. this composition (subtitled: exploitation of the concepts 3) was the third in a series of later pieces in which mr. ferrari revisited aspects of his early concepts and compositional strategies to create wholly new works. the result here is a very bizarre, sensual, and beautifully-paced electroacoustic work of aural memories and (re)collections created by mr. ferrari utilizing sounds from his vast archive of musical activities.

after a short "intermission", the programme continues with a true highlight of mr. ferrari's early instrumental work entitled "société 2" from 1968. subtitled "and if the piano were a body of a woman" (for 4 soloists and 16 instruments), this composition appeared opposite "presque rien" on the legendary deutsche grammaphon lp. "société 2" may be viewed as an erotically charged piece of musical theatre where the soloists "compete" for the attention of a woman (the piano). this concerto with its gestures and a fantastic kaleidescope of styles and color shows the extravagant qualities of the piano in its "harmony, imagination, and brutality".

packaged in a full color digipak with 20 page bilingual booklet featuring mr. ferrari's early artwork, notations, and programme notes along with an extensive commentary by jim o'rourke and jay sanders. remastered sound with audio restoration by fellow ina grm alumnus jean schwarz. a wonderful glimpse into the world of one of the most legendary, unique, and inspiring musical figures of the 20th century.

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$15.51

new to stock as of
june 13th, 2011

threads:
modern-composition
concert-recordings

sub rosa (belgium) #sr 305 lp

luc ferrari “didascalies 2” long playing record

  • didascalies 2 (18:00)
    the dress rehearsal performed before brunhild on 24.10.08

  • didascalies 2 (19:17)
    the posthumous world premiere on 25.10.08
2010 release ; two performances (the “posthumous world premiere” & the “dress rehearsal”, both from october of 2008) of this late composition for piano & viola by luc ferrari ...
sub rosa press release...
luc ferrari
didascalies 2

vinyl lp
srv305

performed by
jean-philippe collard-neven / piano
claude berset / piano
vincent royer / viola

first record after our luc ferrari trilogy (see list below), didascalies 2 is not to be confused with didascalies, published 3 years ago - it is another composition, unpublished and a premiere. this production will only be released on vinyl.

the other day i found a file from 1993, a score for 2 pianos entitled "revenir à la note de départ" ["getting back to the initial note"]. so i decided to turn it into a new composition without changing a single note in it - it contained very little notes actually, which suited me just fine. so i called it didascalies 2, in memory of what i had done the previous year: a piece for piano and viola entitled didascalies tout court. that piece was played on two notes, one for the piano and the same one for the viola. it had an obsessive feel. very, very obsessiiiiiiive !!!

- luc ferrari

an anti-tribute to luc ferrari

when luc ferrari made his last visit to la chaux-de-fonds, he handed us the score for "didascalies 2," and he specifically asked for it to be performed by la chaux-de-fonds pianist claude berset and brussels pianist jean-philippe collard-neven. for us, it became a necessity: we just had to develop an event around luc ferrari and present - and it moved us - the world premiere of this, the last work by luc ferrari not to have been performed yet in front of an audience.

didascalies 2 was premiered as part of an anti-tribute to luc ferrari in la chaux-de-fonds, switzerland, in a version for two pianos and viola. luc stipulated that toward the end of the piece - formule 6 - "an instrument comes in (i don't know which one yet). this instrument should be very powerful and be able to sustain a very loud note (i don't know which one yet)." we opted for the viola ...

