|Traces Three (June 24, 2014)|
VA — Traces Three
Location: Ljubljana, Slovenia ~ Nadkole upon Liwiec, Poland ~ Austrian label
Album release: June 24, 2014
Record Label: Recollection GRM
01 Ruptures — Charles Clapaud 15:38
02 Hypnos.flac — Janez Matičič 8:30
03 Impresiones Fugitivas — Servio Tulio Marin 8:48
04 Moulin Diabolique — Eugeniusz Rudnik 17:11
♦ Cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2014
♦ Digital Transfer: Jonathan Fitoussi, Christophe Jolibois
♦ Translations: Valérie Vivancos
♦ Layout: Stephen O'Malley
♦ Coordination GRM: Christian Zanési & François Bonnet
♦ Executive Production: Peter Rehberg
© 2015 Editions MEGO.
♦ Janez Matičič (born 3 June 1926) is a Slovenian composer and pianist. He also taught music for a number of years. Since 2007 he is a regular member of the Slovenian Academy of Sciences and Arts.
♦ Matičič was born in Ljubljana. He graduated in composition from the Ljubljana Academy of Music in 1950 and conducting in 1951. From 1959 to 1961 he studied in Paris with Nadia Boulanger. From 1959 to 1975 he collaborated with the Groupe de Recherches Musicales that experimented with electroacoustic music under the direction of Pierre Schaeffer.
♦ Among Matičič' most works are his two concerts for piano and orchestra, concerto for cello and orchestra, and especially the pieces created in a modernist and experimental mode. In 2007 he received the Prešeren Award for his lifetime achievement in music.
♦ His sister Nada Matičič is a writer.
Born: 28 October 1932
Characteristics of work:
♦ Rudnik works can be divided into two categories; autonomous electroacoustic music and works known as "ars acustica". In both the composer uses electronic material, electronic processed concrete material with varying degrees of recognition of the source. The composer often uses collage method, making it a primary means of expression. Music genre "ars acustica" oscillate between the type of radio drama and music programs. Nadkole.
Words: Bill Meyer
♦ Things don’t get much more binary than before and after, and the advent of digital technology has imposed a replication of its essence upon the development of electronic music. Look beforehand and you will find one–of–a–kind inventions, labor–intensive creations, artists depending on institutions for access to extremely expensive gear, and, of course, a sound world shaped by analog storage and conduit. Look afterwards and you find cheaper and easier means enabled by mass–produced machinery, and embedded in every second of every sound is that influence of everything being reduced to zeroes and ones.
♦ But the breaks didn’t start there. The music on Traces Three, the latest in a series of vinyl–only archival compilations released by the Mego sub–label Recollection GRM, is both the product and the expression of social divisions and explorations of sonic disjuncture have been part of electronic music from the beginning. The Groupe de Recherches Musicales is a French institution founded in 1958 after a posse of electronic music–makers aligned with Pierre Schaeffer split from Pierre Henry’s Groupe de Recherches de Musique Concrète. The GRM is still around, providing a supportive structure for people to research and manufacture esoteric sound, and tending to the propagation of their efforts. The four tracks on this LP date from 1975–79, and none of the artists are big names in the field; according to the liner notes, not all of them have even been released on a record before (some GRM–sponsored music has been presented to the public in concert, but never placed on record). But each is a well–realized expression of ideas that were worked out over time; in the pre–digital age, you didn’t just roll a smoke, turn on the computer, and make a new track between dinner and bedtime. It could take months to make a minute of sound, so it makes sense that the music that came out of such effort tended to be framed by and expressive of a lot of thought.
♦ Charles Clapaud’s “Ruptures” is all about breaking things. Sound breaks silence, action disrupts stasis, and motion messes with perception. It’s hard to tell what Clapaud’s principal sound elements are, but at a guess I’d say the piece is mostly made from sped–up tape and looped orchestral sounds. Early on, stuttering, high pitches flit past in Doppler fashion, fading to near silence and then surging up again. They accumulate in a flock and hover over a big cloudy mass, but then a big blast that sounds like a foghorn stomps through the action like a big boot and the music has to reconstitute itself.
