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Archives GRM

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Archives GRM

Ina-GRM | INA_C 1030 | 2004

5xCD (+ booklet of 101 photos) 55.00 CA$ [?]

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1. André Hodeir: Jazz et jazz (1951) 3m21s ina_c_1030-1.1 | 14842 |

2. Pierre Boulez: Étude 1 (1951) 2m43s ina_c_1030-1.2 | 14846 |

3. Pierre Boulez: Étude 2 (1951) 3m00s ina_c_1030-1.3 | 14847 |

4. Jean Barraqué: Étude (1951-54) 5m40s ina_c_1030-1.4 | 14848 |

5. Darius Milhaud: La rivière endormie (1954) 8m19s ina_c_1030-1.5 | 14849 |

6. Roman Haubenstock-Ramati: L’amen de verre (1957) 5m17s ina_c_1030-1.6 | 14850 |

7. Henri Sauguet: Aspect sentimental (1957) 7m57s ina_c_1030-1.7 | 14851 |

8. Edgard Varèse: Déserts: Interpolation 1 (1954) 3m20s ina_c_1030-1.8 | 14852 |

9. André Boucourechliev: Texte 2 (1959) 4m40s ina_c_1030-1.9 | 14853 |

10. Claude Ballif: Points-Mouvements (1962) 10m19s ina_c_1030-1.10 | 14843 |

11. Iannis Xenakis: Concret PH (1958) 2m50s ina_c_1030-1.11 | 14844 |

12. Olivier Messiaen: Timbres durées (1952) 15m08s ina_c_1030-1.12 | 14845 |

1. Pierre Schaeffer: Étude pathétique [Étude aux casseroles] (1948) 4m05s ina_c_1030-2.1 | 14855 |

2. Monique Rollin: Étude vocale [Motet] (1952) 1m12s ina_c_1030-2.2 | 14864 |

3. Michel Philippot: Étude 1 (1952) 5m14s ina_c_1030-2.3 | 14865 |

4. Philippe Arthuys: Boîte à musique (1955) 2m55s ina_c_1030-2.4 | 14866 |

5. Pierre Schaeffer: Étude aux allures (1958) 3m31s ina_c_1030-2.5 | 14867 |

6. Luc Ferrari: Étude aux sons tendus (1958) 2m49s ina_c_1030-2.6 | 14868 |

7. Luc Ferrari: Étude floue (1958) 2m18s ina_c_1030-2.7 | 14869 |

8. Luc Ferrari: Étude aux accidents (1958) 2m15s ina_c_1030-2.8 | 14870 |

9. François-Bernard Mâche: Prélude (1959) 5m31s ina_c_1030-2.9 | 14871 |

10. Pierre Schaeffer: Étude aux objets: 1er mouvement (1959) 3m37s ina_c_1030-2.10 | 14856 |

11. Mireille Chamass-Kyrou: Étude 1 (1960) 5m13s ina_c_1030-2.11 | 14857 |

12. Ivo Malec: Reflets (1961) 2m34s ina_c_1030-2.12 | 14762 |

13. Philippe Carson: Phonologie (1962) 6m53s ina_c_1030-2.13 | 14859 |

14. Akira Tamba: Étude no 2 (1962) 3m28s ina_c_1030-2.14 | 14860 |

15. Beatriz Ferreyra: Mer d’Azov, étude aux itérations (1963) 3m36s ina_c_1030-2.15 | 14861 |

16. Alain Savouret: Étude aux sons réalistes (1969) 4m09s ina_c_1030-2.16 | 14862 |

17. Alain Savouret: Étude numérique (1985) 6m37s ina_c_1030-2.17 | 14863 |

1. François Bayle: Eros bleu (1979) 7m40s ina_c_1030-3.1 | 14873 |

2. Dieter Kaufmann: Voyage au paradis (1987) 3m56s ina_c_1030-3.2 | 14875 |

3. Jean-Claude Risset: Sud (1985) 5m51s ina_c_1030-3.3 | 14775 |

Commission: Ministère de la Culture (France), Ina-GRM

[English translation not available]

La pièce utilise principalement des sons enregistrés dans le massif des Calanques à Marseille. Ces sons ont été traités par ordinateur au studio 123 (informatique musicale) du GRM. Je remercie Bénédict Mailliard et Yann Geslin qui m’ont initié à cette puissante batterie de programmes. Je remercie également Daniel Teruggi pour son introduction au studio 116 où la pièce a été mixée.