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back in stock as of
june 13th, 2011

first in stock on
october 1st, 2007

threads:
electro-acoustic-composition
modern-composition
film-video

sub rosa (belgium) #sr 261 cd

luc ferrari “didascalies” compact disc and digital versatile disc set

  • rencontres fortuites (23:14)
  • tautologos iii  (21:19)
  • didascalies (15:07)

  • dvd: luc ferrari facing his tautology: two days before the end (52:50)
sub rosa press release...
didascalies
luc ferrari 
performed by jean-philippe collard-neven and vincent royer
sr261

 luc ferrari facing his tautology: two days before the end

luc ferrari takes out an old score, tautologos iii, to record it at la muse en circuit in the summer of 2005. the "score" is actually a set of three rules:

1. each musician freely decides on a theme an length of silence to be repeated for 21 minutes
2. each musician can fanatically stick to his choice or change it according to what the othermusician is playing
3. well, there is no third rule.

the whole thing is to be recorded several times in a row, in layers, and supported by a tape part consisting of the stupidest sounds possible, in order to beef up the sound mass of the piece, for no particular reason. sounds easy, right ? well it was not. the first layer was successfully recorded during the first 21 minutes of recording, but it took almost two days for luc and the musicians - jean-philippe collard-neven and vincent royer - to record the second one. the third layer, like the cherry on top of a sundae, will consist in books forcefully closed every two and a half minutes. luc died a little over a month after this experiment. it turned out to be his last game.

the story of the last part of a trilogy.

the idea of bringing together rencontres fortuites, didascalies and tautologos iii - two recent works for piano, viola and electronics, and one open-ended work - imposed itself at a concert at the boendael chapel in brussels, where collard-neven and royer performed didascalies, with ferrari attending. a few months later, we found ourselves in the legendary brème studios, having to deal with the waiting, the tonmeister's mood swings, and luc, sick, having a hard time with long commutes and schedule changes. and so the last work was finally developed at la muse en circuit, the studio luc already knew so well, in a suburb of paris. on the 9th of july 2005, we were getting to know the surroundings; luc, brunhild and christophe hauser were already there. the musicians were on a train back from a concert in germany. while waiting for them to arrive, we started filming the empty studio. a film perhaps, and a new album. we were with luc in early july 2005, when he was working with jean-philippe collard-neven and vincent royer on what would become his last recorded piece: a new version of tautologos. we were there, insisting, filming the whole session. 

luc: "the tape is 21 minutes long and there are three rules," and the piece got woven, piano and viola breaking down, starting anew in the opposite direction, discreetly s tepping out, bandoneon, dx7, building themselves back as the night crept in. the air displacement of books being closed every two and a half minutes…the musicians in the darkness of the studio, absorbed, counting, luc in the control room, not seeing the scene, simply focused on listening "while making mostly silence…" a month later, we learned the news.

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back in stock as of
june 13th, 2011

first in stock on
october 19th, 2006

threads:
electro-acoustic-composition
field-recordings
site-specific
musique-concrète

sub rosa (belgium) #sr 252 cd

luc ferrari “son memorise” compact disc

  • presque rien no 4: la remontée du village (1) (7:25)
  • presque rien no 4: la remontée du village (2) (8:55)

  • promenade symphonique dans un paysage musical ou un jour de fête à el oued en 1976 (1) (5:51)
  • promenade symphonique dans un paysage musical ou un jour de fête à el oued en 1976 (2) (5:24)
  • promenade symphonique dans un paysage musical ou un jour de fête à el oued en 1976 (3) (6:59)
  • promenade symphonique dans un paysage musical ou un jour de fête à el oued en 1976 (4) (6:45)

  • saliceburry cocktail (1) (5:21)
  • saliceburry cocktail (2) (7:18)
  • saliceburry cocktail (3) (3:28)
  • saliceburry cocktail (4) (4:48)
  • saliceburry cocktail (5) (8:28)
sub rosa press release...
son mémorisé
luc ferrari
sr252

right from the start, the idea had been to release three very different cd's: one hörspiel, concrete music (new and older pieces) and instrumental works. les anecdotiques was the first step: the first work he played for me at his post-billig workshop. i was so stunned that i wanted to preserve the magic of the moment and release it immediately. it is a unique logbook with the traveling couple he formed with brunhild always there in filigree.

