In stock
CD
Eliane RADIGUE
“occam ocean vol.4”
01/ occam delta XIX pour voix, dessus de viole, birbyné et saxophone alto, 2019 bertrand gauguet, saxophone alto yannick guédon, voix / dessus de viole...
22,00€
In stock
CD
MOONDOG
“Piano Trimba”
The project "Piano Trimba" by Dominique Ponty (piano) and Stefan Lakatos (trimba), gathering miniatures composed by Moondog during his life, is remarkable for more than one reason. On the one hand, because his performers have known and worked for many years with the composer. On the other hand because this very sensitive recording brings together known pieces and unpublished pieces of Moondog, most of which are dedicated to Dominique. In perfect resonance with the work of Moondog, Dominique and Stefanen are today the most authentic performers. The truly "unheard" character of these works, their faithful interpretation, attentive to every detail, make this record an indispensable testimony to the work of this luminous musician.
18,00€
In stock
CD
Eliane RADIGUE
“occam ocean vol.3”
Occam river II, for violon and cello
Occam VIII, for cello
Occam delta III, for violon, viola and cello
Silvia Tarozzi, violon.
Deborah Walker, cello.
Julia Eckhardt, viola.
Recorded in 2019 at l'Abbazia di Santa Maria Assunta, Monteveglio (Bologna)
With a 32 page booklet.
22,00€
Out of stock
CD
Eliane RADIGUE
“occam ocean vol.2”
Occam Ocean, for orchestra, 2015 (52:06)
Occam Ocean is a unique project, the result of two years of collaboration between Eliane Radigue, pioneer and emblematic figure of electronic music, and the musicians of ONCEIM (Orchestra of New Musical Creation, Experimentation and Improvisation). In the early 2000’s Eliane Radigue gives up her mythical ARP synthesizer to fully dedicate herself to the creation of instrumental pieces.
In 2013 when Frédéric Blondy invited her to collaborate with ONCEIM, she had mainly composed pieces for soloists or small ensembles of 2 or 3 musicians. She initially refused to do the piece for orchestra, the work seeming too enormous: « […] but Frédéric insisted, and I thank him for it. The orchestra is the most wonderful of instruments, its richness is unrivalled.»
ONCEIM directed by Frédéric Blondy with Pierre Cussac, accordion, Jean Dousteyssier, Jean-Brice Godet, Joris Rühl, Julien Pontvianne, Xavier Charles, clarinet, Benjamin Duboc, Fred Marty, Sébastien Beliah, contrabass, Jean Daufresne, Vianney Desplantes, euphonium, Giani Caserotto, Jean-Sébastien Mariage, Richard Comte, guitar, Akino Kamiya, Alvise Sinivia, Antonin Gerbal, percussions, Benjamin Dousteyssier, Bertrand Denzler, Carmen Lefrançois, Pierre-Antoine Badaroux, Stéphane Rives, Yoann Durant, saxophones, Alexis Persigan, trombone, Louis Laurain, trumpet, Robin Hayward, tuba, Charlotte Hug, Julia Robert, viola, Patricia Bosshard, violin, Anaïs Moreau, Félicie Bazelaire, cello.
18,50€
Out of stock
3 CD
Éliane RADIGUE
“Naldjorlak I, II, III”
Back in stock, warehouse find, few copies available.
The Naldjorlak trilogy composed between 2004 and 2009. "Naldjorlak I" for cello. Charles Curtis. "Naldjorlak II" for two basset horn. Carol Robinson and Bruno Martinez. "Naldjorlak III" for two basset horn and cello. Carol Robinson, Bruno Martinez and Charles Curtis. Recorded in Paris, June and September 2011 by Daniel Deshays. The recording of "Naldjorlak I" is different from the first one issued by the label.
"There is no score of Naldjorak and never will be. It was a mutual friend of Charles Curtis and Eliane Radigue who gave her the idea of composing a piece for cello. The work came into being, little by little, during sessions between the composer and the instrumentalist. Radigue speaks of choosing from among sounds proposed by the musicians, whereas Charles Curtis explains having learned to listen like Radigue, that she led him "to be sensitive to sonic details that normally pass by us, unnoticed". When seated in front of her ARP 2500, Eliane Radigue was in the position of a listener: she would listen to her own music as it unfolded beneath her fingertips. What she does today is rather similar, which explains why her music has not been radically transformed in passing it to acoustic instruments: she continues conversing with her instrumentalists in the same way she had lived for years with her "Jules" (the French nickname for boyfriend that she gave to her synthesizer), dialoguing and listening on a one-to one basis.
