The Kroumata Percussion Ensemble

The Kroumata Percussion Ensemble - The Kroumata Percussion Ensemble

I'm going to go on hiatus. It will probably be two or three weeks before I return. There are matters that need to be taken care of in the real world and I also would like to recover from the task of setting up the new version of this blog. Meanwhile, here's something to enjoy. Best wishes.

track 1 composed by John Cage

track 2 composed by Henry Cowell

track 3 composed by Torbjorn Iwan Lundquist

track 4 composed by Yoshihisa Taira

Tracklisting:

1. Second Construction {6:51}

2. Pulse {4:05}

3. Sisu {9:36}

4. Hierophonie {19:38}

(1)

Gamelan Music of Bali

Gamelan Music of Bali

These are field recordings by ethnomusicologist Deben Bhattacharya. The back cover says that the field recordings are "unrehearsed field recordings of Gamelan music made in Balinese villages in 1973-74. The instruments consist of a large variety of metallophones, such as xylophones, suspended gongs, gong chimes, zithers, spike-fiddles, flutes and drums. Colour photos and explanations in the booklet."

Tracklisting:

1. Ceremonial Funeral Music: Tabuh Lelambatan Lawas (Longor) {21:12}

2. Mahabharata [From a shadow play called "Wayang Kulit"] {13:42}

3. Barong (Dance-Drama) {13:09}

4. Trunajaya (Victory for the Young) {12:21}

(1)

Elektronische Musik

Karlheinz Stockhausen - Elektronische Musik 1952-1960

* originally posted on March 13, 2007

This recording includes groundbreaking pieces by one of the most important figures in 20th century music. Included are the essential "Gesang der Junglinge" and "Kontakte" (the purely electronic piece). "Kontakte" is in 25 separate tracks although it may be better for it to be in one track as it could be a minor annoyance when the track ends and the next one starts. But "Kontakte" is a tour-de-force that I am grateful that it is present. Below is a brief bio of Stockhausen including an interesting bit of trivia.

" Stockhausen was born in 1928 near Cologne. Orphaned as a teen, he immersed himself in artistic pursuits and showed promise both as a writer and a musician. He took classes at the new music school in Darmstadt with Adorno before moving to Paris, where he studied with Messiaen and met Boulez and Pierre Schaeffer. These encounters, as well as studies in phonetics and communication, proved a crucial influence on his subsequent work at the electronic music studio in Cologne; by the mid-'50s he had secured a spot in the vanguard of both electronic music and integral serialism. During the next decade he forged relationships with some of the most prominent contemporaries, including Kagel, Ligeti, and Cage, and, taking over the reins at the Darmstadt school, mentored such innovative up-and-comers as Cornelius Cardew and La Monte Young. His influence extended into popular culture, as well: he appears on the cover of the Beatles' Sgt. Pepper album. Stockhausen held various appointments during the rest of the twentieth century, and continued teaching summer seminars attended by important emerging composers. Stockhausen's most influential compositions vary widely in their style and media, and attest to the composer's far-ranging interests in science, technology, religion, cosmology, and mysticism. His various instrumental and vocal works from the 1950s, 1960s, and 1970s explore various ways of extrapolating serial methods and mathematical structures, such as the Fibonacci series, to dictate pitches, rhythms, articulations, and larger formal structures. The influential tape piece Gesang der Jünglinge (1955) combines the jumbled phonemes from a Biblical source text with an elaborately methodic splicing scheme. Hymnen (1966) mixes various national anthems with complex electronic sound structures. In Stimmung (1968), a group of singers intones various mystical names to the harmony of the overtone series. From the late '70s onward, Stockhausen's efforts focused on LICHT, a sprawling opera cycle drawn from various religious mythologies, particularly the Urantia Book, a collection of writings supposedly delivered to Earth by extraterrestrials." (All Music Guide)

Tracklisting:

1. Etude {3:35}

2. Studie I {10:00}

3. Studie II {3:50}

4. Gesang der Junglinge {13:40}

5. Kontakte: Struktur I {2:21}

6. Kontakte: Struktur II {1:05}

7. Kontakte: Struktur III {3:55}

8. Kontakte: Struktur IV {0:48}

9. Kontakte: Struktur V {2:28}

10. Kontakte: Struktur VI {0:27}

11. Kontakte: Struktur VII {2:05}

12. Kontakte: Struktur VIII {1:33}

13. Kontakte: Struktur IX {2:30}

14. Kontakte: Struktur X {4:29}

15. Kontakte: Struktur XI {2:17}

16. Kontakte: Struktur XII {1:22}

17. Kontakte: Struktur XIII A {1:23}

18. Kontakte: Struktur XIII B {0:25}

19. Kontakte: Struktur XIII C {0:47}

20. Kontakte: Struktur XIII D {0:50}

21. Kontakte: Struktur XIII E {0:14}

22. Kontakte: Struktur XIII F {2:09}

23. Kontakte: Struktur XIV {0:29}

24. Kontakte: Struktur XV {0:43}

25. Kontakte: Struktur XVI A {0:35}

26. Kontakte: Struktur XVI B {0:04}

27. Kontakte: Struktur XVI C {0:16}

28. Kontakte: Struktur XVI D {0:10}

29. Kontakte: Struktur XVI E {1:52}

(1) (2) [doubtful this will be reposted] [I don't think the links in the comments work either.]

Davidovsky/Kolb split release

Mario Davidovsky & Barbara Kolb - split release [Turnabout TV-S 34487]

* originally posted on March 10, 2007

Excerpts from the liner notes:

Side 1: Mario Davidovsky

"Synchronisms No. 6 for Piano and Electronic Sounds" was written for the pianist on this recording, Robert Miller, and was first performed at the Tanglewood Contemporary Music Festival in August 1970. It belongs to a series of compositions for electronically synthesized sounds in combination with the more conventional instrument. In this particular piece, the electronic sounds in many instances modulate the acoustical characteristics of the piano, by affecting its decay and attack characteristics. The electronic segment should perhaps not be viewed as an independent polyphonic line, but rather as if it were inlaid into the piano part. Generally speaking, in the whole series of these pieces, a coherent musical continuum is sought while trying to respect the idiosyncracies of each medium.

"Electronic Study No. 3 in Memoriam Edgar Varese" was completed in 1965 at the Electronic Music Center of Princeton and Columbia Universities. Primarily, the piece is constructed on its most basic level, using articulative processes available only in the electronic media. The intense concentration and speed of occuring events, together with the very sharp articulation characteristics of the piece, give it a very idiosyncratic texture.

