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Úvodní stránka » RECORDS » Éliane Radigue
Éliane Radigue — Opus 17

 Éliane Radigue — Opus 17

FRA Flag              Éliane Radigue — Opus 17
→   Electronic composer Eliane Radigue has created lovely, meditative works based on Tibetan Buddhism using tape and an Arp synthesizer.
Born: January 24, 1932 in Paris, France
Album release: January 21, 2014
Format: 2 LP
Catalog #: ALGA 045LP
Record Label: Agha Marghen
Duration:     89:40
A1 Étude     19:02 
B1 Maquette     11:18 
B2 Epure     15:05 
C1 Safari     21:54 
D1 Number 17     22:21
→   ‘Opus 17’ is available over at Boomkat and Volcanic Tongue and various other retailers.
→   Deluxe edition of previously unheard material from Eliane Radigue circa 1970 — presented in a gorgeous Gatefold sleeve with printed inners and extensive liner notes — Edition of 400 copies** Alga Marghen present this vinyl-only first release of Eliane Radigue's pivotal, previously unreleased 'Opus17' — her last work made with feedback material. It's one of the strongest, if not definitive, examples of Radigue's tactile and meditative approach to composition, an engrossing, intuitive refinement of the techniques and practice she honed over prior years at RTF's Studio d'essai under the guidance of Pierre Schaeffer and Pierre Henry's Studio Apsome, and later at the New York University School of the Arts. Created at the Fête en blanc — White Festival — in Verderonne on May 23, 1970, 'Opus17' breaks down to five pieces making up a mesmerising voyage to the heart of the drone. Using various early tape techniques, Eliane meticulously, imperceptibly peels the source samples in a discreet microcosmos of morphing, moebius-like loops and shimmering overtones, rendering their vibrational energy and unique accents with a poetic, dreamlike quality. It opens with a relative shock in the 19 minute self-portrait of 'Etude', where she gradually transforms a looped passage of Frederick Chopin into an opiated, howling ghost of itself using practically identical microphone and tape feedback procedures to those on Alvin Lucier's 'I Am Sitting In A Room' (although it should be noted that she wasn't aware of this at the time), whilst 'the shorter 'Maquette' applies the same technique using a part of Wagner's 'Parsifal', but this time with the sample subtracted leaving only a spectral trace of grandeur. Following this, we're floored by the roiling pulsations of 'Epure' — a sort of rudimentary pre-cognition of industrial and minimal techno building palpitating throbs into a dense yet delicate and ferric-rich flux, sharing rhythmic similarities with the aptly titled trip of 'Safari', where elliptic bass patterns melt and congeal in morphing shapes and curdled overtones with an alien, otherworldly quality presaging the like of Rashad Becker. Yet, the ultimate exposition of Eliane's time-dilating technique is found in the 22 and a half minute panoramic excursion 'Number 17', examining her sonic phenomena at microscopic level, homing in and expanding on its globular bass shapes and radiant harmonics. Even by Radigue's standards, this is a breathtaking and beguiling body of work, opening up whole worlds of sound from so very, very little.
→   Éliane Radigue, an electronic and musique concrete composer who studied electroacoustic techniques in Paris under the guidance of Schaeffer and Henry, is perhaps most notably known for her lengthy relationship with the ARP 2500 modular synthesizer and association with Mimi Johnsons Lovely Music Ltd label. Around 1970 she began to experiment with synthesizer-based music at New York University in a studio space which she shared with Laurie Spiegel (of recently reissued ‘The Expanding Universe’ fame). The synthesizer the pair used was a Buchla synth installed by Morton Subotnick (co-founder of the San Francisco Tape Music Center). Shortly after her 1974 performance of ‘Adnos’ at Mills College, SF, Radigue began to adopt practices and elements of Tibetan Buddhism, taking a 3 year break from musical pursuits in order to devote herself to the religion. In 1979 she completed Adnos II and in 1980 Adnos III. →   However, it is her three hour long epic ‘Trilogie de la Mort’, which is heavily influenced by the idea of the six states of consciousness and the Tibetan Book of the →   Dead, that is perhaps her most widely recognised and most accomplished work.
Italian archival label Alga Marghen, who specialise in ‘experimental historical obscurites, obscure outsiders, and twentieth-century composition’, have just released a double pack gatefold LP of Radigues ‘Opus 17’. Originally completed in 1970 and concluding her ‘feedback works’ series, ‘Opus 17’ is an exploration into the interesting world of feedback drones and classical decomposition. Utilising a technique extremely similar to Alvin Luciers masterpiece ‘I Am Sitting In A Room’, Radigue set about feeding fragments of Chopin and Wagner pieces via speaker systems into a large room with contact microphones recording the audio, tape manipulation was then used to loop and layer these captured sounds — culminating in a unique and engaging listening experience (and also pre-dating ‘I Am Sitting In A Room’ by a full decade) (Fortaken: http://www.norepress.com/)
