Archives GRM ( 5 CDs Bos-Set ) Жанр: Musique Concrete, Experimental, Modern Classical Страна-производитель диска: France Год издания диска: 2006 Издатель (лейбл): INA-GRM Номер по каталогу: ina c 1030 Аудио кодек: APE (*.ape) Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 72:23-65:56-61:05-60:46-57:19 Источник (релизер): электроакустическая блоготочка Наличие сканов в содержимом раздачи: да Треклист:
cd 1/5 - Les Visiteurs De L'Aventure Concrète
Les Visiteurs De L'Aventure Concrète
1-01 André Hodeir Jazz Et Jazz (3:21)
1-02 Pierre Boulez Étude 1 (2:43)
1-03 Pierre Boulez Étude 2 (3:00)
1-04 Jean Barraqué Étude (5:40)
1-05 Darius Milhaud La Rivière Endormie (8:19)
1-06 Roman Haubenstock-Ramati L’Amen De Verre (5:17)
1-07 Henri Sauguet Aspect Sentimental (7:57)
1-08 Edgard Varèse Désert: Interpolation 1 (3:20)
1-09 André Boucourechliev Texte 2 (4:40)
1-10 Claude Ballif Points-Mouvements (10:19)
1-11 Iannis Xenakis Concret PH (2:50)
1-12 Olivier Messiaen Timbres Durées (15:08)
cd 2/5 -L'Art De L'Étude
L'Art De L'Étude
2-01 Pierre Schaeffer Étude Pathétique (4:05)
2-02 Monique Rollin Étude Vocale (1:12)
2-03 Michel Philippot Étude N°1 (5:14)
2-04 Philippe Arthuys Boîte À Musique (2:55)
2-05 Pierre Schaeffer Étude Aux Allures (3:31)
2-06 Luc Ferrari Étude Aux Sons Tendus (2:49)
2-07 Luc Ferrari Étude Floue (2:18)
2-08 Luc Ferrari Étude Aux Accidents (2:15)
2-09 François-Bernard Mâche Prélude (5:31)
2-10 Pierre Schaeffer Étude Aux Objets, 1er Mvt (3:37)
2-11 Mireille Chamass-Kyrou* Étude 1 (5:13)
2-12 Ivo Malec Reflets (2:34)
2-13 Philippe Carson Phonologie (6:53)
2-14 Akira Tamba Étude N°2 (3:28)
2-15 Beatriz Ferreyra Mer D'Azov (3:36)
2-16 Alain Savouret Étude Aux Sons Réalistes (4:09)
2-17 Alain Savouret Étude Numérique (6:37)
cd3/5 - Le Son En Nombres
Le Son En Nombres
3-01 François Bayle Eros Bleu (7:40)
3-02 Dieter Kaufmann Voyage Au Paradis (3:56)
3-03 Jean-Claude Risset Sud (5:51)
3-04 Ivo Malec Week-end (7:57)
3-05 Denis Smalley Wind Chimes (6:47)
3-06 Gilles Racot Anamorphées (7:21)
3-07 Yann Geslin Variations Didactiques (5:04)
3-08 Bénédict Mailliard Affleurements (4:25)
3-09 Jean Schwarz Quatre Saisons (Hiver) (5:45)
3-10 Francis Dhomont Novars (6:50)
cd4/5 - Le Temps Du Temps Réel
Le Temps Du Temps Réel
4-01 Bernard Parmegiani Exercisme 3 (6:02)
4-02 Åke Parmerud Les Objets Obscurs (4:43)
4-03 Denis Dufour Pli De Perversion (7:12)
Performer - TM+
Synthesizer - Denis Dufour , Yann Geslin
Violin - Laurent Cuniot
4-04 Horacio Vaggione Ash (7:04)
4-05 Alain Savouret La Complainte Du Bossué (8:54)
Double Bass - Frédéric Stohl
4-06 François Bayle Mimaméta (6:11)
4-07 Gilles Racot Subgestuel (5:23)
Percussion - Les Percussions De Strasbourg
4-08 Daniel Teruggi Instants D’Hiver (6:41)
4-09 Ramón González-Arroyo De La Distance (5:38)
Double Bass - Jean-Pierre Robert
4-10 Michel Redolfi Appel D’Air (3:47)
cd5/5 - Le GRM Sans Le Savoir
Le GRM Sans Le Savoir
5-01 Bernard Parmegiani Indicatif Roissy (0:07)
5-02 Robert Wyatt / François Bayle It (3:38)
5-03 Bernard Parmegiani Indicatif France Culture (1:14)
5-04 Alain Savouret Valse Molle (10:14)
5-05 Bernard Parmegiani Indicatif Stade 2 (0:26)
5-06 Jean Schwarz Il Était Une Fois (7:41)
Other [Dance] - Carolyn Carson
5-07 Jean Schwarz Sonal France Culture (0:17)
5-08 Michel Portal / Jean Schwarz Chantakoa (4:51)
5-09 Boris Vian / Bernard Parmegiani L’Alcool Tue (4:13)
Vocals - Caroline Cler
5-10 Robert Cohen-Solal Les Shadoks (7:58)
5-11 Guy Reibel Canon Sur Une Trompe Africaine (2:57)
5-12 Edgardo Cantón Rengaine À Pleurer (2:51)
Lyrics By - Jean Tardieu