"Synchronisms No. 5 for Percussion Ensemble and Electronic Sounds", was commissioned by the Thorne Music Fund, Inc. of New York City. It was completed in 1969. The percussion ensemble requires five players. The electronic sounds appear approximately three minutes into the piece from the beginning of the score, and run through to the end of the piece. As in the previous compositions in this series, one of the most obvious objectives of the composer is to create a homogeneous musical space with the combination of the two media, the electronic and the traditional instruments. The electronic sounds in many cases, extend and modulate the acoustical characteristics of the percussion instruments used by affecting their attack and delay characteristics. One could say, in general, that the characteristics of the electronic sounds here are percussive while the percussion instruments are, in most of the piece, treated as though they were melodic instruments. The piece is in one movement.

Side 2: Barbara Kolb

"Trobar Clus, to Lukas", was commissioned by the Berkshire Music Center and the Fromm Foundation. It is a Provencal poetic form which was developed by the Troubadors (Trobar meaning Troubador in Provencal) during the 11th and 12th centuries. Essentially, it is an uncrystallized Rondeau form, as Trobar Clus was the predecessor to the rondeau, and by its formative nature it allows one to be flexible within the boundaries of an exteremely free, yet (paradoxically) strict pattern.

The disposition of instruments relates to the variations of the internal form. Repetition functions more through the rotary recurrences of various groups of instruments than through a literal repetition of 'thematic' material. However, each group retains its own personality and proceeds in a continuous state of evolution just as one does in life.

One should feel a rather positive staticism. In other words, the work should convey various statements which are complete in themselves, yet imply continuation... perhaps, there is no ending...

"Solitaire for Piano and Vibes, to Dick and Nona Trythall for their wedding", is composed of 10 sections - each section equaling one-and-a-half minutes in duration. It was completed in collaboration with the Columbia-Princeton Electronic Music Center, with technical assistance by Paul Betjeman. The composition is constructed so that all capital letters, all lower case letters and all capitals to their lower case counterparts progress consecutively in a logical manner. For example: 1)ABC, etc., 2)abc, etc., 3)AaBbCc, etc.

There are three sequences which constitute one version. Two sequences are pre-recorded on tape with vibraphone which are then synchronized, using echo and filter devices sparingly. (The desired effect should be more of a tape collage rather than an electronic piece.) These two sequences superimposed constitute a working tape with which the performer practices. The "live" piano becomes the third sequence which completes a version.Any capital letter may begin the piece, thereby giving variety (without chance) to each performance, but other sequences may start with a lower case letter. A typical performance scheme (the one of this performance)

is:

Tape I A a B b C c D d E

Tape II C D E a b c

Performer A a B b C c D e

The above conveys a technique - a game of solitaire with neither motivation nor intent but to exist for and by itself; growing singly or

separately; not forming clusters or masses. A large flightless,

invisible bird... solitary...

Tracklisting:

Side 1

1. Mario Davidovsky - Synchronisms No. 6 {6:45}

2. Mario Davidovsky - Electronic Study No. 3 {5:10}

3. Mario Davidovsky - Synchronisms No. 5 {8:21}

Side 2

1. Barbara Kolb - Trobar Clus {9:41}

2. Barbara Kolb - Solitare for Piano, Vibraphone and Tape {13:06}

(1)

In a Landscape

John Cage - In a Landscape

* originally posted on March 10, 2007

This is a collection of many of Cage's ambient keyboard works. The collection actually has a new age quality about it; many of the works are quiet and dreamy. The only exception is 'Bacchanale' (1938), which features Cage's prepared piano in a bouncy rhythm found in many of his dance pieces. Notable here is the debut recording of 'Souvenir' (1983), written for organ. It does have a church-like quality amid its dreaminess. Also notable is his famed 'Suite for Toy Piano' (1946); placed amid these other ambient works, it gives a new appreciation for this work. A nice collection by an excellent performer. (All Music Guide)

Note: Pieces were performed by Stephen Drury on this recording.

Tracklisting:

1. In a Landscape {9:47}

2. Music for Marcel Duchamp {6:08}

3. Souvenir {11:58}

4. A Valentine Out of Season {3:52}

5. Suite for Toy Piano {8:14}

6. Bacchanale {9:31}

7. Prelude for Meditation {1:06}

8. Dream {8:42}

(1) [maybe reposted soon]

De Natura Sonorum

Bernard Parmegiani - De Natura Sonorum

* originally posted on March 5, 2007

From the liner notes:

The instantaneousness of the ephemeral, the mobility and changeableness of the repetitive: these are the themes that have helped to give birth to a dozen of my works, from Violostries (1963) to Pour en finir avec le pouvoir d'Orphee (1974).With De Natura Sonorum I have begun a new period. After experimenting with the relation between the sound material and the form of its development, I have become interested in the writing of sounds - sounds whose ink, so to speak, is taken from materials I try to combine and/or contrast in order to observe their nature.Thus a dialectical contradiction emerges from the contrast between a living and natural sound (that remains diffuse in nature) and an artificial sound (a notion that suggests a 'taste for an improved naturalness' as C. Rosset puts it).This music, intended to be as 'general as possible,' flows through a continuous metamorphosis, digging its own bed, thanks to successive inductions generating the artificial from the natural. Does listening to this constant transition from one state to another tell us anything about the nature of sound? (Bernard Parmegiani)

Tracklisting:

1. Incidences/Résonances {4:00}

2. Accidents/Harmoniques {4:46}

3. Géologie Sonore {4:34}

4. Dynamique de la Résonance {2:53}

5. Étude Élastique {6:42}

6. Conjugaison du Timbre {5:15}

7. Incidences/Battements {1:43}

8. Natures Éphémères {4:08}

9. Matières Induites {3:44}

10. Ondes Croisées {2:01}

11. Pleins et Déliés {4:39}

12. Points Contre Champs {8:31}

(1)

Conch Shell Suite

Nazir Ali Jairazbhoy - Conch Shell Suite

* originally posted on March 2, 2007

From the liner notes:

The Conch Shell Suite (Track 2) was inspired by Antarjyami Muni's remarkable virtuosic performance (Track 10) on two conch shells simultaneously, in which he used gradual pitch changes of the conches separately, manipulation of interference patterns, circular breathing, harmonies, and rapid subdivisions in groups of 2, 3, 4, 6, and 8 notes. Antarjyami, a member of the Mali (gardener) caste, gave his primary occupation as "wprship and flower selling for garlanding Lord Siva," for whom the conch is an important ritual instrument. At the time he was 35 years old and lived in Buguda, Ganjam District, Orissa, about 100 miles from Puri. His father played 5 conch shells simultaneously, and was patronized by the late Raja Upendra Bhanj, also a poet. Intrigued by the notion of a consort of five conches, Jairazbhoy attempted in 1965 to expand upon the field recording by creating overdubbing, speed variation, and echo effects using two reel-to-reel tape recorders: a Reflectograph and a revox A77. On this CD, he introduces the Suite and then explains its conception and construction in a series of narrations, illustrated by extracts from the Suite and its sources, as well as original field recordings of surmandal techniques used as self-accompaniment to singing by the late Ustad Bade Ghulam Ali Khan, one of the most famous North Indian classical musicians of this century, and Ustad Umrao Bundu Khan, son of the legendary Ustad Bundu Khan, who is generally recognized as the greatest of all sarangi players.