the instrumental works - three recent compositions for electronics, piano and viola - were more complex to put together. we started recording at the imposing studios of the bremen radio and carried on at la muse en circuit in alforville. recorded under luc's supervision, the three pieces have not been mixed yet. that will be our third and final volume, since the last piece was recorded in july and luc passed away in august. we will get back to these recordings when we will be ready to release them.

this album is the central step, the one that offers both a retrospective (the previously unreleased promenade symphonique dans un paysage musical from 1976-78, the final presque rien #4) and a fresh reflection dating from the last months of 2002: saliceburry cocktail, a large-scale composition exploring the idea of hideout, scrambled listening, a tortuous entanglement of concrete and electronic. and that will be the end of our middle step.

walking into sound
luc ferrari : here is how the story goes, and this is an actual symphonic walk across a landscape.

it is morning. a stroller, his wife, their algerian friends, and his tape recorder, come out of the desert. the air is silent, but the acoustics are very much alive. a nomad's tent peaks out between dunes; women weaving a rug invite him in for coffee. the stroller resumes his walk and enters the city. since his purpose is to listen and walk, he does just that. among other places, he visits the market, where a symphony of voices takes shape and rhythms are sketched.

luc ferrari : the re-build pass
even if his art is historically linked to the musique concrète school, luc ferrari (1929-2005) is above all a man with a freedom of spirit rarely equalled in the history of music, who has repeatedly left what he excelled at for new territory still unexplored; thus he is par excellence the composer

of new fields of investigation. ferrari joined the groupe de musique concrète in 1958 and remained a member until 1966; he collaborated with pierre schaeffer in setting up the groupe de recherches musicales (1958). by 1963-4 he had begun hétérozygote, an extended tape piece in which ambient sounds unfold in narrative form, suggesting a dazzling variety of incidents, all unexplained. he was professor of composition at cologne's rheinische musikschule from 1964 to 65. in 1965 and 1966 he produced les grandes répétitions, a series of television documentaries with gérard patris on the subject of contemporary music, specifically olivier messiaen, edgard varèse, karlheinz stockhausen, hermann scherchen and cecil taylor.

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$13.01

back in stock as of
june 13th, 2011

first in stock on
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threads:
electro-acoustic-composition
musique-concrète

sub rosa (belgium) #sr 207 cd

luc ferrari “les anecdotiques” compact disc

  • ronda : spain : june 2001.
  • plaza de toros : ronda. rebuilding of an arena.
  • saint jean d'angélys : france. jully 2001. french actors try their clothes
  • toscana sky : italy. august 2001
  • superstrada n°2. toscana.
  • a cyprès at sunset. toscana.
  • mer d'eze. france. september 2001.
  • les vendanges. saint-laurent d'eze : france.
  • the ranch. texas usa : october 2001.
  • chicago usa. octobre 2001. rehersal for a concert.
  • harley davidson. texas. sunday ballad in a village.
  • l'estaque : france. juillet 2002. sounds from lafarge cimentery.
  • sea hole : trou de mer : l'estaque. juillet 2002
  • la joliette. port de marseille. france. the works of the harbour
  • the rove gates : les portes du rove. l'estaque.
luc ferrari’s final composition - a large-scale concrète work utilizing field recordings made throughout the world between 2001 and 2002.
sub rosa press release...
les anecdotiques
luc ferrari
sr207

luc ferrari : i have made works that more or less depart from purely musical concerns. some of them call for a meeting between different branches of what may be the same tree. the problem is to express in different ways the passing ideas, feelings and intuitions, to observe daily life in all its realities whether they be social, psychological or sentimental. these could come out in the form of texts, instrumental works, electro-acoustic compositions, journalism, films or shows.

luc ferrari : the re-build pass
even if his art is historically linked to the musique concrète school, luc ferrari (born in paris in 1929) is above all a man with a freedom of spirit rarely equalled in the history of music, who has repeatedly left what he excelled at for new territory still unexplored; thus he is par excellence the composer of new fields of investigation.