→   Edition of 400 copies in gatefold sleeve
Representative creations:
→   Chry-ptus New York Cultural Art Center, 1971
→   7th Birth New York, 1972
→   Geelriandre Théatre de la Musique, Paris, 1972
→   Phi 847 The Kitchen, New York, 1973
→   Arthesis Theater Vanguard, Los Angeles, 1973
→   Biogenesis and Transamorem Transmortem The Kitchen, New York, 6 March 1974
→   Adnos Festival d'Automne, Paris, 1974
→   7 petites pieeces pour un Labyrinthe Sonore GERM, Paris, 1975
→   Adnos II Mills College, Oakland, 1980
→   Adnos III, Prélude a Milarepa, Experimental Intermedia Foundation, New York, 1982
→   5 Songs of Milarepa San Francisco Art Institute, 1984
→   Jetsun Mila, Vie de Milarepa, GERM, Paris, 1986
→   Kyema New Langton Arts, San Francisco, 1988
→   Kailasha Experimental Intermedia Foundation, New York, 1991
→   Koume Mamac, Festival MANCA, Nice, 1993
→   The last three works constitute the 3 parts of the Trilogie de la Mort.
→   Elemental II Festival Cités soniques, CCmix, January 2004
→   Naldjorlak Tenri Cultural Institute, New York, December 2005
→   E = A = B = A + B (2 x 7" limited edition) (Galerie Yvon Lambert, 1969, taken up by Povertech Industries, 2000)
→   Songs of Milarepa (single disc) (Lovely Music, 1983)
→   Jetsun Mila (Lovely Music, 1987)
→   Kyema, Intermediate States (Experimental Intermedia, 1992)
→   Mila's Journey Inspired by a Dream (Lovely Music, 1992)
→   Biogenesis (Metamkine, 1996)
→   Trilogie de la Mort (Experimental Intermedia, 1998)
→   Songs of Milarepa (two discs) (Lovely Music, 1998)
→   Adnos I-III (Table of the Elements, 2002)
→   Geelriandre / Arthesis (Fringes Archive, 2003)
→   Elemental II (Records of Sleaze Art, 2004)
→   L'île re-sonante (Shiiin, 2005)
→   Chry-ptus (Schoolmap, 2007)
→   Naldjorlak for Charles Curtis, (Shiiin, 2008)
→   Tryptych (Important, 2009)
→   Vice Versa, etc. (Important, 2009)
→   Jouet Electronique / Elemental I (Alma Marghen, 2010)
→   Transamorem / Transmortem (Important, 2011)
→   Feedback Works 1969-1970 (Alma Marghen, 2012)
→   "? 847" (Oral, 2013)
•   The triple -CD Trilogie de la Mort includes Kyema, Kailasha and Koume. The two disc Songs of Milarepa includes Mila's Journey Inspired by a Dream .
INTERVIEW: http://artweeters.com/frieze/2905
Website: http://www.lovely.com/bios/radigue.html
Forced Exposure: http://www.forcedexposure.com/new/2014jan2.html
Boomkat: http://boomkat.com/vinyl/893253-eliane-radigue-opus-17-gatefold-double-lp
•   En musique classique, une étude est, à l'origine, une pièce destinée à améliorer certains aspects techniques d'un élève ou d'un interprète. Toutefois, certaines études — comme celles de Frédéric Chopin pour le piano, ou d'Heitor Villa-Lobos pour la guitare — sont de véritables pièces de concert dont les difficultés n'atténuent pas la valeur artistique.
•   Les études sont souvent regroupées dans des recueils, en général au nombre de 12 ou de 24 (une par tonalité, comme les préludes, les caprices...) en clin-d'œil au Clavier bien tempéré de Johann Sebastian Bach.
•   An étude is an instrumental musical composition, usually short, of considerable difficulty, and designed to provide practice material for perfecting a particular musical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano. Of the vast number of études from that era some are still used as teaching material (particularly pieces by Carl Czerny and Muzio Clementi), and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place in today's concert repertory. Études written in the 20th century include those related to traditional ones (György Ligeti), those that require wholly unorthodox technique (John Cage), and ones that are unusually easy to play.
•   Etuda (z francouzského étude, učení, cvičení) je drobná hudební skladba pro jeden nástroj, sloužící k výuce instrumentalisty. Jejím cílem tedy není sdělit nějakou výraznější hudební myšlenku, ale představuje především způsob, jak pomoci žáku osvojit si techniku hry. Proto jsou etudy pro studenty všech typů hudebních škol velmi málo oblíbené.
•   Pro houslisty jsou v tomto směru nejznámějšími skladbičky Jacquese Mazase nebo českého houslového učitele Otakara Ševčíka, klavíristé znají velmi dobře etudy vídeňského učitele a skladatele Carla Czerného.
•   Specifický druh etud jsou takzvané koncertní etudy, jejichž cílem je kromě tréninku techniky také koncertní představení. Mezi nejvýznamnější koncertní etudy pro klavír patří díla Fryderyka Chopina (op. 10, op. 25, 3 posthumní etudy), Ference Liszta (12 transcendentálních etud, 6 Paganiniho etud), 2 koncertní etudy (Šumění lesa, Rej skřítků), 3 koncertní etudy).

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