Tracklisting:

1. Preamble {2:04}

2. The Conch Shell Suite {9:59}

3. Conch Source {1:43}

4. Conch in Hindu Ritual {0:55}

5. The Two Conches {0:50}

6. Individual Conches {1:00}

7. Twin Conch Technique {0:27}

8. Twin Conch Demonstration {0:52}

9. More About Technique {0:57}

10. Twin Conch Performance {5:32}

11. Five Conch Shells {1:40}

12. Multitracking Extract {0:59}

13. Bade Ghulam Ali's Surmandal {1:30}

14. Bade Ghulam Ali Khan Sings {3:47}

15. Umrao Bundu's Surmandal {0:17}

16. Umrao Bundu Khan Sings {2:09}

17. Surmandal: Suite Tuning {0:49}

18. Surmandal: Improvisation {1:05}

19. CD Cover Painting {1:19}

20. "Death of the Conches" {1:15}

(1)

Open Secrets

Jackson Mac Low - Open Secrets

* originally posted on March 2, 2007

From the liner notes:

Open Secrets comprises seven realizations of works for voices and/or instruments that require spontaneous performers' choices limited only by given materials and procedural rules, and one fully notated composition. Performers are asked always to listen attentively to other performers (live or recorded) and to ambient sounds, and to produce vocal sounds (usually linguistic elements), and/or instrumental tones, in relation with all they hear. They must often fall silent and listen. By exercising invention, sensitivity, tact, courtesy, and "virtuosity without ego-tripping," they make each detail contribute significantly to the total sonic situation. On this disc, two or more performances of most of the vocal works are superimposed.

(1) (2)

[maybe reposted soon]

Tracklisting:

1. 1st Milarepa Gatha {5:15}

2. Milarepa Quartet for Four Like Instruments {3:48}

3. Thanks {9:57}

4. Winds/Instruments {18:57}

5. 38th and 39th Merzgedichte in Memoriam Kurt Schwitters {1:54}

6. Phoneme Dance in Memoriam John Cage {5:03}

7. Lucas 1 to 29: For One or More Instrumentalists {24:28}

8. Free Gatha 1 and Free Gatha 2 {5:12}

Fog Tropes

Ingram Marshall - Fog Tropes/Gradual Requiem/Gambuh I

* originally posted on February 28, 2007

While composer Ingram Marshall's earliest compositions were electronic works, he has increasingly written for live musicians, including the Kronos Quartet. In the mid-'60s, he studied under Vladimir Ussachevsky, among others, while in another program at Columbia. Marshall then learned from Morton Subotnick, first (briefly) in Greenwich Village, then at Cal Arts as his assistant during the early '70s. It was while earning his masters at Cal Arts that Marshall was first exposed to Indonesian music, which he then added to his studies. While he blended his current musical interests in his own work (writing pieces for electronics and Balinese flute, for instance), Marshall continued to explore other styles of composition as well, as when he traveled to Sweden in the mid-'70s on a Fulbright Fellowship to study text-sound composition. 'Fog Tropes' (1982) is the best known of his works that incorporate live (real time) electronic manipulation. From the mid-'80s on, Marshall has written ensemble music, not necessarily with electronics. His work for the Kronos Quartet includes 'Voces Resonae' (1984) and, more recently, 'Fog Tropes II.' He also composed the orchestral, one-movement piece 'Sinfonia Dolce far Niente.' (All Music Guide)

Tracklisting:

1. Fog Tropes {9:56}

2. Gradual Requiem Part 1 {6:13}

3. Gradual Requiem Part 2 {7:22}

4. Gradual Requiem Part 3 {9:05}

5. Gradual Requiem Part 4 {7:44}

6. Gradual Requiem Part 5 {3:26}

7. Gambuh I {18:05}

(1)

La mecanique des ruptures

Gilles Gobeil - La mecanique des ruptures

* originally posted on February 21, 2007

Comprised of eight compositions dating from 1985 through to 1993, La mécanique des ruptures (The Mechanics of Cleavage) was released in 1994. Gobeil describes his compositional technique as being similar to that of medieval stone-cutters, 'who would strike rock, making it 'ring' in order to judge its worth for construction'. He further describes that his sound material 'is subjected to restraint, to enormous pressure, until it finally sunders, shatters, transforms -- brought to its breaking point'.Fitting words indeed; each of these compositions carries with it feelings of intensity, tension, and urgency. The sounds are reaching critical mass, and seem like they're going to break at any moment and explode right in our faces.

The first piece, 'Le vertige inconnu' (The Mysterious Vertigo), takes as its theme 'the essense of solitude', but on the contrary doesn't feel very solitary. Bursts of concentrated sound alternate with quieter moments of field recordings and incidental noises.

'Voix Blance' (White Voice), featuring Suzanne Binet-Audet on the ondes Martenot, is an extremely dramatic piece with a stunning sound dynamic. Abstract tones and concrete sounds fill a three-dimensional space that shifts in rapid motions, presenting first one scene, then another, creating a work of immense drama and movement.

The third piece features the dynamic improvisational talents of René Lussier on electric guitar. The piece, explains Gobeil, 'consists of a succession of very dense and expressive scenes, a suitable foil for the guitar's vibrant, playful gestures'. As good a description of this piece as any.

The fourth piece, probably the most ambitious and unique among this grouping, incorporates a text and scenario by Lyette Limoges, an intriguing and complex radio-play, full of mystery and compelling imagery: 'The sun was setting. I saw an angel and it took flight, while all around lions tried to hold it back but... and then it became dark.' I was really drawn into this piece, which runs just short of fifteen minutes, and yet still manages to occupy a substantial psychological space in the listener.Further into the disc we find the tightly arranged piece 'Rivage' (Shore), which utilizes 'untouched sounds' from an urban environment. The ondes Martenot makes another appearance in the seventh piece, and 'Traces' closes the disc off with further bursts of intense sounds and sharp movements.