I like the idea that Eliane Radigue is a composer totally unhindered by scores and thus a part of the great historical lineage of the avant- gardes. Yves Klein practised Judo as a performance art and sold "immaterial sensitivity" at the price of gold. John Cage appreciated Zen and taught us to listen to what is found in silence. Eliane Radigue, with a perfect grasp of Tibetan thought, invites us to apprehend space and time in another way. This is perhaps the true lesson of Naldjorak (the title, invented by the composer to approximate Tibetan, evokes the concept of union): a spirituality liberated from all mysticism and from texts (or scores) too heavy to bear. Simply learn to listen to the "almost nothing", without having any need for a visual trace." Thibaut de Ruyter, translated by Jeffrey Grice.
40,00€
Out of stock
CD
Luigi NONO
“Risonanze erranti. Liederzyklus a Massimo Cacciari”
SACD authoring. DDD 5.1 channel surround sound, DSD converted from PCM 48 khz/24 bit. Multichannel hybridsacd can be played on any compact disc player.
Luigi Nono (1924-1990)
“Risonanze erranti. Liederzyklus a Massimo Cacciari” (1985-87) for contralto, flute, tuba, six percussion and live electronics.
1. Parma, Italy, 2014.
Ensemble Prometeo: Katarzyna Otczyk, contralto; Mario Caroli, flute; Gianluigi Paganelli, tuba; Flavio Tanzi, Aurelio Scudetti, Pietro Pompei, Alberto Toccaceli, Sara de Cicco, Pedro Perini, percussion; Marco Angius, conduction; Luca Richelli, live electronics; Alvise Vidolin, sound.
2. “Risonanze erranti. Liederzyklus a Massimo Cacciari” forth definitive version recorded in Paris, Théàtre National de Chaillot, 1987.
Susanne Otto, contralto; Roberto Fabbriciani, bass flute, piccolo; Giancarlo Schiaffini, tuba; Carlos Beresi, Konrad Graf, Richard Lepetit, Isao Nakamura, Rüdiger Pawassar, Gregory Riffel, percussion; Friedrich Goldmann, conduction; experimentalstudio from SWF, live electronics; Luigi Nono, Hans-Peter Haller, sound.
“The poetic significance of Risonanze Erranti (1985-87) should be interpreted in the light of the reflections developed since the summer of 1975 with the venetian friend and philosopher Massimo Cacciari, to whom the work is dedicated.
after “al gran sole carico d”amore” (in the bright sunshine heavy with love) (1972-74) Nono, obsessed by a sense of anguish owed to his solitude and his activism frustrated by the stagnation of italian music institutions, felt the need to re-examine his work as a composer, in the gramscian sense of an “organic intellectual in the society”. His meeting with the philosopher revived his interest in the critical and artistic activity in the Vienna of Ludwig Wittgenstein’s tractatus logico-philosophicus, and more broadly in the mitteleuropean culture between the 19th and 20th centuries, which he perceived as a “higher” commitment to the quest for truth, as opposed to the falsehood of political, scientific, religious, logical-mathematical thought and the misleading implications of language.
as regards the past his protest is intensely isolated, reflecting the anxiety of modern man who seeks comfort in the solitude of his own inward space to evade the “storm” and the caducity of time and listen to the “breathing limpidity” of the freedom of the infinite, as in the verses of the seventh of Rainer Maria Rilke’s “duino elegies”, chosen by Cacciari and used by Nono in “das Atmende Klarsein” [the breathing being-clear] (1981), a work that contains in a nutshell the poetics of his production in the 1980s.” Marinella Ramazzotti
Luigi Nono (1924-1990)
“Risonanze erranti. Liederzyklus a Massimo Cacciari” (1985-87) for contralto, flute, tuba, six percussion and live electronics.
1. Parma, Italy, 2014.
Ensemble Prometeo: Katarzyna Otczyk, contralto; Mario Caroli, flute; Gianluigi Paganelli, tuba; Flavio Tanzi, Aurelio Scudetti, Pietro Pompei, Alberto Toccaceli, Sara de Cicco, Pedro Perini, percussion; Marco Angius, conduction; Luca Richelli, live electronics; Alvise Vidolin, sound.