♦ Janez Matičič’s “Hypnos” is less dramatic. It consists of repeated passes through a similar pattern of wavering tones, each tweaked so that it develops slightly differently. This isn’t about sound breaking so much as taking a break and staying within one perceptual state long enough for it to give up a series of secrets. “Impresiones Fugitavas” is much more changeable, but still presents a kind of unity. Throughout its various events, some furtive, some massively magnified, Servio Tulio Marin imparts the experience of sound as a thing that can be felt, molded, and re–textured.
♦ The final inclusion, Eugeniusz Rudnik’s “Moulin Diabolique,” sounds less overtly electronic than the other pieces, although you can still hear the influence of technologically enabled manipulation and distortion all over the place. Rudnik assembled it from the sounds of soldiers giving and carrying out orders, which he has transformed into deeply disturbing movements separated by degraded sonances and eerie near–silences. He seems determined to break his material, or perhaps break with its original intentions; if imposed order leads to the nightmare of war, this piece seems to suggest, then order itself must be frustrated. ♦ http://dustedmagazine.tumblr.com/
♦ Another impeccable collectors item from Recollection GRM –
♦ Just under an hour of crucial electronics from between 1975 and 1979 the main idea behind the Traces series is to excavate short, forgotten or ignored pieces of music from the GRM Archives.
♦ This third volume, gathering pieces from before 1980, features the works of four composers from very different geographical and musical backgrounds. In addition to echoing the extraordinary vitality of musical experiments from a bygone era, Traces aims to give some audibility to music pieces which, in some instances, are being released for the very first time.
« Ruptures » (1978)
♦ The idea of the break (rupture) as a disruptive phenomenon should be integrated into discourses and perceived musically: to break the silence, a matter, shapes, plans…
♦ In this musical piece, two main parts can clearly be identified: In the first part, the chaotic activity of the sound material (crumbled, fragmented, discontinuous forms) blossoms into a static burst. A sustained deep tone settles within a sort of “Cadence” and highlights a solo sequence of discontinuous sound “lines”. The entire sound spectrum then erupts, abruptly interrupted by three loud blasts.
♦ In the second part, the fragmented form unfolds as a whole initial sequence, followed by a second one where other forms overlap in a kind of sound collage that induce emergence phenomena. The piece ends as a sharp break.
« Hypnos (extrait de Trois Visions) » (1975)
♦ This non–progressive piece is composed of several sequences, each introducing an additional element and ending with a twist. A quiet swaying from one framework to the next constantly defines the sound quality of the piece, just like blurry visions tantalize the dreamer one after another.
« Impresiones Fugitivas » (1976)
♦ This piece is based on the process of sound as a solid material. The shape and height of a concrete, granular texture (very similar to white noise) are being transformed. Whilst still unfolding, this process is being interrupted at several stages by various interfering elements with opposite natures. This gives rise to a complex dialogue between distinct materials, like a counterpoint expressed through sound spatialization.
« Moulin Diabolique » (1979)
♦ The work consists of six sequences which all possess a dramatic, musical and architectonic sense independent from the context.Their position in the composition as a whole — apart from sequences 2 and 6 — is not derived from any absolute necessity.The basic material of this work consists of military orders given in different languages and of the sounds (voices) of a human group (soldiers). These — assuming the order implies a constraint — can either be the single answer to such a constraint or they can accompany it.Through editing, the sense of military discipline was removed from the ordering sentences, thus enhancing the grotesque and terrible content of the order itself. [ … ]
♦ The possibility of identifying the sound sources (speech = order with its semantic, semiotic and associated values), the formal structure of the composition is to remind the listener of the constant presence by his side of the Evil Mill (Moulin Diabolique) of war. A mill that has been turning on and on for thousands of years — and for how much longer? I dedicated this work to my daughter Kamila Maria . (E.R.)”
♦ Another impeccably presented and curated collection of electronic history, beautifully packaged and remastered for vinyl.
A collectors item. ♦ https://rwdfwd.com/products/va-traces-three/
Phil Freeman ♦ http://burningambulance.com/2014/06/20/traces-three/
Music on the head: http://www.musiconthehead.pl/2012/02/eugeniusz-rudnik-studio-eksperymentalne.html
Derek Senn — How Could a Man
Peter Cat Recording Co.
ALBUM COVERS X.
Za Zelenou liškou 140 00 Praha 4, CZE