Un chien andalou

"Szenario"  est une pièce pour orchestre et bande magnétique 

composée par Mauricio Kagel en 1982.

Sur une commande de la Télévision Suisse DRS, "Szenario" est une adaptation musicale 

pour le film "Un chien andalou" de Luis Buñuel.

Ce film accompagné de la musique de Kagel fut montré à l'occasion 

du Festival d'Automne à Paris en 1983. (cf prog.)

 

 

"Szenario" is a piece for orchestra and tape composed by Mauricio Kagel in 1982. Commissioned by Swiss Television DRS, "Szenario" is a musical adaptation for the film "Un chien andalou" by Luis Buñuel. This movie, including the musical soundtrack of Kagel, was shown in the Festival d'Automne de Paris in 1983 (see program) 

 

dans le livre de ses écrits  "Parcours avec l'orchestre", Kagel parle de ce projet.

 

in his book "Parcours avec l'orchestre", Kagel evocate this project

 

Une autre version musicale de ce film est celle composée par le compositeur argentin Martin Matalon. On peut écouter cette oeuvre intitulée "Las siete vidas de un gato" (1996) et remarquablement interprétée par l'Ensemble Ictus dans le CD "De tiempo y de arena" publié en 2003. Il est vivement conseillé de synchroniser cette musique et le film de Bunuel.

 

Another musical version of that movie was composed by the Argentinian composer Martin Matalon. You can listen to this work entitled "Las siete vidas de un gato" (1996), emarkably interpreted by the Ensemble Ictus, in the CD "De tiempo y de arena" published in 2003. It is strongly advised to synchronize this music and the film by Bunuel. 

 

 

 

 

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Rare Noise Records

 

The London' s label "Rare Noise Records" was founded in 2008 by Giacomo Bruzzo and the producer Eraldo Bernocchi. Its mission is to detect and amplify contemporary trends in progressive music, by highlighting their relation to the history of the art-form, while choosing not to be bound by pre-conceptions of genre. 

 

3 new releases this last weeks:

 

 

 

Norwegian bassist, composer and producer Jo Berger Myhre has long thrived on collaboration, bringing his distinctive voice to a wide variety of adventurous projects. His captivating and mysterious solo debut is titled "Unheimlich Manoeuvre". The title is an obvious play on the life-saving technique, though whether the added negation makes the threatening or simply subverted remains ambiguous. More to the point, the English translation of unheimlich is “uncanny” or “eerie” – an apt descriptor for the sounds that Myhre creates.

 

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 The Budapest-based trio Jü seems to investigate exponentially larger territories, encompassing an ever-expanding range of vibrant and startling influences. In the fields of blistering rock, dizzying prog, free jazz, mesmerizing ambient textures and alluring Eastern European rhythms,  their last opus is their third album : "III"

 

 

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The German electro-acoustic composer L.Peter Schwalm and Markus Reuter had a collaboration for a project called "Aufbruch", which means departure, or begining. Their music feels like both an awe-inspiring journey of discovery and a welling up from the murkiest depths of the subconscious. Don't miss it!

 

 

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Many others artists were released by this label, as Masami Akita (aka Merzbow), Mats Gustasfsson, Bobby Previte, the band Mumbeak, Keiji Haino ...etc... To notice the presence of the famous trumpet player Wadada Leo Smith with others for the album "Red Hill".

& to come soon

2 new releases to be publish on the 19th november : "Apophenian bliss"  by the Norvegian quartet  Red Kite   & "I hate work" by the american drummer and vocalist  Mike Pride 

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A page of madness

 

"A page of madness" est un film muet (culte) de 1926 réalisé par Teinosuke Kinugasa

"A page of madness" is a 1926 silent movie (cult) directed by Teinosuke Kinugasa

The japanese director Teinosuke Kinugasa was a member of a group of avant-garde artists well-known as Shinkankaku-ha (“the school of new perceptions”) and this experimental film, written in collaboration with future Nobel Prize Yasunari Kawabata, is a good representation of their rebellion against realistic representation. 