Les éléments de mixage comportent aussi diverses séquences synthétisées par ordinateur avec le programme MUSIC V à Marseille (Faculté des Sciences de Luminy et Laboratoire de mécanique et d’acoustique du CNRS).

Au début, et par instants, la pièce se présente comme une «phonographie», suivant le terme de François-Bernard Mâche — elle fait allusion ici et là à Luc Ferrari, Knut Victor, à Michel Redolfi, musicien de la mer, à Georges Boeuf et ses abysses, aux oiseaux chanteurs de François Bayle. Si je suis parti d’un petit nombre de séquences sonores — enregistrements de mer, d’insectes, d’oiseaux, de carillons de bois et de métal, de «gestes» brefs joués au piano ou synthétisés à l’ordinateur — je les ai multipliées en leur appliquant diverses opérations: moduler, filtrer, colorer, réverbérer, spatialiser, mixer, hybrider. Cézanne voulait «unir des courbes de femmes à des épaules de collines»: de même la synthèse croisée permet de travailler «dans l’os même de la nature» (Michaux), de produire des hybrides, des chimères — d’oiseaux et de métal, de mer et de bois… J’y ai eu recours surtout pour transposer des profils, des flux d’énergie. Ainsi la pulsation d’enregistrements de mer est par endroits appliquée à d’autres sons — alors qu’à d’autres moments les vagues ou déferlements sonores n’ont aucune parenté avec la mer.

Une échelle de hauteur (solsimifa dièse — sol dièse) exposée d’abord par des sons synthétiques, va colorer divers sons d’origine naturelle: elle devient dans la dernière partie une véritable grille harmonique qu’oiseaux ou vagues font résonner, à la façon d’une harpe éolienne. Les multiples sons engendrés peuvent être repérés sur un schéma ressemblant à un arbre généalogique; leur agencement met en jeu plusieurs niveaux de rythme, et, peut-on dire, une logique de flux.

Sud est une commande du Ministère de la Culture (France), à l’initiative du Groupe de recherches musicales de l’Ina (Ina-GRM) où la pièce a été réalisée.

4. Ivo Malec: Week-end (1982) 7m27s ina_c_1030-3.4 | 14877 |

5. Denis Smalley: Wind Chimes (1987) 6m47s ina_c_1030-3.5 | 14134 |

Commission: South Bank Centre

Premiere: September 1987, Queen Elizabeth Hall (London, England, UK)

The main sound source for Wind Chimes is a set of ceramic chimes found in a pottery during a visit to New Zealand in 1984. It was not so much the ringing pitches which were attractive but rather the bright, gritty, rich, almost metallic qualities of a single struck pipe or a pair of scraped pipes. These qualities proved a very fruitful basis for many transformations which prised apart and reconstituted their interior spectral design. Taking a single sound source and getting as much out of it as possible has always been one of my key methods for developing sonic coherence in a piece. Not that the listener is supposed to or can always recognize the source, but in this case the source is audible in its natural state near the beginning of the piece, and that ceramic quality is never far away throughout. Eventually, complementary materials were gathered in as the piece’s sound-families began to expand, among them a bass drum, very high metallic Japanese wind chimes, resonant metal bars, interior piano sounds, and some digital synthesis. The piece is centered on strong attacking gestures, types of real and imaginary physical motion (spinning, rotating objects, resonances which sound as if scraped or bowed, for example), contrasted with layered, more spacious, sustained textures whose poignant dips hint at a certain melancholy.

[xii-92]

Wind Chimes was composed in the Electroacoustic Music Studio of the University of East Anglia (UK) in 1987, with computer sound transformations carried out on the digital system of Studio 123 of the Groupe de recherches musicales (GRM) in Paris (France) in 1986. It was premiered during the Electric Weekend at the Queen Elizabeth Hall in London in September, 1987. This piece was first released in 1990 on the Computer Music Current #5 compact disc on the Wergo label (WER 2025-2). Wind Chimes was commissioned by the South Bank Centre, London (UK).