Vocals - Mouloudji
5-13 Bernard Parmegiani La Roue Ferris (10:48)
5-14 Christian Zanési Sonal RATP (0:04)
Лог создания рипа
cd1
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 24. November 2008, 10:11 - / GRM_arch_01 Used drive : HL-DT-STDVDRAM GSA-H44N Adapter: 3 ID: 0 Read mode : Secure
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cd2
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 24. November 2008, 11:22 - / GRM_arch_02 Used drive : HL-DT-STDVDRAM GSA-H44N Adapter: 3 ID: 0 Read mode : Secure
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cd3
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 24. November 2008, 11:42 - / GRM_arch_03 Used drive : HL-DT-STDVDRAM GSA-H44N Adapter: 3 ID: 0 Read mode : Secure
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cd4
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 24. November 2008, 13:22 - / GRM_arch_04 Used drive : HL-DT-STDVDRAM GSA-H44N Adapter: 3 ID: 0 Read mode : Secure
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Defeat audio cache : No
Make use of C2 pointers : No Read offset correction : 667
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : No
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cd5
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 24. November 2008, 9:49 - / GRM_arch_05 Used drive : HL-DT-STDVDRAM GSA-H44N Adapter: 3 ID: 0 Read mode : Secure
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Defeat audio cache : No
Make use of C2 pointers : No Read offset correction : 667
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Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : No
Used interface : Installed external ASPI interface Used output format : Internal WAV Routines
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Содержание индексной карты (.CUE)
cd1
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cd2
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cd3
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cd4
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cd5
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TITLE "Vian/Parmegiani - L'alcool tue"
PERFORMER ""
FLAGS DCP
INDEX 00 28:27:66
INDEX 01 28:30:27
TRACK 10 AUDIO
TITLE "Cohen-Solal - Les Shadocks"
PERFORMER ""
FLAGS DCP
INDEX 00 32:38:34
INDEX 01 32:43:33
TRACK 11 AUDIO
TITLE "Reibel - Canon sur une trompe africaine"
PERFORMER ""
FLAGS DCP
INDEX 00 40:37:09
INDEX 01 40:42:10
TRACK 12 AUDIO
TITLE "Canton - Rengaine а pleurer"
PERFORMER ""
FLAGS DCP
INDEX 00 43:35:58
INDEX 01 43:39:31
TRACK 13 AUDIO
TITLE "Parmegiani - La roue Ferris"
PERFORMER ""
FLAGS DCP
INDEX 00 46:26:34
INDEX 01 46:31:05
TRACK 14 AUDIO
TITLE "Zanйse - sonal Ratp"
PERFORMER ""
FLAGS DCP
INDEX 00 57:17:46
INDEX 01 57:19:59
Об альбоме (сборнике)
To mark and celebrate the thirty years of the INA (Institut National de l'Audiovisuel), the GRM (Groupe des Recheches Musicales) has chosen to bring together an exceptional set of five compact discs, illustrating some of its most remarkable musical archives. These original works, which are often previously unpublished or have been dispersed throughout a host of other publications, are important because of the originality and audacity they testify to in the second half of the 20° century. Some listeners will be pleased to see that there are a number of illustrious composers here who, in the 1950s, frequented the studio of Pierre Schaeffer, and others will discover numerous musicians whose enthusiasm enabled this innovative musical genre to last throughout the following decades.
