Loading ...
Sorry, an error occurred while loading the content.

musique concrete in INA/GRM

Expand Messages
  • George Gosset
    I ve been really impressed with this re-issue series. I m afraid a lot of them have simply sold out at FE (though I just got an e-mail of new releases and it
    Message 1 of 1 , Oct 3, 1998
      I've been really impressed with this re-issue series. I'm afraid a lot
      of them have simply sold out at FE (though I just got an e-mail of new
      releases and it had re-stocks of several items).
      The Bayle stuff works on a big scale -- they're up to the tenth CD of
      his material -- some of them I like more than others; Bayle went through
      several phases during his long time as director of GRM. The Bayle works
      generally provide a nice environment usually based on permutations of a
      set of sometimes recognizable, sometimes heavily processed noises. Bayle
      calls them "sound utopias" and as such, I find them nice to sink into
      and not boring.
      I was really impressed by double CDs of Parmegiani and Malec -- both of
      these are such good career-spanning collections that there are multiple
      entry points to the works. Other discs from Parmegiani are singular
      larger pieces also worthy of investigation.
      Ferrari, Reibel, Zanesi, Redolfi, Schwartz, Risset; all their discs have
      been rewarding, and all in ways particular to the composer. This
      re-issue program is serious if not comprehensive, providing good
      viewpoints into the important concerns of a number of composers who've
      passed through the GRM.
      Compare this current state of affairs to the output of IRCAM and one
      gets the feeling of an open-minded, even breezy collective approach to
      making GRM work. That electro-acoustic works have been presented in
      editions dedicated to a composer shows recognition of these various
      distinct personalities as deserving of CD rack space dedicated to them,
      something rare for many electro-acoustic composers. Frankly I get fed up
      piecing together the lifes' works of composers from compilations --
      often the inclusion of an electro-acoustic work on an otherwise
      orchestral program has seemed like lip service to me, but then I guess
      integration of electro-acoustic music within the general body of 20th
      Century works is a good idea too. For instance, I think I own half of
      Davidovsky's 'Synchronism's spread over as many LPs over CDs.
      A little bit of detective work is all that's needed to track down
      apparently sold out items like the Schaeffer box -- though the chase is
      really only the beginning of the delights when it comes to that item.

      Hopefully all enjoy their explorations
      George Gosset
    Your message has been successfully submitted and would be delivered to recipients shortly.