6. Gilles Racot: Anamorphées (1984-85) 7m21s ina_c_1030-3.6 | 14879 |

7. Yann Geslin: Variations didactiques: mouvement 2 (1981-82) 5m04s ina_c_1030-3.7 | 14880 |

8. Bénédict Mailliard: Affleurements (1984-85) 4m25s ina_c_1030-3.8 | 14881 |

9. Jean Schwarz: Hiver (1983) 5m45s ina_c_1030-3.9 | 14783 |

guitare, basson, contrebasse, traitement et bande

10. Francis Dhomont: Novars (1989) 6m50s ina_c_1030-3.10 | 14284 |

Commission: Ina-GRM

Premiere: May 29, 1989, Grand Auditorium — Maison de Radio France (Paris, France)

To musique concrète and Pierre Schaeffer, its ‘ill-fated inventor’

“… one moment transported in beautified memories of the first ‘concrète’ illuminations of my childhood […]. Perhaps I was the only one to be so moved by the sound of these last ‘measures’…”

Marie-Claire Schaeffer-Patris, personal letter to the composer.

Novars salutes the birth of musique concrète, the Ars Nova of our century, by calling upon the resources of the computer. The intention is not to create a pastiche but, on the contrary, to testify that by the most advanced means a language has been passed on. It may also be possible to suggest, without establishing a simplistic symmetry, that there exists a link between these two theorists of a new art: Vitry and Schaeffer.

The ‘classical’ ear will perhaps recognize fragments from Schaeffer’s Étude aux objets (1959) and Guillaume de Machaut’s Messe de Nostre Dame (1364). These quotations, along with a third sound element — a sort of homage to Pierre Henry and his infamous door — are the sole materials giving birth to multiple variations.

A sign of change: ‘spectromorphologic’ (Denis Smalley) mutations give to sonorities of the Ars Nova and to ‘new music’ (as Schaeffer named it in 1950) the sound of our time. A sign of continuity: something from the original works (their color, their structure…) remains present, indestructible.

François Bayle writes about Novars:

“In listening to the works of Francis Dhomont, one senses a unique voice.

One finds traits and signatures: long ‘breath-like’ trajectories, masterful alternations of deeply engraved forms and light refined lines, play with proportions and moving masses. Like in Chiaroscuro — one of his most successful — a baroque taste for timbral richness and shadowy contours, interrupted by identifiable fragments, often with vocal qualities, always alive.

There is a sense of accentuation and deep breathing, leading to a finely heard silence, framed and placed with the meticulousness of a photographer for whom every background detail counts as much as, and maybe more than, the foreground musical intentions.

Novars contains refinements that add fresh color and new light to the work’s main purpose. The rhythmic cellular element is that of a slow dance based on a complex note, a pegged quotation (taken from the Étude aux objets by Pierre Schaeffer) and, detaching it from the ‘moiré’ vocal timbres (‘stirred up’ à la Machaut) projects on the work an evocation from the Pavane (for loved ones, certainly not dead!).

The breaths, thrusts, and ‘jetés-glissés’ (thrown-slid) of well choreographed gestures counterbalance the rhythmical accumulations forming a third sound character to this tale; a tale of time and contretemps, in riddle form.

Indeed, as the tale proceeds, it slowly unveils its sources of inspiration. Or rather: this unfolding comprises lengthy placements into perspective, of a distance towards quoted sources, with Tanguy-like otherworldly colors, of the beaches where this homage to the ‘revival’ evolves in “metal sky” (Giono) tonalities.

Dedicated “to musique concrète”, this piece gently illuminates its references and leaves us under its profound charm. As with … mourir un peu — is it its timelessness? — we are offered a strange yet beneficent moment of reflection.” (Paris, June 16th, 1991)

[ix-91]

Novars was realized at Studio 123 of the Ina-GRM (Paris, France) and at the composer’s studio and was premiered on May 29th, 1989, as part of the 11th GRM Acousmatic Concert Series at the Grand Auditorium of Rthe Maison Radio France (Paris). This piece was selected by the 1990 International Computer Music Conference (ICMC’90) in Glasgow (Scotland), and by the International Society for Contemporary Music (ISCM) for the 1991 World Music Days in Zürich (Switzerland). The jury of the 1991 Stockholm Electronic Arts Award also selected it for performance at its award concert in Stockholm (Sweden). Special thanks to Pierre Schaeffer who has kindly allowed the quotation of a few sound propositions, now historic; and to Bénédict Mailliard, Yann Geslin and Daniel Teruggi without whose patience it would have been impossible to domesticate Studio 123 and the Syter real-time sound synthesis system of the Ina-GRM (Paris, France). Novars was commissioned by the Ina-GRM}.