2. “Risonanze erranti. Liederzyklus a Massimo Cacciari” forth definitive version recorded in Paris, Théàtre National de Chaillot, 1987.
Susanne Otto, contralto; Roberto Fabbriciani, bass flute, piccolo; Giancarlo Schiaffini, tuba; Carlos Beresi, Konrad Graf, Richard Lepetit, Isao Nakamura, Rüdiger Pawassar, Gregory Riffel, percussion; Friedrich Goldmann, conduction; experimentalstudio from SWF, live electronics; Luigi Nono, Hans-Peter Haller, sound.
“The poetic significance of Risonanze Erranti (1985-87) should be interpreted in the light of the reflections developed since the summer of 1975 with the venetian friend and philosopher Massimo Cacciari, to whom the work is dedicated.
after “al gran sole carico d”amore” (in the bright sunshine heavy with love) (1972-74) Nono, obsessed by a sense of anguish owed to his solitude and his activism frustrated by the stagnation of italian music institutions, felt the need to re-examine his work as a composer, in the gramscian sense of an “organic intellectual in the society”. His meeting with the philosopher revived his interest in the critical and artistic activity in the Vienna of Ludwig Wittgenstein’s tractatus logico-philosophicus, and more broadly in the mitteleuropean culture between the 19th and 20th centuries, which he perceived as a “higher” commitment to the quest for truth, as opposed to the falsehood of political, scientific, religious, logical-mathematical thought and the misleading implications of language.
as regards the past his protest is intensely isolated, reflecting the anxiety of modern man who seeks comfort in the solitude of his own inward space to evade the “storm” and the caducity of time and listen to the “breathing limpidity” of the freedom of the infinite, as in the verses of the seventh of Rainer Maria Rilke’s “duino elegies”, chosen by Cacciari and used by Nono in “das Atmende Klarsein” [the breathing being-clear] (1981), a work that contains in a nutshell the poetics of his production in the 1980s.” Marinella Ramazzotti
25,00€
Out of stock
CD
Ivan WYSCHNEGRADSKY
“La journée de l’existence”
“Ivan Wyschnegradsky (1893-1979). "The Day of Existence". Confession of life before life. For orchestra and narrator. Text and music by Ivan Wyschnegradsky. With Mario Haniotis (speaker), Nouvel Orchestre Philharmonique de Radio-France under the direction of Alexandre Myrat. "Ivan Wyschnegradsky had to wait sixty years to hear the first performance of his masterwork, La Journée de l’Existence, which he had conceived and composed beginning in 1916 in Saint Petersburg. And we have had to wait another thirty years to have it on disc and be able to listen to it as we please. This is also the outcome of twenty-five years of work within the Association Ivan Wyschnegradsky, founded in 1983 under the chairmanship of Claude Ballif. The emotion was tremendous the evening of the premiere, which took place in the Large Auditorium of Radio-France. Listeners were swept away by the work’s intensity, the conviction and dramatic power of the narrator, Mario Haniotis, and the presence of the composer, who, in the dusk of his life, had come to attend the realization of the score conceived in his youth in a moment of illumination and exaltation. We’ve come full circle, and miraculously, the emotion of the premiere is fully intact on the disc. This work in itself is a veritable alchemy of speech and sound." After the piece, the CD also offers two interviews. Excerpts come from nine half-hour programmes recorded in 1976 by Robert Pfeiffer and broadcast on France-Culture during the summer of 1977. At the head of these excerpts, we are publishing the beginning of Daniel Charles’s interview with the composer the day of the premiere of La Journée de l’Existence. We endeavoured to present essentially the remarks directly concerning this work, followed by several childhood and youthful memories. Moreover, in the course of this series of interviews, Ivan Wyschnegradsky analysed several of his works and evoked with Robert Pfeiffer his attempts at building quartertone pianos, his theory of non-octaviating spaces and inaudible spaces, his vision of ultra-chromaticism, rhythm, the sound continuum and the cosmic conscience, his ’ultra-chromatic’ drawings, the problems of notation, the need for new instruments, spatial densities... all thoughts relating to the research undertaken immediately after the composition of La Journée de l’Existence and continuing throughout his whole life.”
19,00€
Out of stock
CD
Ivan WYSCHNEGRADSKY – Alain BANCQUART – Alain MOËNE
“Pianos quart de ton”
Works for 2 and 4 pianos tuned a 1/4 tone apart, ondes Martenot and cello.
