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maxi CD
Michèle BOKANOWSKI
“Pour un pianiste”
“Pour un pianiste” (1973-1974). Piano and prepared piano : Gérard Frémy. Electroacoustic music edited and mixed in the composer‘s studio (Paris) and GMEB studios (Bourges). Sound recording : GRM studio, ORTF. Sound engineer : N’Guyen Van Tuong. First performance :May 28th,1974, Bourges, Maison de la Culture,4th International Festival of Experimental Music. Mastering 2005 :Lionel Risler. Thanks to Roger Cochini.
“This work was commissioned by Gérard Frémy. I wrote the different themes, the patterns and rythmic cells first. Gérard Frémy played them on piano as well as on prepared piano. These recordings gave me the necessary material to create the magnetic tape. All the sounds are issued from the piano with the exception of the opening clavicord clusters. I wrote another version of this work that is for concerts only. In this instance a piano partition is played live along with the magnetic tape. Pour un Pianiste is dedicated to Gérard Frémy.”
8,00€
Out of stock
CD
Michèle BOKANOWSKI
s/t
“After “L’Ange” in 2003 and “Pour un Pianiste” in 2005, TraceLabel continues to explore the music of Michèle Bokanowski. This new release contains three pieces that were composed between 1975 and 1988. The first two works have already been the object of a discographic edition, however, the last piece “Phone Variations” has remained unpublished until today. Here you will find all the elements that are the mark of Michèle Bokanowski’s work: concrete sounds, obsessional mechanisms, the consideration of space, the underlining of the medium by a scriptwriting of the edit cuts, the primacy of expressiveness… In “Trois Chambres d’Inquiétude” (1975-1976), the minimalist sound materials (a child laughing, toys, women’s breath and voices, various looped sounds of machinery), serve a diffuse narrative dimension.The reference to the title of a series of etchings by the Danish artist, Lars Bo, confirms this illustrative lead. "Tabou" (1983-1984), on the other hand, reveals a more direct musicality, space and energy are opened out and developed with subtlety and skill. This piece, used by several choreographers (such as Hideyuki Yano in 1985 and Marceline Lartigue in 1993) introduced Michèle Bokanowski to the dance world. Lastly, with “Phone Variations” (1986-1988), the vocal messages and the music borrowed from telephone answering machines significantly expand the composer’s sound material and, in a sort of “found footage” approach, shed light upon the domestic and intimate dimension of these messages by staging them in the public musical space. The entire CD gives to the notion of “musique sur support” (music fixed on a medium) all it’s meaning. In fact, Michèle Bokanowski’s music brings into play an analogical and magnetic tape aesthetic, reminding us of the existence of electroacoustic music despite the hegemonic reign of digitalization and computers.”
13,00€
Out of stock
CD
Michèle BOKANOWSKI
“L’ange”
Original Music for the 1982 film “L’Ange” by Patrick Bokanowski. Composed in 1976-79. Coming from a family of musicians (professionals on her mother’s side, amateurs on her father’s side), she read, at the age of 22, À la recherche d’une musique concrète (In Search of a Concrete Music) by Pierre Schaeffer and decided to study composition. After a classical education in harmony, she met Michel Puig, a student of René Leibowitz, who taught her composition and analysis according to Schönbergian Principles. In September 1970, she began a two-year course at the Research Department of the ORTF under the direction of Pierre Schaeffer. At the same time, she participated in a sound synthesis research group, studied computer music at the Faculté de Vincennes as well as electronic music with Éliane Radigue. Between 1972 and 1984, she composed essentially for the concert - Korè, Pour un pianiste, Trois chambres d’inquiétude, Tabou - and for film - music for the short films by Patrick Bokanowski as well as his feature film L’Ange. Since 1985, she has composed for television, for theatre - with Catherine Dasté - and for dance, with choreographers Hideyuki Yano, Marceline Lartigue and Bernardo Montet.
13,00€
Out of stock
CD
Beatriz FERREYRA – Christine GROULT
“Nahash”
Beatriz Ferreyra on tape recorders and speed control. Christine Groult on samplers and effects. This duo was created for a GRM event. Prerecorded elements are used into different electroacoustic devices in the idea of creating complex sound in a playful way.
“The adventure began in 2011. Christian Zanesi, art director of the INA-GRM has the weird idea to order to Beatriz Ferreyra and Christine Groult an improvised duet with tape recorders within the framework of a « Weekend retro actif » at the Gaité lyrique,in Paris.
Beatriz Ferreyra brought its analog studio of the Seventies with four Revox tape recorders, an analog matrix and a sync box with vari speed, specially designed for her. The use of the magnetic tape is very manual and connects the energy of the movements of the body with the shaped sound. The use of the sampler, major instrument of the Nineties, is very particular and playful, it tends to be abandoned. However it allows to use audio recording with a singular and personal collection of sounds.
The interaction between these two very different technologies have rained to the two composers and stimulated them. But first, they seek the musical expression. They worked together to the building of the improvisation. Some common themes and some meaningful images guide them to the research of the sounds and to the configuration of the device for playing.
Why two versions ? It seemed interesting to offer an experience to the listener: two different improvisations are proposed, using the same sounds, the same devices and the same set of themes, but by permuting the various moments of the structure and by adding new sounds. What about the perception of these differences in electroacoustic ?”
12,00€