" – Peu importe d’où l’on vient. Il n’y a pas de tonique. Le thème et son développement ne sont qu’un mirage…
Il y a une musique toujours inattendue.
– Et les dissonances ?
– Dieu les a créées, elles aussi…"
Jaume Cabré - "Voyage d'hiver" - 2014

”La terre, il se pourrait bien après tout que ce soit une espèce
de merveilleux petit appareil enregistreur, plaçé là par on ne sait qui,
pour capter tous les bruits qui circulent mystérieusement dans l’Univers.”
Pierre Reverdy - ”En vrac” - 1929

”J’entends tous les bruits de la terre grâce à mes oreilles et mes nerfs de cristal
dans lesquels circulent le feu du ciel et celui des volcans.”
Michel Leiris - ”Le point cardinal” - 1927

"L'écoute, c'est l'ombre de la composition"
Pascal Dusapin - 2008

 

08/05/2025

Street turntable




One of the pieces shown at "Instants Chavirés" by Yann Leguay
for the exhibition Zero dB in march 2011.
plaque tournante ( steel + motor + battery )

et aussi, à ne pas manquer, sur "Beyond the coda",  "Again the sunset", une autre performance (2022) de Yann Leguay et de l'artiste Islandaise Inga Huld Hákonardóttir

++_-_++

01/05/2025

Tilbury & Cardew

 

 The famous British pianist John Tilbury was invited in 2009 for the french exhibition "The freedom of the listening" at CAC de Brétigny sur Orge in 2009 (directed at that time by Pierre Bal-Blanc). The purpose of the exhibition, curated by Dean Inkster, Lore Gablier and myself, retraced the artistic career of the English composer Cornelius Cardew who died tagically in 1981 at the age of 45.

For this occasion, John Tilbury, whose close friendship with Cardew dates from the early 1960, played different piano pieces for prepared pinao including the third of the Cardew's  "February Pieces for Piano". Here is an extract of the piano recital-talk he performed. The complete performance of this lecture is archived here .


 

"February Pieces for Piano - N°3"   by John Tilbury  -  17th may 2009 


more infos in the Cardew's biography by John Tilbury"a life unfinished"

 more on Cornelius Cardew on "beyond the coda"  here 

Pictures by Steeve Beckouet - courtesy CAC Brétigny 2009

 <_-CC-_>

27/04/2025

The bigger the noise

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
The bigger the welcome and the native warriors "put it all" in the dance of a South African welcome
to Sir William Letts and actress Sybil Thorndike with a traditional dance.
Lot of percussions! as well dancers.
An amazing silent British archive of 1928

http://www.britishpathe.com/video/the-bigger-the-noise-the-bigger-the-welcome/query/BIGGER+NOISE+BIGGER

this 1929's movie is silent

courtesy of British Pathé 
originaly published in 2013
 
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20/04/2025

Few discoveries

 

With words spoken in Arabic, Armenian, and English, Mary Kouyoumdjian's "2 Suitcases" is in dedication to her parents' immigration story, as they settled in San Francisco from the Lebanese Civil War with only their 1 year old son and two suitcases. The piece was commissioned by the Los Angeles New Music Ensemble and later arranged for Eighth Blackbird.  


& to listen to "Silent Cranes" with the Kronos Quartet

"Silent Cranes" is inspired by the Armenian folk song “Groung (Crane)” in which the singer calls out to the migratory bird, begging for word from their homeland, only to have the crane respond with silence and fly away. Composed in memory of the Armenian Genocide.

 -_÷_-

 

In the early 2000s, Tokyo's SuperDeluxe was a meeting point for many experimental musicians, both international and Japanese. This duo sprung from a live collaboration at the venue in 2006, where Machida was experimenting with processed steel pan and Lyall was largely performing using a tabletop guitar setup with a range of electronics.

"Premeditation" is Cal Lyall : 5-string banjo
  &  Yoshio Machida : steelpans, gamelan, metal slit drums 

 

 -_÷_-

 

 

Nyokabi Kariũki, born in 1998, is a Kenyan composer and performer based between New York,
Maryland and Nairobi. Her sonic imagination is ever-evolving, with compositions ranging from
classical contemporary to choral music, film, experimental pop; and further includes explorations into
sound art, electronics, and (East) African musical traditions.
 

"This record "Premeditation" was written after an extended period of illness (long COVID) in 2021, reflecting on how being sick suddenly gave an urgency to my understanding of the body I live in...To want to share a painful story is to also find curious ways to protect yourself as you do so: looking towards methali (Swahili proverbs) to nourish the lyrics; asking text-to-speech to say phrases you struggle to repeat; recording stream-of-consciousness voice notes so that you don’t have to sit long in thoughts; and to find, in sound — from field recordings, to dreamy improvisations by musical friends — a way to express visceral feelings and noisy thoughts." NK words

with

Nyokabi Kariuki - voices & clarinet
Yaz Lancaster - violin & voice 
Michael Denis Ó Callaghan - trumpet
Chris O’Leary - drums
Ian Fales - double bass


 

...¿•\±...