Intense, noisy and complex, La mécanique des ruptures presents a series of very compelling and challenging works. Essential electro-acoustic music that is sure to keep you from sitting still for even a moment while listening. (Richard di Santo, Incursion.org)

Tracklisting:

1. Le vertige inconnu {8:30}

2. Voix blanche {13:02}

3. Associations libres {3:07}

4. La ville machine {14:52}

5. Rivage {8:47}

6. Nous sommes heureux de... {1:03}

7. La ou vont les nuages {11:22}

8. Traces {6:31}

(1)

Tibetan Bells

Henry Wolff and Nancy Hennings - Tibetan Bells

* originally posted on February 21, 2007

From the back cover:

Bells have been made throughout Asia for centuries. In the Himalayas, where the finest bells are traditionally found, the bells of Tibet have long been prized for their marvellous purity and duration of tone. Composed of subtle alloys of the finest Himalayan metals, the accomplished instruments of an ancient and distinct tradition, the bells of Tibet are supreme. Yet until recently Tibetan bells have rarely if at all been heard beyond the Himalayas. Tibet has been a closed country. Only as a result of the turmoil of the 1950's when thousands of Tibetans, carrying what they could, fled to bordering states, have Tibetan bells begun to be known to the outside world.

For many Tibetans brought with them their bells, and with the bells was revealed a new dimension of sound hitherto scarcely suspected outside Tibet.

The timbre of a Tibetan bell is unique. It can not be confused with the tone of a bell of Indian or Chinese manufacture. Tibetan bells are of the utmost purity, their tones often reminiscent of impulses of electronic origin, yet too rich harmonically to have been produced by any synthetic process. Often riding a haunting echo of unrivalled duration, the bells of Tibet are an "audible smoky-mirror image" of a perceived domain beyond common hearing and beyond common sight.

The bells used in the presnt album were collected and assembled in the East by the musicians who play them on the album. They have not hesitated to exploit the characteristic Tibetan sound in a way which, though not current amongst Tibetans, is yet thourougly implicit in their instruments and music. There is no sound on the record (with the exception of some whistles) which is not originated by a Tibetan bell.

This album represents several firsts. It is very likely the first time Tibetan bells have been recorded. It is surely the premier album devoted exclusively to the bells of Tibet. It is also the first time Tibetan bells have been recorded as played by Western musicians in a sound entirely of their own devising and invention. In this respect the music is an authentic meeting of East and West.

Note that this is the LP version.

Tracklisting:

Side One

1. Khumbu Ice-Fall {2:16}

2. Rainbow Light {3:23}

3. White Light {1:06}

4. From the Roof of the World You Can See Forever {3:11}

5. Wrathful Deity {4:29}

6. Clear Light {3:56}

Side Two

1. A Choir of Bells {14:30}

(1)

Vancouver Soundscape

* originally posted on February 7, 2007

How about a visit to Vancouver. One of my dreams in life is to someday visit this city in person. It looks like a lovely place, at least on television and in books.

World Soundscape Project - The Vancouver Soundscape 1973

Combining the gentlest of the urban projects, a 1973 survey of Vancouver's soundscape, with the most stylistically varied, a 1996 reprise of the project, this two disc set is a great place to begin tuning your ears toward human soundscapes. The first disc, recorded and released during acoustic ecology's birth in British Columbia, is a loving portrait of city soundmarks. Each track focuses on a certain element of the city's voice: the harbor ambience, the music of horns and whistles, park sounds, etc.; there is no chaos or sense of overwhelm here, but rather a celebration of the sonic beauties and comforts found in daily city sounds. Perhaps this disc is a relic of bygone days, when even cities were a bit more hospitable to our ears and souls. (Earth Ear)


Tracklisting:

1. Ocean Sounds {6:16}

2. Squamish Narrative {5:56}

3. Entrance to the Harbour {7:19}

4. Harbour Ambience {6:38}

5. The Music of Horns and Whistles {3:20}

6. Vancouver Soundmarks {3:58}

7. Homo Ludens - Vancouverites at Play {5:15}

8. The Music of Various City Quarters {8:20}

9. New Year's Eve in Vancouver Harbour {8:32}

10. On Acoustic Design {20:26}

(1)

There was a problem with the file of the track "Squamish Narrative" when this was last available. The file is now fixed as the proper full-length track is now available. This is for those who already downloaded the album and had the defective file.




various artists compilation - Soundscape Vancouver 1996

The second disc includes works by five varied soundscape composers, and reflects both the changes in the actual soundscape of the city, and the expansion of artistic and technological approaches to interpreting the soundscape. The pieces are far more impressionistic, and represent matured interpretations, rather than documentaries, of the city and its ambience. Pieces include a shortened version of an audio documentary on blindness by Darren Copeland, a poetic search for 'the hidden tune' by Sabine Breitsameter, a dreamscape of reflection and concern from Hans Ulrich Werner, a brief immersion into the soundings of horns, bells, and whistles from Barry Truax, and a heavily edited, subtly arranged sequence of city voices by Claude Schryer. Both discs are complemented by lectures that introduce key ideas and reflections about acoustic ecology; the first, a talk by movement leader R. Murray Schafer, the second a comparison of the soundscapes of these two eras by Hildegard Westerkamp and Barry Truax. This set is an ideal place to begin your explorations of the artistic, humanistic, and activist roots of acoustic ecology. (Earth Ear)

Tracklisting:

1. [no artist credited] - Harbour Ambience {4:11}

2. Darren Copeland - Recharting the Senses {8:03}

3. Sabine Breitsameter - The Hidden Tune {14:27}

4. Hans Ulrich Werner - Vanscape Motion {17:17}

5. Barry Truax - Pacific Fanfare {3:07}

6. Claude Schryer - Vancouver Soundscape Revisited: Eagle {1:49}

7. Claude Schryer - Vancouver Soundscape Revisited: Fire {3:57}

8. Claude Schryer - Vancouver Soundscape Revisited: DroneSong {1:26}

9. Claude Schryer - Vancouver Soundscape Revisited: Noise {1:30}

10. Claude Schryer - Vancouver Soundscape Revisited: Walk {0:41}

11. Claude Schryer - Vancouver Soundscape Revisited: Industry {2:10}

12. Claude Schryer - Vancouver Soundscape Revisited: Horn {2:08}

13. Claude Schryer - Vancouver Soundscape Revisited: Beans {2:43}

14. Claude Schryer - Vancouver Soundscape Revisited: Blowin' {1:35}

15. Barry Truax and Hildegard Westerkamp - The Changing Soundscape {11:55}

(1)