Ivan Wyschnegradsky, “4e Fragment symphonique op.38c” for ondes Martenot and 4 pianos (1956), “Ainsi parlait Zarathoustra op.17” for 4 pianos (1930/1936). World premiere recording. “Méditation sur deux thèmes de la Journée de l’Existence op.7” for cello and piano 1/2 ton (1918/1976).
Alain Moëne, “De l’ange for 2 pianos” (2015). First performance.
Alain Bancquart, “Racines for 4 pianos” (2014). First performance.
Performed by Matthieu Acar, Hiroko Arimoto, Jean-François Ballèvre, Dominique Ciot, Cyrille Guion, Martine Joste, Manon Lonchamp, Emiri Wada, Guanlan Xu, Li Xie, Yoko Yamada, pianos, Cécile Lartigau, ondes Martenot, Noé Natorp, cello, Léo Margue conducting.
19,00€
Out of stock
CD
Fritz HAUSER
“Schraffur for gong solo”
Almost one hour of gong solo. A perfect continuum ! An incredible performance. Gong recorded at casa delle masche, piedmont, italy on april 28, 2011. voice recordings at the same location on several days in summer 2011. performed, recorded and mixed by fritz hauser. mastered by martin pearson at platinum one, zürich, switzerland.
19,00€
Out of stock
CD
Éliane RADIGUE
“L’île re-sonante”
Reissue. Composed in 2000 at CCMIX (Alfortville, near Paris). “The success of a piece such as ‘L’Île re-sonante’ lies in the fact that, more than he happy outcome of a synthesis of the composer’s earlier work, it now seems to be the result of a natural osmosis. It is a perfectly autonomous work which, in accordance with her wishes, ends up be escaping fromm its author because of the infinitely varied interpretations that can be placed on it every time is heard.” Daniel Caux
19,00€
Out of stock
CD
Charlemagne PALESTINE
“The golden mean”
“The golden Mean” for two bösendorfer imperial pianos. Chapelle de la Sorbonne, Paris, November 2, 1979, festival d’automne. Recorded by Radio France for a broadcast by Daniel Caux for France Culture (Atelier de Création Radiophonique). Very luxurious object (which explains the price !) : each CD is hand-made, one by one, and each box is fully covered by the velvet material ! The first 1,000 copies will be a limited and numbered edition with a velvet cover specifically designed by Charlemagne himself ! Five different colours will be available, 200 CDs for each colour.
36,00€
Out of stock
4 CD
Brunhild & Luc FERRARI
“Contes sentimentaux”
These pieces have been made between 1989 and 1994 for the German radio. Brunhild and Luc Ferrari are speaking around the pieces from Luc like “Petite symphonie intuitive pour un paysage de printemps”, “Ce qu’à vu le Cers”, “Collection de petites pièces” (36 enfilades pour piano et magnétophone), “Music promenade” among others, describing small details and anecdotes. They speak in French and German and consider the recorder as a scratchpad.
40,00€
Out of stock
2 CD
Éliane RADIGUE
“occam ocean vol.1”
“occam river I” for birbyné and alto, 2012. Carol Robinson, birbyné, Julia Eckhardt, alto.
“occam I” for harp, 2011. Rhodri davies, harp.
“occam III” for birbyné, 2012. Carol Robinson, birbyné.
“occam IV” for alto, 2012. Julia Eckhardt, alto.
“occam delta II” for bass clarinet, alto and harp, 2012. Carol Robinson, bass clarinet, Julia Eckhardt, alto, Rhodri Davies, harp.
“It all began with an image seen so long ago at the Natural History Museum in Los Angeles, the image of a long chart showing known wavelengths. It was clear that in addition to the wavelength from the earth to the sun, there were long waves stretching between other planets, solar systems and galaxies. Our immersion in this wave-filled universe makes our heads spin. In the same way, our bodies are also driven by undulations and multiple rhythms. It is just as dizzying to move toward the minute: X-rays, gamma rays and other “nanos.” In these unfathomable dimensions, there is also that very tiny regionn between 50 and 60 Hertz, and for some species up to 12,000 Hz or more, where these vibrations become sounds.