ferrari joined the groupe de musique concrète in 1958 and remained a member until 1966; he collaborated with pierre schaeffer in setting up the groupe de recherches musicales (1958). by 1963-4 he had begun hétérozygote, an extended tape piece in which ambient sounds unfold in narrative form, suggesting a dazzling variety of incidents, all unexplained. he was professor of composition at cologne's rheinische musikschule from 1964 to 65. in 1965 and 1966 he produced les grandes répétitions, a series of television documentaries with gérard patris on the subject of contemporary music, specifically olivier messiaen, edgard varèse, karlheinz stockhausen, hermann scherchen and cecil taylor.

les anecdotiques
luc ferrari's diverse work and aesthetics continue to have a singular impact on the young generations of electronic musicians and artists. the corpus of his work is immense and includes hundreds of compositions of all kinds. les anecdotiques - his last composition - is a vast sound-film of more than an hour who explores in 15 steps the intensity of re-composed sounds from his continual travel around the world - with electronic additional structures

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$20.93

back in stock as of
june 22nd, 2009

first in stock on
august 21st, 2006

threads:
1940s-electronic
1950s-electronic
1960s-electornic
electro-acoustic-composition
musique-concrète

ina-grm (france) #ina c 1032 cd

“archives grm (2) - l’art de l’etude” compact disc

  • pierre schaeffer - étude pathétique [étude aux casseroles] (1948) 4'05"
  • monique rollin - étude vocale [motet] (1952) 1'12"
  • michel philippot - étude 1 (1952) 5'14"
  • philippe arthuys - boîte à musique (1955) 2'55"
  • pierre schaeffer - étude aux allures (1958) 3'31"
  • luc ferrari - étude aux sons tendus (1958) 2'49"
  • luc ferrari - étude floue (1958) 2'18"
  • luc ferrari - étude aux accidents (1958) 2'15"
  • françois-bernard mâche - prélude (1959) 5'31"
  • pierre schaeffer - étude aux objets: 1er mouvement (1959) 3'37"
  • mireille chamass-kyrou - étude 1 (1960) 5'13"
  • ivo malec - reflets (1961) 2'34"
  • philippe carson - phonologie (1962) 6'53"
  • akira tamba - étude no 2 (1962) 3'28"
  • beatriz ferreyra - mer d’azov - étude aux itérations (1963) 3'36"
  • alain savouret - étude aux sons réalistes (1969) 4'09"
  • alain savouret - étude numérique (1985) 6'37"
second disc of the “archives grm” set...
ina-grm press release...
[ archives grm cd2 - l’art de l’étude

cd2/5 « l’art de l’étude » : pierre schaeffer - monique rollin - michel philippot - philippe arthuys - luc ferrari - françois-bernard mâche - mireille chamass-kyrou - ivo malec - philippe carson - akira tamba - beatriz ferreyra - alain savouret l'un des cinq disques compacts où le grm a réuni quelques unes de ses archives musicales parmi les plus remarquables. souvent inédites ou alors dispersées au gré des publications, ces œuvres originales ont marqué par leur nouveauté et leur audace la seconde moitié du xx° siècle

cd+livret français a.
durée: 66'06.

editeur: ina.
date de sortie: décembre 2004

...