Emmanuel Hoog, président directeur générale de l'Ina
from the attached booklet
cd1
Looking back over more than half a century, the pervasive evidence of a new Muse appears, that of technological art itself, forthrightly emerging since then. However, it undoubtedly fell to exponent Pierre Schaeffer, himself more critical or more ambitious, and certainly better placed than his predecessors the futurists of 1913, J. Cage or even E. Várese, to considerably enhance the scope of the first discoveries made then with sound and music, by linking the adventure he called concrete music with another, more general and unquestionable, thereby forming the background of our period, and enabling research/creation through audiovisual communication. Françoise Bayle
cd2
The issue concerning rigorous or strict approach takes us to the very heart of what is involved. All the composers presented on this disc certainly experienced the paradox of concrete practice: the mixture of elation and dread its freedom elicits. In other words, whilst it was easy to see concrete music acted as a liberating process (by enabling a breaking away from a priori conceptions concerning score, instruments, players ...) it was less easy to conceive the ultimate purpose of this freedom. Thus, it became tempting to reject and despise the triviality of its materials and the empirical nature of its structures. Régis Renouard Larivière
cd3
While the GRM of the 50s and 60s is well known for its concrete and electroacoustic works, its research into perception and the creation of electronic sound manipulating devices, the GRM of the 70s comes'across less sharply, in particular with respect for the interest shown in musical computer technology. Yet in the 1970s already, at a time when the GRM had no computer technology to its name, its research team was thinking about the potential it might offer. In 1970, it participated in the Unesco conferences held in Stockholm, during which Pierre Schaeffer wrote, probably with the help of Francis Regnier, an important but highly critical text on computer technology, and which has been poorly understood and imprecisely situated in the historical development of the field: «Music and Computers*, in La Revue Musicale, Musique et technologie, published by Richard Masse in 1970. Yann Geslin
cd4
From the very beginning, music, whether vocal or instrumental, improvised or written, and up until the invention of recording processes, was listened to at the precise moment it was produced. The twentieth century changed all that, first of all with the appearance of recording media, which made it possible to listen to sound in a place and at a time other than those at which it was originally produced; then by the widespread use of electricity, which made it possible to invent new instruments and new ways of imagining and making music. Concrete music, electronic music, electroacoustic music, acousmatic music or contemporary electronic musics are all testimony to the same ambition: using electrical, electronic and computer-based technologies to invent the sounds of music. The invention of sounds is the invention of new forms of music, of new ways of looking at music, and is the logical consequence of the new opportunities that technology continues to provide us with. Daniel Teruggi
cd5
Did you know? At the periphery of the GRM, there has always been sound design work going on (theme tune, credit titles, etc.) as well as other musical gestures aimed at a wider audience. What this disc is seeking to demonstrate is a specificity of electroacoustic music: since the sound, the very essence of this art, is «signed», as it were, the composer never abandons his «soul» completely when he moves into a different register. Whether he is composing a waltz or a signature tune, or whether he is drifting in the waters of pop music, his presence and personality are still identifiable. This is a feature, which is by no means new, throughout the history of music. The real fans are able to pick out, among a thousand other sounds, a Parmegiani, a Bayle or a Savouret, and when you are familiar with the serious work of a composer, the pleasure of listening to it is only increased by knowing the less serious work. Christian Zanesi