Pierre Schaeffer

Pierre Schaeffer - L'Oeuvre Musicale

* originally posted on January 30, 2007

This triple set culls everything you need to hear from Pierre Schaeffer. The "creator" of musique concrète is well known by name, but his reputation supersedes the exposure of his actual works. Yet, everyone interested in electro-acoustic music should listen to them, if only to understand where everything that followed the man's pioneer compositions came from. This edition was put together by Daniel Teruggi, mainly from a previous collection established by François Bayle in 1990 for the composer's 80th anniversary. Disc one contains "The Incunabula," the founding works of the genre most people have heard of but very little had a chance to listen to. "Cinq Études de Bruits" and "Diapason Concertino" sound crude, but are much eloquent about Schaeffer's vision. The 25-minute "Suite pour 14 Instruments," an utterly strange assemblage of diverse musical genres into a concrete suite, is the most articulated work here. Disc two is devoted to Schaeffer and Pierre Henry's collaborations from the early '50s. The star is "Symphonie pour un Homme Seul" (Symphony for a Man Alone), the first classic of the genre. Also included is "Bidule en Ut." Henry's "Écho d'Orphée" rounds up this CD. It is dedicated to Schaeffer and was put together in 1988 from bits and pieces of their collaborative works "Orphée 51" and "Orphée 53." Disc three presents Schaeffer's revisions from the late '50s and later works (late '70s), therefore illustrating the complex relationship the man kept with his creation. The accompanying 80-page booklet contains essays by such luminaries as Michel Chion and Bayle, all translated to English. L'Oeuvre Musicale is an essential item for anyone interested in the historical aspect of musique concrète. (Francois Couture, All-Music Guide)

Tracklisting:

CD1 Les Incunables 1948-1979

1. Cinq etudes de bruits: Etude aux chemins de fer {2:53}

2. Cinq etudes de bruits: Etude aux tourniquets {1:57}

3. Cinq etudes de bruits: Etude violette {3:21}

4. Cinq etudes de bruits: Etude noire {3:58}

5. Cinq etudes de bruits: pathetique {4:07}

6. Diapason Concertino: Allegro {1:20}

7. Diapason Concertino: Andante {2:21}

8. Diapason Concertino: Intermezzo {2:47}

9. Diapason Concertino: Andantino - Final {3:27}

10. Variations sur une flute mexicaine {3:53}

11. Suite pour 14 instruments: Prelude {3:24}

12. Suite pour 14 instruments: Courante/Roucante {6:42}

13. Suite pour 14 instruments: Rigodon {5:35}

14. Suite pour 14 instruments: Vagotte/Gavotte {2:45}

15. Suite pour 14 instruments: Sphoradie {7:06}

16. L'oiseau RAI {2:55}

CD2 Les Oeuvres Communes 1950-1953 and 1988 (w/Pierre Henry)

1. Symphonie pour un homme seul: Prosopopee I {2:57}

2. Symphonie pour un homme seul: Partita {1:11}

3. Symphonie pour un homme seul: Valse {0:56}

4. Symphonie pour un homme seul: Erotica {1:20}

5. Symphonie pour un homme seul: Scherzo {2:32}

6. Symphonie pour un homme seul: Collectif {0:58}

7. Symphonie pour un homme seul: Prosopopee II {1:01}

8. Symphonie pour un homme seul: Eroica {1:53}

9. Symphonie pour un homme seul: Apostrophe {2:23}

10. Symphonie pour un homme seul: Intermezzo {1:58}

11. Symphonie pour un homme seul: Cadence {1:08}

12. Symphonie pour un homme seul: Strette {3:13}

13. Bidule en ut {1:59}

14. Echo d'Orphee, pour P. Schaeffer: D'un sillon l'autre {6:12}

15. Echo d'Orphee, pour P. Schaeffer: Clavecin sarcastique {3:29}

16. Echo d'Orphee, pour P. Schaeffer: Eurydice {2:50}

17. Echo d'Orphee, pour P. Schaeffer: Harpe et violon {1:05}

18. Echo d'Orphee, pour P. Schaeffer: Jazz et plaintes {2:35}

19. Echo d'Orphee, pour P. Schaeffer: Le biguinage {2:59}

20. Echo d'Orphee, pour P. Schaeffer: Premier air, elements {3:54}

21. Echo d'Orphee, pour P. Schaeffer: Divinites du Styx {1:49}

22. Echo d'Orphee, pour P. Schaeffer: Debat {2:00}

23. Echo d'Orphee, pour P. Schaeffer: Les tatons {2:43}

24. Echo d'Orphee, pour P. Schaeffer: L'amour aveugle {1:02}

25. Echo d'Orphee, pour P. Schaeffer: Voix interieures {3:49}

26. Echo d'Orphee, pour P. Schaeffer: Grand air {5:24}

CD3

Les Revisions 1948-1979

1. Quatre etudes de bruits: Etude violette {3:19}

2. Quatre etudes de bruits: Etude aux tourniquets {1:57}

3. Quatre etudes de bruits: Etude aux chemins de fer {3:45}

4. Quatre etudes de bruits: Etude pathetique {3:32}

5. Concertino Diapason: Allegro, andante et intermezzo {2:44}

6. Concertino Diapason: Andantino et final {1:47}

7. Suite 14: Courante, Roucante et Rigodon {2:17}

8. Suite 14: Vagotte {1:48}

9. Suite 14: Sphoradie {5:22}

10. Masquerage {3:50}

11. Les paroles degelees {4:30}

Les Oeuvres Posterieures 1957-1959 & 1975-1979

12. Etude aux allures {3:40}

13. Etude aux sons animes {4:22}

14. Etude aux objets: Objets exposes {3:37}

15. Etude aux objets: Objets etendus {2:57}

16. Etude aux objets: Objets multiplies {3:04}

17. Etude aux objets: Objets lies {3:09}

18. Etude aux objets: Objets rassembles {4:32}

19. Le triedre fertile: Impromptu {3:33}

20. Le triedre fertile: Strette {8:11}

21. Bilude {2:17}

(1) (2) (3)

CDCM Vol. 32

various artists compilation - CDCM Computer Music Series Volume 32

* originally posted on January 22, 2007

From the liner notes:

"CDCM Computer Music Series presents this thirty-second volume in its ongoing series of digital recordings of new, significant computer music compositions. Inaugurated on Centaur Records in 1988, Volumes 1-32 are a recorded repertoire of the best new computer music. The series presents a wide range of styles and mediums with performances by internationally distinguished ensembles and soloists - all produced and engineered with the utmost care and musical integrity."

