Xenakis Ensemble

“Many of the ideas in this collection have now been so completely assimilated into popular listening that it may sometimes be hard to remember how surprising it all was on first outing. Some of it still sounds pretty exotic. These CDs are important as part of the story of how we got to where we are now—the cultural conversation so far—and as a still fruitful repertoire of future possibilities.”

from the Foreword by Brian Eno

The core group consisted of Franco Evangelisti, Ennio Morricone (yes, that Morricone), Roland Kayn, Mario Bertoncini, Ivan Vandor, and John Heineman. Usually mentioned in the same breath as another great electro-acoustic improvising ensemble, AMM, who were navigating similar terrain to that of the GINC, each member brought their own composing and improvising sensibility to bear on a collective effort that is never less than totally engaging. They performed a totally unique melange of free improvisation, with white noise, analog electronics, extended technique, and a knowledge of composition that encompassed centuries worth of developments, from the Renaissance on up to the latest innovations of Stockhausen, Cage, or Xenakis. This DVD features a 45-minute-long black and white film of a performance given by the group at the Gallery of Modern Art in Rome in 1967. [MK] (Reissued 2006)

Rohan de Saram releases an album featuring the premiere recordings of works whch were both written for and premiered by the virtuoso cellist. Showcasing works by Richard Drakeford, Hilda Paredes, David Matthews and, the collection follows on from an earlier release [FHR49] and is devoted to works that were written for and were premiered by Rohan de Saram, his championing of new and unfamiliar music having been a hallmark of a career which now stretches back across six decades. A repertoire that is as extensive as it is varied in overall range, encompassing as this does many of those stylistic traits that have emerged during the post-war era and which here eschew the mutual exclusiveness that has too often proved an obstacle to the reception of contemporary music. A vindication, if such were necessary, of Rohan de Saram’s advocacy.

Conductor and pianist James Levine is one of the powerhouse figures of the classical music scene today. As a child he undertook both piano and violin; he was so accomplished on the violin that at the age of ten he played Mendelssohn's second violin concerto at a Cincinnati Symphony Orchestra youth concert. He studied piano at various summer music festivals before enrolling at New York's Juilliard School, where he took conducting courses with Jean Morel and continued piano studies with Rosina Lhevinne.

Pierre Schaeffer - Solfège de l'objet sonore (1967) {3CD Set, Ina-GRM ina c 2010/11/12 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 481 Mb | MP3 @320 -> 311 Mb
Full Artwork @ 600 dpi (jpg) -> 523 Mb | 5% repair rar
© 1967, 2005 Ina-GRM | ina c 2010/11/12
Classical / Electroacoustic / Electronic / Musique Concrète

It is a well-established fact that our approach to music is generally twofold: this is the physicists' as well as the musicians' doing. One the one hand, music is considered to be based on acoustics, or even mathematics, which ought to give it the status of a science; on the other hand , it is acknowledged that it proceeds from psychological and sociological phenomena which, over the ages, have developed into an art, itself depending on various crafts. There is no longer any contradiction between the two approaches so long as one is prepared to accept them jointly, with enough insight to respect the methods proper to each end of the "chain."