[ archives grm cd2 - the art of the etude

cd2/5 "the art of the study": pierre schaeffer - monique rollin - michel philippot - philippe arthuys - luc ferrari - françois-bernard mâche - mireille chamass-kyrou - ivo malec - philippe carson - akira tamba - beatriz ferreyra - alain savouret one of the five compact disks where the grm joined together some of its musical files among most remarkable. often new or then dispersed with the liking of the publications, these original works marked by their innovation and their audacity second half of the xx° century

french cd+booklet has.
duration: 66' 06.

editor: ina.
go back to exit: december 2004

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$34.01

new to stock as of
june 13th, 2011

threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics

 best of 2011 !!! 
sub rosa (belgium) #sr 200 lp

“an anthology of noise & electronic music • second a-chronology 1936-2003” triple long playing record set

  • vladimir ussachevsky + otto luening - incantation for tape (2:39) 1963
  • luc ferrari - visage v (10:36) 1958-59
  • tod dockstader - aerial > song (12:56) 2002

  • johanna m. beyer - music of the spheres (6:01) 1938
  • morton subotnick - mandolin (7:02) 1962
  • daphne oram - four aspects (8:10) 1960

  • alan r. splet - space travel w/changing choral textures (4:02) 1983
  • robin rimbaud / scanner - emily (4:49) 2003
  • hugh davies / gentle fire - quintet (12:10) 1967-68
  • kim cascone - zephirum scan (4:50) 2002

  • meira asher + guy harries - torture - bodyparts (3:42) 2001
  • lasse steen / choose - purzuit of noize (5:37) 1994
  • woody mcbride - pulp (6:07) 1993
  • spk - slogun (6:15) 1979

  • yoshihiro hanno / multiphonic ensemble - on/off edit (9:12) 2001
  • sean booth + rob young / autechre - bronchus one.1 (6:04) 1991
  • david lee myers / arcane device - lathe (5:54) 1988

  • sun ra - black myth (8:32) 1970
  • don van vliet / captain beefheart - she’s too much for my mirror/ my human gets me blues (5:22) 1969
  • laibach - industrial ambients (9:57) 1980-82
  • percy grainger - free music #1 (for four theremins) (2:04) 1936
may 2010 release ; vinyl version of the second anthology (only this & the first volume have gotten the treatment thusfar ; the others remain cd-only) ...

it’s becoming apparent that this selection is intended as more of a personality-driven mix-cd (bearing the imprint of its compiler ; sub rosa’s guy-marc hinant) than an authoritative overview of electronic music trends over the last 70 odd years ... so we can relax and just enjoy, stop scratching our heads at the inclusion of otherwise questionable content (captain beefheart???) ... still a heroic act as many of the pieces included herein have yet to be converted to digital for mass-appreciation ...

very nicely done triple-gatefold with all of the credits printed in full on the four internal panels ...
sub rosa press release...

an anthology of noise & electronic music #2
second a-chronology 1936-2003

3xlp triple gatefold
srv200

the second volume of seven published from 2001 to 2011, curated, noted and edited by guy marc hinant.

...

slow explorations of the past and the present ...

given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period. there may also be a preference for concentrating information rather than letting it pile up in disordered fashion. over the past 40 years the same ten electronic music composers get mentioned again and again (including in music dictionaries and histories). yet behind them are many other names. who are they? second-raters? not necessarily. for we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor artist.

great pleasure can be derived from the works of minor artists. the case of tod dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? his name was never seen on the labels of top record companies. but he influenced quite a few people - richard james quoted him, and others then referred to his work. some of his records were reissued, and what one could call the rehabilitation process continues. the same applies to many other composers. all such stories spell a passion for music, and weave myth.

these historical axes

at the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including thaddeus cahiel's telharmonium in 1887 and the dynamophone presented to the new york public in 1906 ; they generally played well-known romantic or post-romantic pieces. after a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of vladimir ussachevsky and otto luening in new york's columbia-princeton electronic music center. when audiences of the 50's and 60's first heard varèse, pousseur, stockhausen, berio, ussachevsky, yuasa, dockstader and mumma, what did they feel? perhaps a sort of break, an epistemological break, like it must have been for the first audience of monteverdi's orfeo (in mantua, italy on 24 february 1607). they left the auditorium completely stunned, because they had never heard anything like it.