"CDCM Computer Music Series, Volume 32, presents computer music compositions by five accomplished composers, each awarded the prestigious International Computer Music Association Commission Award, 1997-99."

Tracklisting:

1. Ambrose Field - Expanse Hotel: Storm {3:18}

2. Ambrose Field - Expanse Hotel: Horse Drama {1:42}

3. Ambrose Field - Expanse Hotel: Orient Express {2:25}

4. Ambrose Field - Expanse Hotel: Exotic Beach {2:07}

5. Ambrose Field - Expanse Hotel: Lost Moments {1:56}

6. Natasha Barrett - Microclimate I {17:29}

7. Ludger Bruemmer - Lizard Point {18:58}

8. Pablo Furman - Concerto for Ensemble and Electronic Sounds {13:03}

9. Paul Koonce - Breath and the Machine {13:22}

(1)

Tombeau de Messiaen...

Jonathan Harvey - Tombeau de Messiaen...

* originally posted on January 16, 2007

Jonathan Harvey can be thought of as an English Stockhausen: he is perhaps best known for integrating electronically generated sound with live music in the service of a mystical outlook with many (especially non-Western) philosophical influences. However, Harvey's large output also contains many accessible choral pieces and acoustic avant-garde works for orchestra or chamber ensemble. While a student at Cambridge, Harvey studied composition privately with Erwin Stein and Hans Keller (following the advice of Benjamin Britten), from whom he learned the basics of serial technique. In 1966, Harvey had a 'Stockhausen conversion,' and the German composer's alternately complex and simple textures had an immediate influence on him, most apparently in the instrumental pieces written from the late-'60s through the 1970s, such as Quantumplation (1973) for chamber ensemble. Harvey spent much of the 1980s at IRCAM, the new-music research center in Paris under the direction of Pierre Boulez. In the first compositional result of this period, Mortuos plango, vivos voco (1980), Harvey combined the sound of his son's singing with that of a bell at Winchester Cathedral, with an effect similar to that of Stockhausen's Gesang der Jünglinge. Another important IRCAM composition was Ritual Melodies (1990) for tape, in which Harvey continually transforms synthesized instrumental and vocal sounds and their associated melodies. Harvey has taught in various English and American universities, and in 1995 began teaching composition at Stanford University in California. (David McCarthy, All Music Guide)

Tracklisting:

1. Tombeau de Messiaen {8:44}

2. Mortuos Plango, Vivos Voco {9:08}

3. 4 Images After Yeats I {0:47}

4. 4 Images After Yeats II {2:08}

5. 4 Images After Yeats III {2:21}

6. 4 Images After Yeats IV {16:17}

7. Ritual Melodies {13:31}

(1)

Newfoundland

AMM - Newfoundland

* originally posted on January 5, 2007

Since its inception in 1966, the cooperative group AMM has been uncompromising in its commitment to freely improvised music. Often, especially early in its existence, this resulted in a harsh, aggressive sound field, one that even the most inquisitive newcomer might have difficulty approaching. By the mid-'80s, perhaps due to the mellowing that comes with age or the addition of pianist John Tilbury, AMM's music took a turn toward the quieter, more contemplative music evidenced on this release. In fact, Newfoundland, in addition to being one of their finest albums, is also one of the easiest entries not only into AMM, but into electro-acoustic improvisation in general. For this live recording, AMM consists of its founding members, Keith Rowe (guitar and electronics) and Eddie Prevost (percussion), in addition to Tilbury. The disc is a single, 77-minute piece in which the group constructs a breathing, evolving sonic space, ranging from the quietest whispers of softly brushed cymbals to raging electronic maelstroms, all sounding unforced and flowing. Tilbury, well known as one of the world's finest interpreters of Morton Feldman, inserts surprisingly melodic fragments into the proceedings, leavening the more severe sounds emanating from Rowe's guitar (which never sounds like a guitar) and Prevost's percussion arsenal. When, late in the piece, Rowe tunes in a radio program, it somehow sounds perfectly appropriate; it is the exact accent needed at that point. While this recording is a must for fans of AMM or freely improvised music in general, it is also one of the best possible introductions to the genre. (Brian Olewnick, All Music Guide)

Tracklisting:

1. Newfoundland {76:46}

(1)

Thousand Year Dreaming

Annea Lockwood - Thousand Year Dreaming

* originally posted on December 26, 2006

Thousand Year Dreaming was inspired by the Paleolithic cave paintings discovered in Lascaux, France. Lockwood mentions in the liner notes of this recording that these cave paintings are somehow connected with the resonant pulsing of the didjeridu. She believes the didjeridu is comparable to the sound of the Earth's core pulsing and that it is an expression of the life force. The piece was written mainly with didjeridus, blown conch shells, and percussion with other instruments added to the mix.

Musicians:

Art Baron - conch shell, trombone, didjeridu

Libby Van Cleve - oboe, english horn

Jon Gibson - didjeridu

Annea Lockwood - voice

J.D. Parran - clarinet, contrabass clarinet

Michael Pugliese - tam-tam, clapping sticks

Scott Robinson - conch shell, frame drums, pod rattle, tam-tam, superball harmonics

John Snyder - didjeridu, waterphone

Charles Wood - tam-tam, stones

Peter Zummo - trombone, didjeridu

Annea Lockwood was born in 1939 in Christchurch, New Zealand where she received her early training as a composer. She did graduate studies in composition at the Royal College of Music in London, the Darmstadt Ferienkurs fur Neue Musik, the Musikhochschule, Cologne, Germany and in Holland. Returning to London in 1964, she freelanced as a composer-performer in Britain and other European countries until moving to the USA in 1973. There she continued to free-lance and teach and is now on the faculty of Vassar College, NY.