16/04/2025

Island song


 
In 1976, Charlemagne Palestine is biking around the french isle "Saint Pierre et Miquelon".
One of my favorite astounding trip...  with the voice of Charlemagne Palestine.

   ***  Gotta get outta here...gotta get outta here... ***  
OKAY! 

         Castelli-Sonnabend, New York, black & white, sound
 
this post was first published in february 2013
 
 
   =+=+=+=+=++==++==++=========

11/04/2025

24 heures

 

                         Alex Vieira @ Serge Frocheur

En avril 1995, j'ai eu le plaisir d'enregistrer, tout au long du circuit Bugatti (construit en 1966), l'édition des "24 heures du Mans Motos", formidable course d'endurance de grands sportifs. Le circuit, d'une longueur de 4,430 kms, consiste entre autres en une ligne droite de 674m ainsi que de 14 virages. Vrombissements, accélérations et débrayages, crissements de pneus, petits dérapages, bureau de comptage et du jury, ambiances nocturnes de stands, changements de pneus ...









 

 

Nous assistions alors à une bagarre incroyable puisque les cinq grandes marques ont été en tête tour à tour. Sur 57 motos au départ, seules 28 ont franchi la ligne d'arrivée. Les chutes et les casses ont éliminé les Kawasaki et les Ducati.

sont arrivés sur le Podium les équipages suivants:
1 Vieira / Nicotte / Morrison (Honda) 764 tours - 3 384kms - 141,1 km/h
2 Moineau / Lavieille / Gomez (Suzuki)
3 Morillas / Deletang / Bonoriz (Yamaha)

+_o_+

09/04/2025

Shoot the player piano

 
Annie Gosfield vit à New York et joue du piano et du sampler avec son propre groupe. Elle compose également pour de nombreux ensembles et solistes : John Zorn, Elliott Sharp, Ikue Mori, David Moss, Marc Ribot, Davey Williams et bien d'autres.  
"Shoot the Player Piano" est une œuvre vidéo et musicale de 1999 : un orchestre imaginaire d'instruments mécaniques anciens et inhabituels. La quasi-totalité des sons entendus ne proviennent pas des instruments d'accompagnement à l'écran (à deux exceptions près : le bruit du rouleau de papier qui tourne et le trémolo du banjo). Pour cette pièce, elle a utilisé une vaste bibliothèque d'échantillons désaccordés, modifiés, édités et arrangés.



Annie Gosfield lives in New York City and uses to play piano and sampler with her own group and composing for many ensembles and soloists: John Zorn, Elliott Sharp,  Ikue Mori, David Moss, Marc Ribot, Davey Williams & many others.
"Shoot the Player Piano" is a 1999 work work for video and music: an imaginary orchestra of aged and unusual mechanical instruments. Almost all of the sounds that you hear did not come from the accompanying instruments on the screen (with two exceptions: the sound of the paper roll turning, and the banjo tremolo). For this piece, she used a large library of samples detuned, altered, edited, and arranged.

/≠Ω≠\

04/04/2025

Decomposition BWV 1017

 


Semi-improvised performance of Ed Williams' Decomposition of the Siciliana from J S Bach's Sonata IV - BWV 1017. With Anouck Genthon (violin) & Ed Williams (harpsichord) during the Attacca festival, Hochschule für Musik Basel, Ackermannshof, in June 2023. 

The original duet’s part of the Largo has been discarded and the continuo part allowed to flourish to become a different kind of duet, involving the original instrumental pair of harpsichord and violin. Acting like enzymes breaking down organic matter, the two performers collaboratively weave an improvised tissue of timbres, intervals and silences that emerge from the diffraction, repetition and savoring of the original score’s notes. This calls to mind the image of string figures described by Isabelle Stengers: “...but knowing that what you take has been held out entails a particular thinking “in-between”... with the demand that you not proceed with ‘mechanical confidence’... two pairs of hands are needed, and in each successive step, one is ‘passive’, offering the result of its previous operation, a string entanglement, for the other to operate...” (Stengers, 2011).  

 - - -

La partie du duo original du Largo est abandonnée et la partie de continuo peut s’épanouir pour devenir un autre type de duo en soi, impliquant le duo instrumental original du clavecin et du violon. Agissant comme des enzymes décomposant la matière organique, les deux interprètes tissent en collaboration un canevas improvisé de timbres, d’intervalles et de silences qui émergent de la diffraction, de la répétition et de la dégustation des notes de la partition originale. Cela rappelle l’image des figures de cordes décrites par Isabelle Stengers : " ... mais savoir que ce que vous prenez a été tendu implique une réflexion particulière « entre »... avec l’exigence de ne pas procéder avec une « confiance mécanique »... deux paires de mains sont nécessaires, et à chaque étape successive, l’une est « passive », offrant le résultat de son opération précédente, un enchevêtrement de cordes, pour que l’autre opère... " (Stengers, 2011). 

 

On "Beyond the Coda", another work of Ed Williams: "decomposition study" with an organ,

and another decomposition: "Soave Dolc'Ardore" for a string quartet

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