Eliane RADIGUE
“Occam XIII, Occam River XI, Occam V”
45,00€
In stock
Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history.
The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail.
Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood.
Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.
Avec Occam Ocean, Éliane Radigue poursuit son exploration des infinies richesses du son à travers une série de compositions acoustiques élaborées depuis 2011 en étroite collaboration avec les interprètes, sans partition écrite. Inspirée par l’immensité du spectre électromagnétique et les limites de notre perception auditive, cette œuvre monumentale, qui compte aujourd’hui plus de 80 compositions, repose sur une économie radicale de moyens : quelques notes fondamentales suffisent à révéler un univers insoupçonné de vibrations, d’harmoniques et de résonances.
Ce disque réunit trois pièces interprétées par deux collaborateurs de longue date de la compositrice, Charles Curtis au violoncelle et Dafne Vicente-Sandoval au basson, en solo et en duo. Enregistrées dans l’acoustique singulière du Temple Saint-Théodule, en Suisse, ces compositions déploient une musique d’une extrême subtilité, où chaque infime variation devient un événement sonore.
Entre minimalisme radical, écoute profonde et contemplation, Occam Ocean révèle toute la puissance expressive d’une musique qui, en réduisant ses matériaux à l’essentiel, ouvre paradoxalement sur l’infini.
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