"A page of madness" relève d’une expérience cinématographique puissante. Le rythme y est vertigineux, le cadre, l’éclairage, les décors et le gestuels des comédiens en font un chef-d’œuvre mondial du cinéma muet. 

 

"...acid trip, darkness and deep dadaist bass lines, shamanistic and crispy improvised electronics, 

non-melodic psychedelic and foggy  extravaganza 

               compose the sonic mental landscapes of GOL combo..."                  

 Oscar Teppaz - untitled writings 1913

 

...

 un "ciné-concert" avec le groupe français GOL  en 2016 pour la "Semaine du bizarre" à Montreuil

a "ciné-concert" with the french band GOL  in 2016 for "Semaine du bizarre" in Montreuil  

avec (with)  Samon Takahashi, Jean Marcel Busson, Ravi Shardja et Frédéric Rebotier

thanks to Nilonilaz channel for this captation and many rare others

merci à Nilonilaz pour ses captations d'événements musicaux rares et précieux

.*°_(e¥e)_°*.

Proverb

            Perotin's score

"Proverb" is an exstatic musical composition by Steve Reich for three sopranos, two tenors, two vibraphones, and two electric organs. Composed in 1995 around one unique sentence of the austrian philosopher Ludwig Wittgenstein : "How small a thought it takes to fill a whole life!"

(from the book "Culture and Value" -1946)

 

 

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La Stazione

 

 

 

 

 

 

 

 

 

”La Stazione” est un court-métrage documentaire réalisé par Valerio Zurlini en 1952.

"La Stazione a été, dans l’absolu, le premier exemple de cinéma-vérité, en avance de nombreuses années sur la naissance de ce style. Le documentaire a été tourné en un mois, toujours pendant les heures blafardes de l’aube et il surprenait, d’après nature, la profonde réalité d’une Italie qui n’a pas changé: de pauvres gens endormis dans les salles d’attente de troisième classe, des Italiens du sud attendant le train qui devait les emmener au Nord pour y chercher un emploi et toute la vie nue et secrète de cette belle gare qu’on venait d’inaugurer. Il a été tourné en prise directe, enregistrant les voix égarées qui s’exprimaient dans tous les dialectes et avec tous les accents, sans aucune trame narrative et sans jamais obliger les héros inconscients de ces froides matinées à prendre des attitudes quelconques, volant des images, des sons, des appels, la solitude et l’espoir de pauvres gens impatients de vivre: la caméra n’inventait rien, c’était seulement un témoin attendtif et fidèle de tant d’humilité et de destins si ingrats." - Valerio Zurlini - retranscrit dans le film d'Adolfo Conti "Gli anni delle immagini perdute"

 

 

 

 

 

 

la gare Termini de Rome

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Steam machine music

 
Morten Riis is a danish artist born in 1980.
His music can be characterized as an electronic music that fuses elements of sound art with a more acousmatic and electro-acoustic approach. Lately his artistic work has focused around the investigation of the myriad of errors that arises when working with analogue and digital systems.

In his recent work Morten Riis tries to implement the notion of programmability, control and execution - the fundamentals of electronic and computer music, into a physical mechanical context in an attempt to search for the elementary elements of digital control.

In "Steam Machine Music", the sound material is generated using two music boxes that are programmable with perforated paper strips, a small Zither - a stringed instrument played with Meccano pulley wheels thus generating continuous drones instead of the normal plucking of the strings. Furthermore a dynamo that generates alternating current, which drives a small Lego engine which output is feed directly to a mixing desk generating a continuous tone which frequency is depended of the speed of the steam engine. Additionally a "drum" machine is incorporated which is built with Meccano parts that can be programmed to consist of up to four simple rhythm patterns; and the most important sound generating part is the sound of the machine itself, the rhythmic patterns and pulsating drones of the steam engine, the squeaking of the gear trains and the rattling of the whole structure is all important parts of the sonic experience.

 

 

Other works   

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