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add this item to your
shopping cart
$18.01

back in stock as of
june 13th, 2011

first in stock on
july 14th, 2003

threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics

sub rosa (belgium) #sr 200 cd

“an anthology of noise & electronic music • second a-chronology 1936-2003” double compact disc set

  • vladimir ussachevsky + otto luening - incantation for tape (1963) 2:39
  • luc ferrari - visage v (1958-59) 10:36
  • tod dockstader - aerial > song (2002) 12:56
  • johanna m. beyer - music of the spheres (1938) 6:01
  • morton subotnick - mandolin (1962) 7:02
  • daphne oram - four aspects (1960) 8:10
  • robin rimbaud / scanner - emily (2003) 4:49
  • hugh davies - quintet (1967-68) 12:10
  • alan r. splet - space travel w/changing choral textures (1983) 4:02
  • kim cascone - zephirum scan (2002) 4:50

  • sean booth + rob young / autechre - bronchus one.1 (1991) 6:04
  • yoshihiro hanno / multiphonic ensemble - on/off edit (2001) 9:12
  • meira asher + guy harries - torture - bodyparts (2001) 3:42
  • lasse steen / choose - purzuit of noize (1994) 5:37
  • woody mcbride - pulp (1993) 6:07
  • david lee myers / arcane device - lathe (1988) 5:54
  • laibach - industrial ambients (1980-82) 9:57
  • spk - slogun (1979) 6:15
  • percy grainger - free music #1 (for four theremins) (1936) 2:04
  • don van vliet / captain beefheart - she’s too much for my mirror/ my human gets me blues (1969) 5:22
second volume of curiously-linked historic and contemporary electronics...

it’s becoming apparent that this selection is intended as more of a personality-driven mix-cd (bearing the imprint of its compiler; sub rosa’s guy-marc hinant) than an authoritative overview of electronic music trends over the last 70 odd years. so we can relax and just enjoy, stop scratching our heads at the inclusion of otherwise questionable content (captain beefheart???) ... still a heroic act as many of the pieces included herein have yet to be converted to digital for mass-appreciation. nice one ...
sub rosa press release...
an anthology of noise & electronic music vol. 2 - second a-chronology 1936-2003
wladimir ussachevsky + otto luening - luc ferrari - tod dockstader - johanna m. beyer - morton subotnick - daphne oram - robin rimbaud - hugh davies - alan r. splet - kim cascone - autechre - yoshihiro hanno - meira asher + guy harries - woody mcbride - lasse steen - arcane devices - laibach - spk - percy grainger - sun ra - captain beefheart
digipack 2 cd + 30 pages booklet / sr200

slow explorations of the past and the present
given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period. there may also be a preference for concentrating information rather than letting it pile up in disordered fashion. over the past 40 years the same ten electronic music composers get mentioned again and again (including in music dictionaries and histories). yet behind them are many other names. who are they? second-raters? not necessarily. for we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor artist. great pleasure can be derived from the works of minor artists. the case of tod dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? his name was never seen on the labels of top record companies. but he influenced quite a few people - richard james quoted him, and others then referred to his work. some of his records were reissued, and what one could call the rehabilitation process continues. the same applies to many other composers. all such stories spell a passion for music, and weave myth.

historical axes
at the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including thaddeus cahiel's telharmonium in 1887 and the dynamophone presented to the new york public in 1906; they generally played well-known romantic or post-romantic pieces. after a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of wladimir ussachevsky and otto luening in new york's columbia-princeton electronic music center. when audiences of the 50's and 60's first heard varèse, pousseur, stockhausen, berio, ussachevsky, yuasa, dockstader and mumma, what did they feel? perhaps a sort of break, an epistemological break, like it must have been for the first audience of monteverdi's orfeo (in mantua, italy on 24 february 1607). they left the auditorium completely stunned, because they had never heard anything like it.

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 brunhild ferrari 		...and that's everything in stock featuring luc ferrari.
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 james ferraro 
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... this page was last updated on saturday, february 11th, 2012 @ 5:31 pm