1. Bernard Parmegiani: Exercisme 3 (1986) 6m28s ina_c_1030-4.1 | 14799 |

2. Åke Parmerud: Les objets obscurs (1991) 5m03s ina_c_1030-4.2 | 17332 |

“… the composition presented with extraordinary fantasy all the nuances of the material, from cosmic glissandi to coulorful bands of noise and metallic percussive sounds… A clear structure and a strong sense of willpower signifies the composition.”
Der Tagenspiegel (Berlin, Germany) 1994

“… et voilá! The critique one may have on his music has once before been uttered about another composer… Stravinsky!”
Recherche/Musique (Paris, France) 1995

3. Denis Dufour: Pli de perversion 7m12s ina_c_1030-4.3 | 14887 |

4. Horacio Vaggione: Ash 7m34s ina_c_1030-4.4 | 14888 |

5. Alain Savouret: La complainte du bossué 9m36s ina_c_1030-4.5 | 14889 |

6. François Bayle: Mimaméta (1989) 6m36s ina_c_1030-4.6 | 15601 |

7. Gilles Racot: Subgestuel (1991) 5m23s ina_c_1030-4.7 | 14958 |

6 percussions, and tape

8. Daniel Teruggi: Instants d’hiver (1993) 7m11s ina_c_1030-4.8 | 15008 |

9. Ramon Gonzales-Arroyo: De la distance 6m01s ina_c_1030-4.9 | 14893 |

10. Michel Redolfi: Appel d’air (1991) 3m40s ina_c_1030-4.10 | 14954 |

1. Bernard Parmegiani: indicatif Roissy (1971) 07s ina_c_1030-5.1 | 14895 |

2. François Bayle, Robert Wyatt: L’expérience acoustique: La preuve par le sens: It (1971) 3m38s ina_c_1030-5.2 | 14901 |

3. Bernard Parmegiani: indicatif France Culture (1972) 1m14s ina_c_1030-5.3 | 14902 |

4. Alain Savouret: Valse molle (1973) 10m14s ina_c_1030-5.4 | 14903 |

5. Bernard Parmegiani: indicatif Stade 2 (1975) 26s ina_c_1030-5.5 | 14904 |

6. Jean Schwarz: Il était une fois (1974) 7m41s ina_c_1030-5.6 | 14905 |

[English translation not available]

Faire de la musique électroacoustique ou acousmatique, c’est avant tout être musicien, composer de la musique, sans pour cela être un technicien de l’électronique. Les limites de ce nouveau champ musical sont repoussées à l’infini car cet art dépasse les relations traditionnelles de hauteur et d’harmonie pour embrasser tout le monde du sonore sans distinction de genre, de forme ou de matière.

 

7. Jean Schwarz: sonal France Culture (1982) 17s ina_c_1030-5.7 | 14906 |

8. Jean Schwarz: Chantakoa (1986) 4m51s ina_c_1030-5.8 | 13086 |

clarinette basse, SYTER et bande

9. Bernard Parmegiani, Boris Vian: L’alcool tue (1962) 4m13s ina_c_1030-5.9 | 14908 |

10. Robert Cohen-Solal: Les Shadoks (1968) 7m58s ina_c_1030-5.10 | 14896 |

11. Guy Reibel: Canon sur une trompe africaine (1971) 2m57s ina_c_1030-5.11 | 14897 |

12. Edgardo Cantón: Rengaine à pleurer (1967) 2m51s ina_c_1030-5.12 | 14898 |

13. Bernard Parmegiani: La roue ferris (1971) 10m48s ina_c_1030-5.13 | 14995 |

14. Christian Zanési: sonal voyageurs RATP (1996) 04s ina_c_1030-5.14 | 14900 |

[va]: Archives GRM: track detail

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Prices are in Canadian dollars — 1.00 CA$ ~ 0.98 US$ ~ 0.63 € ~ 0.49 £ ~ 1.05 AU$ ~ 102.50 ¥ — and include handling, shipping and applicable taxes.


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