To avoid succumbing to this dizziness, closer to us on this earth, there is the ocean. Through this ocean, contemplation becomes more accessible. Beyond its own cycle, it also gathers the rivers that nourish it. For that reason there are many river themes in the OCCAM pieces: tributaries, waterfalls, springs, wells, etc. All of the themes are inevitably associated with water. It is the element that moves through them, the image of life, life in its fluidness, like the flow of blood.
What I ask of the musicians is highly demanding. Rather than the virtuosity of speed, it concerns the virtuosity of absolute control of the instrument, an extreme, subtle and delicate kind of virtuosity. What I did with my synthesizer was almost comparable. Turning a potentiometer the value of a hair could change everything. During my feedback period, the same delicate protocol was necessary when working with microphones and speakers. There is a distance that must be respected very carefully: moving too far away, the sound disappears, moving too close, the sound explodes into feedback. You have to keep everything in control. I do not renounce my electronic work, though I never accomplished anything that completely satisfied me. The end result was always a compromise between what I wanted to do and what I was technically able to do using the means available. Conversely, with these musicians, I was finally able to hear, for the first time, the music that I call “my sound fantasies.”
Regardless of what is being used, the essential goal is to produce and bring out the partials, the overtones, the harmonics and sub harmonics, these vibrations in the air, not only those of the string or the breath, but the intangible contents of sound. An instrument vibrating beyond the fundamental(s) generates an extraordinary richness that turns into fascination. This calls for extreme simplicity, i.e. sounds maintained between piano and mezzo forte dynamic levels, beyond which the fundamental again becomes predominant. Hence the famous law from Occam’s Razor, never overdo anything, concentrate instead on breath control, or a gentle stroke, that caress of a key or a string that is sufficient to develop and enrich this infinite universe.” Éliane Radigue
“occam I” for harp, 2011. Rhodri davies, harp.
“occam III” for birbyné, 2012. Carol Robinson, birbyné.
“occam IV” for alto, 2012. Julia Eckhardt, alto.
“occam delta II” for bass clarinet, alto and harp, 2012. Carol Robinson, bass clarinet, Julia Eckhardt, alto, Rhodri Davies, harp.
“It all began with an image seen so long ago at the Natural History Museum in Los Angeles, the image of a long chart showing known wavelengths. It was clear that in addition to the wavelength from the earth to the sun, there were long waves stretching between other planets, solar systems and galaxies. Our immersion in this wave-filled universe makes our heads spin. In the same way, our bodies are also driven by undulations and multiple rhythms. It is just as dizzying to move toward the minute: X-rays, gamma rays and other “nanos.” In these unfathomable dimensions, there is also that very tiny regionn between 50 and 60 Hertz, and for some species up to 12,000 Hz or more, where these vibrations become sounds.
To avoid succumbing to this dizziness, closer to us on this earth, there is the ocean. Through this ocean, contemplation becomes more accessible. Beyond its own cycle, it also gathers the rivers that nourish it. For that reason there are many river themes in the OCCAM pieces: tributaries, waterfalls, springs, wells, etc. All of the themes are inevitably associated with water. It is the element that moves through them, the image of life, life in its fluidness, like the flow of blood.
What I ask of the musicians is highly demanding. Rather than the virtuosity of speed, it concerns the virtuosity of absolute control of the instrument, an extreme, subtle and delicate kind of virtuosity. What I did with my synthesizer was almost comparable. Turning a potentiometer the value of a hair could change everything. During my feedback period, the same delicate protocol was necessary when working with microphones and speakers. There is a distance that must be respected very carefully: moving too far away, the sound disappears, moving too close, the sound explodes into feedback. You have to keep everything in control. I do not renounce my electronic work, though I never accomplished anything that completely satisfied me. The end result was always a compromise between what I wanted to do and what I was technically able to do using the means available. Conversely, with these musicians, I was finally able to hear, for the first time, the music that I call “my sound fantasies.”
Regardless of what is being used, the essential goal is to produce and bring out the partials, the overtones, the harmonics and sub harmonics, these vibrations in the air, not only those of the string or the breath, but the intangible contents of sound. An instrument vibrating beyond the fundamental(s) generates an extraordinary richness that turns into fascination. This calls for extreme simplicity, i.e. sounds maintained between piano and mezzo forte dynamic levels, beyond which the fundamental again becomes predominant. Hence the famous law from Occam’s Razor, never overdo anything, concentrate instead on breath control, or a gentle stroke, that caress of a key or a string that is sufficient to develop and enrich this infinite universe.” Éliane Radigue
28,00€