May 07, 2023

Crosscurrents of Musique Concrète

1 hour 55 minutes

Episode 96

Playlist

Pierre Henry, “Final Du Concerto Des Ambiguités (Final Of The Ambiguities Concerto)” (1950) from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, tape editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 3:15

Pierre Henry, “Expressionisme (1951) Musique Sans Titre – 5e et 6e Mouvements (Untitled Music – 5th and 6th Movements)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Early piece of musique concrete during a time of transition at the RTF, when the composers were moving from using turntables and disc lathes to magnetic tape as a composition medium. This work has evidence of both. Composition, sound editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:59

Philippe Arthuys, “Boîte À Musique (Musical Box)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, sound editing, and audio production by Philippe Arthuys. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:53

Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Composition, sound editing, and audio production by Mireille Kyrou. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française", directed by Pierre Schaeffer. Kyrou is the rare example of a woman composer using the French studio. This is her only work released on record. However, according to Hugh Davies’ International Electronic Music Catalog, I find several other compositions dating from this period that, hopefully, will one day be released by the GRM. There were three additional works from 1960-61, all done for film, totaling in time to about 31 minutes. 5:09

Henri Pousseur, “Trois Visages De Liège” (1961) from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). This is a reissued version of Pousseur’s work from 1961 and originally released on a Columbia disc in 1967. But this version is several minutes longer than that release. This album also features a bonus track of sound elements used for the work before being fully composed. Composition, tape editing, and audio production by Henri Pousseur. Pousseur was Belgian and worked in the Studio de Musique Electronique de Bruxelles in a musique concrète style. 20:32

Bernard Parmegiani, “Danse” (1961) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Bernard Parmegiani. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. Parmegiani was one of the GRM’s most prolific composers, working on individual works but also numerous pieces for stage, dance, and, most importantly film and commercials, producing early music videos, soundtracks, and commercials for companies like Renault. His music was inventive and imaginative, and he became a chief craftsman of electronic music for decades. Until 1992, he produced most of his music at GRM, but was frequently on commission to work at institutions in other countries. In 1992, Parmegiani left the GRM and set up his own studio in Saint-Rémy-de-Provence. 4:08

Luc Ferrari, “Tautologos I” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings realized in the studios of Gravesano (directed by Hermann Scherchen). Reissue of 1964 release. Composition, tape editing, and audio production by Luc Ferrari. 4:19

Philippe Carson, “Turmac” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by Philippe Carson. 9:43

Luc Ferrari, “Tête Et Queue Du Dragon” (Second Version) (1962) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Luc Ferrari. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 9:07

François-Bernard Mâche, “Terre De Feu (Second Version)” (1963) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by François-Bernard Mâche. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 6:52

François Bayle, “Vapeur” (1964) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by François Bayle. 4:44

Bernard Parmegiani, “Récession” (1966) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for theatre. 2:25

Bernard Parmegiani, “La Ville En Haut De La Colline II” (1968) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 1:30

Bernard Parmegiani, “Outremer” (1968) and “Trois Canons En Hommage À Galilée”(1969) from Arlette Sibon-Simonovitch Avec Le Concours De Sylvio Gualda Œuvres De: Parmegiani, Mestres-Quadreny – Espaces Sonores N°1 (1975 La Voix De Son Maître). Ondes Martenot, Arlette Sibon-Simonovitch. Composition, tape editing, and audio production by Bernard Parmegiani. Work for Ondes Martenot and four tracks of magnetic tape. 21:02

Bernard Parmegiani, “Je Tu Elles” (1969) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 2:59

Roger Roger, “Le Type Beurré” from Musique Idiote (1970 Neuilly). Another experiment with the Moog Synthesizer by composer Roger Roger, maker of broadcast library music. 1:38

Roger Roger, “La Nana Siphonée” from Musique Idiote (1970 Neuilly). Enter the Moog Synthesizer. Here are some early works for Moog by composer Roger Roger, maker of broadcast library music. 1:39

Opening background music: Henri Pousseur, “Éléments De Trois Visages De Liège” from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). Composition, tape editing, and audio production by Henry Pousseur. 3:10

Opening and closing sequences voiced by Anne Benkovitz.

Additional opening, closing, and other incidental music by Thom Holmes.

See my companion blog that I write for the Bob Moog Foundation.

For additional notes, please see my blog, Noise and Notations.

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By Thom Holmes

4.9

1212 ratings

May 07, 2023

Crosscurrents of Musique Concrète

1 hour 55 minutes

Episode 96

Crosscurrents of Musique Concrète

Playlist

Pierre Henry, “Final Du Concerto Des Ambiguités (Final Of The Ambiguities Concerto)” (1950) from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, tape editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 3:15

Roger Roger, “Le Type Beurré” from Musique Idiote (1970 Neuilly). Another experiment with the Moog Synthesizer by composer Roger Roger, maker of broadcast library music. 1:38

Roger Roger, “La Nana Siphonée” from Musique Idiote (1970 Neuilly). Enter the Moog Synthesizer. Here are some early works for Moog by composer Roger Roger, maker of broadcast library music. 1:39

Opening and closing sequences voiced by Anne Benkovitz.

Additional opening, closing, and other incidental music by Thom Holmes.

See my companion blog that I write for the Bob Moog Foundation.

For additional notes, please see my blog, Noise and Notations.

...more