During the 1960s she collaborated frequently with sound-poets, choreographers and visual artists, and created a number of works which she herself performed, such as the Glass Concert (1967), later published in Source: Music of the Avant-Garde, and recorded on Tangent Records, then on What Next CDs. In this work a variety of complex sounds were drawn from industrial glass shards and glass tubing, and presented as an audio-visual theater piece. In synchronous homage to Christian Barnard’s pioneering heart transplants, Lockwood created the Piano TranspIants (1969-72), in which old, defunct pianos were variously burned, “drowned” in a shallow pond in Amarillo, Texas, and partially buried in an English garden.During the 1970s and ’80s she turned her attention to performance works focused on environmental sounds, life-narratives and performance works using low-tech devices such as her Sound Ball (a foam-covered ball containing 6 small speakers and a radio receiver, originally designed to “put sound into the hands of” dancers). World Rhythms (l975), Conversations with the Ancestors (1979, based on the life stories of four women over 80), A Sound Map of the Hudson River (l982), Delta Run (1982, built around a conversation she recorded with the sculptor Walter Wincha, who was close to death), and the surreal Three Short Stories and an Apotheosis (l985, using the Sound Ball) were widely presented in the US, Europe and in New Zealand.

She turned to writing for acoustic instruments and voices, sometimes incorporating electronics and visual elements, in the 1990s. Thousand Year Dreaming (1991) is scored for four didgeridus and other instruments and incorporates slides of the cave paintings at Lascaux; Ear-Walking Woman(1996), for pianist Lois Svard, invites the pianist to discover a range of sounds available inside the instrument, using rocks, bubble-wrap, bowl gongs and other implements. (bio somewhere on the net)

Tracklisting:

1. Thousand Year Dreaming {42:58}

(1)

Musiques Naïves

Yves Daoust - Musiques naïves

* originally posted on December 21, 2006

"Daoust has a febrile imagination. Nothing stays still for long in these electronic works which fuse samples of recognizable sounds with state-of-the-art digital processing and recomposition. He's been making music this way for twenty years, and his depth of experience shows in his expert handling of such delicate issues as stereo panning -- sounds constantly move around the field, but with a subtlety that prevents them from ever merely ping-ponging back and forth.

The disk begins with a filleting of a piece by Chopin, recorded in its entirety by the composer and completely re-wired in software. While the postmodern referentially of the approach is certainly not ignored, Daoust creates something quite alien to Chopin's melodic conception, sending notes bouncing off one another like hyperstimulated atoms and occasionally allowing them to accumulate into vast microtonal dissonance.

'Il Etait Une Fois,' on the other hand, supposedly conjures up the images of bedtime stories he liked to tell his daughter. Perhaps they gave her nightmares. Certainly the combination of children's voices, harsh timbre and squealing rubber toys terrified this listener. Atmospheric in the extreme but not for the faint-hearted. It's followed by the all-too-brief 'Mi Bemol,' a study in percussive tones (sounding like xylophone or marimba samples) which ricochet off one another with jaw-dropping speed and agility, accompanied by spoken word samples and other concrete bits.'Resonances' uses the bells of Notre Dame (the one in Montreal and not Victor Hugo's) for its sound-source; a little grating but a sound he clearly likes. High-speed manipulations skid this way and that, always taking the listener by surprise.

This is a disk full of fascinating and well-realized works. It's not just for musique concrete fans; indeed, it's probably rather too conventionally musical for their often ascetic tastes. Far from being compilations of 'real' sounds, these are musical constructions in the most conventional of senses; if they happen to also be imaginative and stimulating, to refer to the non-musical auditory world and to seem to tell a story, then so much the better." (Richard Cochrane, Hollow Ear)

Tracklisting:

1. Impromptu {10:13}

2. Il Était une Fois... (Conte Sans Paroles) {15:48}

3. Mi Bémol {3:01}

4. Résonances {10:43}

5. Water Music {13:02}

6. Fantaisie {14:00}

(1) (2)

Head

Head - Head

* originally posted on December 14, 2006

Write-up by muse1453:

Here is another LP from the pile that I bought at that library sale I've been mentioning. This album was composed and produced by someone named Nic Raicevic who also credits himself as Art in Space. Head was released on Buddah Records. According to the blog, Dinosaur Gardens, this would be the only release by Nic on Buddah. Nic released a few albums afterwards on his own label. On the back cover, there are liner notes that say this (I guess it's supposed to be a poem of some sort):

The sound of numbers

for soaking in soft dreams

Sweet moments and private notes

making a rhyme

into a habit.

An album that creates

the ultimate environment

for the smoke generation

Taste it.

I believe that Head is supposed to be mood music for um, certain situations if one looks at the track titles and the liner notes above.

Credits: Composer & Producer: Nik Raicevic

Electronic music from Art in Space

Recorded at: Gold Star Studio in Hollywood

Engineer: Doc

Moog Synthesizer played by: 107-34-8933

Tracklisting:

Side A

1. Cannabis Sativa {17:11}

Side B

1. Methedrine {5:46}

2. Lysergic Acid Diethylamide {7:43}

(1)

Dinosaur Gardens has more information about Nik Raicevic along with another album by him called The Sixth Ear.

The Exotic Sounds of Bali

Gamelan GongSekar Anjar and Gendèr Wajang - The Exotic Sounds of Bali

* originally posted on December 7, 2006

Write-up by muse1453:

"The Exotic Sounds of Bali" is a terrific record from the pile of records that I bought at the library sale back in September. It prominently features the Balinese gamelan music that I assume is the most familiar form of Indonesian music with people outside of Indonesia. At the moment, I don't have much time to write more, but no doubt the liner notes that are included in the file will be helpful.

Tracklisting:

Side 1

1. Baris-Bapan {2:32}

2. Sekar Sungsang {3:43}

3. Tabuh Teluh {7:22}

4. Rébong {4:32}

5. Légong {4:53}

Side 2

1. Lagu Délem {1:32}

2. Selir {3:19}

3. Pemungkah {3:23}

4. Gendèran-Kebyar-Pandji Semeran {14:18}

(1)

Mouvances - Métaphores

* originally posted on November 21, 2006

Francis Dhomont - Cycle de l'errance (Mouvances - Métaphores 1)

Mouvances~Métaphores was first released in 1991, but has long been out of stock. empreintes DIGITALes / DIFFUSION i MéDIA has released a second edition of this double-CD set. Completed between 1982 and 1989, this work contains two large cycles, Cycle de l’errance and Les dérives du signe. The new edition includes some remixing and a complete repackaging; the discs are now sold separately rather than together, and the original booklet, which ran to over 200 pages, has been divided between the two, with the lengthy, but by now outdated, tribute celebrating Francis Dhomont’s 65th birthday relegated to the status of collector’s item.Cycle de l’errance [Cycle of Wanderings] evokes in a highly poetic way the idea of departure, of travel — real or imagined — and the existential sadness associated with it. Three works make up this cycle: Points de fuite (Vanishing Points), 1981 … Mourir un peu (… dying a little), 1984; and Espace/Escape (a bilingual anagram, “espace” meaning “space”), 1989. Here, Mr Dhomont was in part inspired by his own experiences, as witnessed by his program note: 'wandering both in its proper and figurative meanings — movement, change, mobility, roving dreams upheaval, and revivals—all weave the very material of my life." (Stéphane Roy, Computer Music Journal)

