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musique concrete in INA/GRM

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  • 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
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      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
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