Tracklisting:

1. Points de Fuite {12:29}

2. ... Mourir un Peu (movement 1: Marime) {2:06}

3. ... Mourir un Peu (movement 2: Cartographi liminaire) {3:38}

4. ... Mourir un Peu (movement 3: Un certain embarquement) {5:30}

5. ... Mourir un Peu (movement 4: Theme de la fuite) {9:00}

6. ... Mourir un Peu (movement 5: Transfert I) {6:31}

7. ... Mourir un Peu (movement 6: En abime) {5:13}

8. ... Mourir un Peu (movement 7: Transfert II) {4:15}

9. ... Mourir un Peu (movement 8: Palimpseste) {3:28}

10. ... Mourir un Peu (movement 9: Il ritorno) {5:15}

11. Espace/Escape {19:23}

(1)


Francis Dhomont - Les dérives du signe (Mouvances - Métaphores 2)

The other cycle, Les dérives du signe [The Drift of the Sign], includes four works: Novars, 1989; Chiaroscuro, 1987; Météores (Meteors), 1989; and Signé Dionysos (Signed Dionysus), 1986, rev. 1991. These pieces make subtle play on the ambiguity generated by shifts in meaning. We find here misappropriations of pre-existing musical sources in Novars and Chiaroscuro, the synaesthetic transfer of the sensations of speed and kinetic energy in the morphological shapes of the sound materials in Météores and the clouding of the paths that lead from natural sounds to novel, artificial sounds in Signé Dionysos. (Stéphane Roy, Computer Music Journal)

Tracklisting:

1. Novars {19:13}

2. Chiaroscuro {17:36}

3. Météores {12:49}

4. Signé Dionysos {28:21}

(1)

The Nude Paper Sermon

Eric Salzman - The Nude Paper Sermon

* originally posted on November 16, 2006

Write-up by muse1453: A few weeks ago, I shopped for records and books here at the annual friends of the library sale. I was there on a Friday evening which was restricted to those who had paid membership dues to the friends of the library organization. The sale opened to the public on the following Saturday morning. I'm not a member, but luckily I have a friend who is and she let me accompany her since her husband was working that evening. The staff thought I was part of her family as she paid for a family membership. This worked out well for me since I got first dibs on the selections available. I think I did pretty well by buying 20 records that evening. The records cost a dollar each, and I managed to spend all 20 dollars I had at the moment. I had to wait until the next day to withdraw more money and buy some books. Anyway, I scored quite a few records including this one posted. There will be a few more records from the bundle in future posts.

Billed as tropes for actor, renaissance consort, chorus, and electronics, The Nude Paper Sermon is a conceptual audio theatre piece commissioned by Nonesuch Records in 1968. It features Stacy Keach, an actor known mainly by his starring role as Mike Hammer in the TV series of the same name. The piece revolves around texts from John Ashbery's "Three Madrigals" and "The Nude Paper Sermon" written by Steven Wade. According to the liner notes, "The Nude Paper Sermon is about the end of the Renaissance - the end of an era and the beginning of another. Therefore, it is about old and new means of communication, about verbal and non-verbal sound, about the familiar and the unknown, about human activity and the new technologies. It is not a 'neo-classic' work nor is it a collage; rather it is 'post-modern music, post-modern art, post-style,' a multi-layer sound drama that is itself an example of the kinds of experience which it interprets and expresses: the transformation of values and tradition through the impact of the new technologies."

The liner notes claim that The Nude Paper Sermon is "the first 'total' work to be shaped on, by, and through the medium of modern recording; the record is not a reproduction of anything at all but is the work itself. Like a print or film, it has been created to be duplicated in multiple copies."

The entire liner notes explain this interesting recording in more detail and are included in the file.

Tracklisting:

Side One

1. The Nude Paper Sermon [part 1] {20:56}

Side Two

1. The Nude Paper Sermon [part 2] {22:39}

(1)

Son Vitesse-Lumiere

Francois Bayle - Son Vitesse-Lumiere

* originally posted on November 9, 2006

Son Vitesse-Lumiere (Sound Speed-Light) is a two-CD set where the first and second CDs are Volume 9 and Volume 10 respectively of the Cycle Bayle series of Bayle's complete works. There appears to have been 18 volumes released so far.

From CDemusic:"A major work by Francois Bayle, 'Son Vitesse-Lumiere' ('SoundSpeed-Light') was composed in parts during a period of several years. Of 'Grandeur Nature' (1980), Bayle writes, "Imagine an 'object' that is coming to 'visit' us from many light years away ..." Of 'Paysage, Personnage, Nuage' (1980), "It comes in snatches, like interference on a radio. The scene continues ..." Of 'Voyage au Centre de la Tete' (1981), "The object moves inside us ..." Of 'Le Sommeil d'Euclide' (1983), "This piece describes orbs, spiral steps,intertwined parallels ..." Of 'Lumiere Ralentie' (1983), "The 'object' hasbecome wind ..." In summary, Bayle's sense of sound is in fact a sense of activity, of the way things happen, and his music moves us along his poetically constructed paths. This is a two-CD set with excellent documentation."

EDIT: Check my last comment in the comments section for more information.

Tracklisting:

CD1

1. Grandeur nature (1) {18:17}

2. Grandeur nature (2) {13:47}

3. Paysage, personnage, nuage (1) {10:20}

4. Paysage, personnage, nuage (2) {7:16}

5. Paysage, personnage, nuage (3) {6:25}

CD2

1. Voyage au centre de la tete (1) {8:10}

2. Voyage au centre de la tete (2) {6:34}

3. Voyage au centre de la tete (3) {2:02}

4. Voyage au centre de la tete (4) {3:55}

5. Le sommeil d'Euclide (1) {4:12}

6. Le sommeil d'Euclide (2) {3:41}

7. Le sommeil d'Euclide (3) {1:27}

8. Le sommeil d'Euclide (4) {5:59}

9. Le sommeil d'Euclide (5) {5:30}

10. Lumiere ralentie (1) {12:55}

11. Lumiere ralentie (2) {5:35}

12. Lumiere ralentie (3) {3:09}