(Musique Concrete) Michel Chion - Requiem, Variations, Nuit Noire - 1993, FLAC (image+.cue) lossless

Michel Chion / Requiem Жанр: Musique Concrete Страна-производитель диска: Canada Год издания диска: 1993 Издатель (лейбл): Empreintes DIGITALes Номер по каталогу: IMED 9312 Аудио кодек: FLAC (*.flac) Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 70:05 Источник (релизер): сетЪ Наличие сканов в содержимом раздачи: да Треклист: Requiem (1973) I 1 Requiem AEternam "Donnez-Leur Le Repos Eternel" 5:32 2 Kyrie Eleison "Seigneur, Ayez Pitie De Nous" Voice – Michele Bokanowski 1:37 3 Epitre "O Mort, Ou Est Ta Victoire" (I Corinthians, 15) 1:12 4 Dies Irae "En Ce Jour De Colere Que Vais-Je Dire" Voice – Bernard Guillochon 6:00 5 Domine Deus "Nous Vous Offrons Victimes Et Prieres" 1:53 6 Evangile "Il Va Ressusciter" (Jean 11, 21-27) Voice – Andre Allag 3:28 II 7 Sanctus "Trois Font Saint Le Seigneur" Voice – Laure Bruas, Pierre Bruas 2:29 8 Pater Noster-Agnus Dei "Agneau De Dieu, Qui Otez Les Peches Du Monde" Voice – Catherine Colas 2:17 9 Lux AEterna "L'Eternelle Lumiere" Voice – Catherine Guerin 1:39 10 Libera Me "Liberez-Moi" Voice – Robert Cahen 10:37 Variations (1990) 11 Variations 10:02 Nuit Noire (1979-85) 12 Nuit Noire 22:14   Лог создания рипа X Lossless Decoder version 20100704 (120.4) XLD extraction logfile from 2010-07-05 00:28:44 +0200 Michel Chion / Requiem [IMED 9312] Used drive : MATSHITA DVD-R UJ-898 (revision HD09) Use cdparanoia mode : YES (CDParanoia III 10.2 engine) Disable audio cache : OK for the drive with cache less than 2750KB Make use of C2 pointers : NO Read offset correction : 102 Max retry count : 100 Gap status : Analyzed, Appended TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 00:00:00 | 05:33:45 | 0 | 25019 2 | 05:33:45 | 01:42:45 | 25020 | 32714 3 | 07:16:15 | 01:11:63 | 32715 | 38102 4 | 08:28:03 | 06:04:60 | 38103 | 65462 5 | 14:32:63 | 01:52:57 | 65463 | 73919 6 | 16:25:45 | 03:37:48 | 73920 | 90242 7 | 20:03:18 | 02:31:17 | 90243 | 101584 8 | 22:34:35 | 02:18:20 | 101585 | 111954 9 | 24:52:55 | 01:45:68 | 111955 | 119897 10 | 26:38:48 | 10:53:05 | 119898 | 168877 11 | 37:31:53 | 10:19:37 | 168878 | 215339 12 | 47:51:15 | 22:13:33 | 215340 | 315347 All Tracks Filename : /Volumes/Maousse/Uploads/Michel Chion - Requiem/Michel Chion/Requiem/01 Michel Chion - Requiem [IMED 9312](2).flac CRC32 hash : B4C7014E CRC32 hash (skip zero) : B3E3E222 Statistics Read error : 0 Skipped (treated as error) : 0 Edge jitter error (maybe fixed) : 0 Atom jitter error (maybe fixed) : 0 Drift error (maybe fixed) : 0 Dropped bytes error (maybe fixed) : 0 Duplicated bytes error (maybe fixed) : 0 Track 01 Pre-gap length : 00:02:00 CRC32 hash : 2FB46708 CRC32 hash (skip zero) : D36FD8C6 AccurateRip signature : 746A1173 ->Track not present in AccurateRip database. 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Statistics Read error : 0 Skipped (treated as error) : 0 Edge jitter error (maybe fixed) : 0 Atom jitter error (maybe fixed) : 0 Drift error (maybe fixed) : 0 Dropped bytes error (maybe fixed) : 0 Duplicated bytes error (maybe fixed) : 0 No errors occurred End of status report     Содержание индексной карты (.CUE) REM GENRE Musique Concrete REM DATE 1993 REM DISCID 9D106C0C SONGWRITER "Michel Chion" PERFORMER "Michel Chion" TITLE "Requiem" FILE "01 Michel Chion - Requiem [IMED 9312](2).flac" WAVE TRACK 01 AUDIO TITLE "Requiem ?ternam 'Donnez-Leur Le Repos Eternel'" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Kyrie Eleison 'Seigneur, Ayez Pitie De Nous'" INDEX 01 05:33:45 TRACK 03 AUDIO TITLE "Epitre 'O Mort, Ou Est Ta Victoire' (I Corinthians, 15)" INDEX 01 07:16:15 TRACK 04 AUDIO TITLE "Dies Irae 'En Ce Jour De Colere Que Vais-Je Dire'" INDEX 01 08:28:03 TRACK 05 AUDIO TITLE "Domine Deus 'Nous Vous Offrons Victimes Et Prieres'" INDEX 01 14:32:63 TRACK 06 AUDIO TITLE "Evangile 'Il Va Ressusciter' (Jean 11, 21-27)" INDEX 01 16:25:45 TRACK 07 AUDIO TITLE "Sanctus 'Trois Font Saint Le Seigneur'" INDEX 01 20:03:18 TRACK 08 AUDIO TITLE "Pater Noster-Agnus Dei 'Agneau De Dieu, Qui Otez Les Peches Du Monde'" INDEX 01 22:34:35 TRACK 09 AUDIO TITLE "Lux ?terna 'L'Eternelle Lumiere'" INDEX 01 24:52:55 TRACK 10 AUDIO TITLE "Libera Me 'Liberez-Moi'" INDEX 01 26:38:48 TRACK 11 AUDIO TITLE "Variations" INDEX 01 37:31:53 TRACK 12 AUDIO TITLE "Nuit Noire" INDEX 01 47:51:15 Доп. информация:     скрытый текст Commissioned by Groupe de recherches musicales and realized in their studios between October 1972 and March 1973. Premiered on March 19, 1973 during a concert at Theatre Recamier (Paris, France). Requiem was awarded the Grand prix du disque of the Academie du disque francais in 1978. Requiem editions : -Originally released on Vinyl (Requiem, INA-GRM, AM 689.05, 1978) [Collection GRM directed by Francois Bayle] -Reissued on compact disc, with two additional tracks (Requiem, Empreintes digitales, IMED 9312, 1993) [This is the one I share here] -Reissued on vinyl (Requiem, Sub Rosa, SRV251, 2007) [Limited edition] -Extracts on compilations (Sanctus in : Klangwelten, WER 30252, 1997. Sanctus in : Michel Chion, L'Opera Concret : Musiques Concretes 1971-1997, MCE / INA-GRM, MCE 001, 1998. Dies Irae in : eXcitations, Empreintes DIGITALes, IMED 0050, 2000. An extract in 50 ans de musique electroacoustique : GRM : Paris 1948-1998, Fondazione Teatro Massimo, FTM 002, 2001. Dies Irae in : An anthology of noise & electronic music #3 : third a-chronology 1952-2004, Sub Rosa, SR220, [2004?]. and some more...) All the complete editions of Requiem are out of stock !     Об альбоме (сборнике) "Requiem" - On texts taken from the Funeral Mass, in two parts and ten movements. The Requeim was produced at the studios of the Groupe de recherches musicales (GRM) in Paris (France) and was premiered on March 19, 1973 at the Theatre Recamier in Paris, in a concert given by the GRM. The work was commissioned by the GRM. Recorded in 1973 on the INA•GRM label (AM68905), the Requiem was awarded the Grand prix du disque of the Academie du disque francais in 1978. "Variations" was produced at the studios of GRM in Paris (France) and premiered in concert on March 7, 1990 in Caen (France). Variations was commissioned by the INA•GRM and the French Ministry of Cultural Affairs. "Nuit Noire" was produced at the studios of the GRM and of the GMEM. The work was premiered in concert on March 24, 1986, as part of the INA•GRM's "Cycle acousmatique", at the auditorium of the Maison de Radio-France in Paris (France). It is dedicated to the memory of American writer Philip K Dick (1928-82). Includes a 24-page booklet in French and English. Review by Tom Schulte in Outsight (USA), July 1, 1999 » 313_001 Chion began splicing together tape making musique concrete in France in the 1970s. The title track (Requiem) to this collection of pieces is a 37:16 dark, mysterious and at times demented version of the classic Funeral Mass. Funeral Mass is the basis for all classical requiems. While such classic requiems glorify in the suggestion of eternal life suggested by the religious interpretation of death, Chion’s work is probes the existential panic of those living under the threat of death. A dark, kaleidoscope collage of cruel whispers, snippets of choral works and eerie, segmented sacred string music promote a feeling of uneasiness and abandonment. Variations (10:02) finds Chion still working creatively with tape in the late 80s and 1990. An odd, transmogrified waltz is the underlying theme to this series of sonic portraits separated by silent periods. Nuit noire (Black Night) (22:14) precedes Variations chronologically and is dedicated to American science fiction writer Philip K. Dick (Blade Runner, Radio Free Albemuth, Valis). This nightmare sequence is an aural re-enactment of a sleepless night of terror. Creaking, groaning and things that go bump in the night cavalcade through this unsettling work. (4/5) At a Glance Reviews by George Zahora in Splendid E-Zine (USA), December 7, 1998 » 289 Requiem contains three classic musique concrete compositions from Michel Chion. All were produced at the GRM in Paris (the acousmatic headquarters of the world). The Requiem itself is an electronic take on the traditional form. Variations is a ‘technical study’ which takes an original waltz theme and fragments it. Nuit noire is considered a ‘monodrama’ — that is, a drama centering around one ‘character.’ In this case what we hear are the detached reactions of this ‘character’ to a nightmare. It’s French, it’s acousmatic… what more could you ask for? Review by Laurie Radford in CEC, Contact! #9:1 (Canada), September 1, 1995 » 200 The twelfth release from empreintes DIGITALes (which now boasts a catalogue of twenty one CDs exemplifying the diversity of the electroacoustic arts) is a collaboration with GRM, and is one of a number of recent projects involving international electroacoustic artists. This disc is of special note since the principal work, Requiem, was first presented on vinyl by GRM in the year of its completion and premiere in 1973. Chion is a senior French electroacoustic composer and one of the art’s principle theoreticians advocating a return to the noncausal principles at the origin of musique concrete, and composes rigorously in this style. He has a large and diverse ?uvre dating back to the sixties including many large scale ‘concrete melodramas’ such as La tentation de saint Antoine and Le prisonnier du son. Requiem, based upon the text for the Mass for the Dead, presents an array of ‘testimonies’ from various voices in ten movements over the course of 37 minutes. The blending and rapid juxtaposition of electronic sounds, environmental soundbites, a myriad of vocal styles and contexts presenting texts heavy with centuries of meaning, Requiem creates a lurching and sometimes startling dramatic course which runs the gamut from the maniacal Sanctus to the transcendantal final movement, Libera Me. The mosaic-like Variations which follow arise from a period of technical studies undertaken by Chion in the late 1980’s. Constantly changing blocks of contrasting materials anchored by a short waltz theme, develop into a reflection and “affirmation of the whirlwind of life.” The final work on the disc, Nuit noire, is a visceral example of Chion’s monodramatic style. It presents an anonymous moaning and groaning hero who wanders somnabulistically amidst a series of nightmarish dream sequences. Anguish, terror, insanity… a portrait of the depths to which mankind can descend. Michel Chion’s work is musique concrete at its purist and leanest, perhaps also at its most profound. Critique by Pascal Brissaud in Repertoire des disques compacts #68 (France), April 1, 1994 » 172 Le Requiem de Michel Chion date de 1973. Il semble avoir encore gagne en actualite, surtout dans cette «recomposition» qui lui adjoint deux pendants de forte substance, les Variations, ?uvre recente (1990) et une composition intermediaire, le saisissant Nuit noire de 1979-85, en un itineraire impitoyable qui nous conduit jusqu’a la lisiere (et non pas jusqu’au bout, ca, c’est le privilege des romantiques) de notre propre nuit. ?uvres «concretes», elles imposent, par les vertus du montage et du mixage, l’image d’une multitude de sources heterogenes (voix, elements electroniques, bruits concrets), composees avec un total subjectivisme (ou un subjectivisme totalitaire) puis detinitivement fxees sur la bande. Le resultat est un objet parfait, par construction et par destination. Aucun cheminement, au long de ce Requiem, dont le texte (traditionnel, avec interpolation d’une Epitre. d’un Evangile et d’un Pater Noster) est travailie en une muititude de niveaux de sensibilite differents, du dechifrage obtus (Epitre) a l’irruption monstrueuse d’un inconscient hideux (Sanctus), de la voix naturelle a la voix filtree (par le telephone, par exemple), mais un impitoyable statisme, boucle sur lui-meme. L’environnement est un constant referent a notre quotidien, du plus objectivemenl banal (aboiements de chiens, bourdonnements d’insectes) au plus intime, au plus inavouable: c’est le domaine des bruits «cryptiques», dont l’organicite renvoie a un grouillement malsin de choses felides et crasseuses (l’hopital). C’est prodigieusement derangeant dans sa dimention immediate (pas d’intermediaires, d’«interpretes» entre le message et nous) et, surtout, quotidienne; pas de place pour le sublime (cl. les Requiem de Mozart, Verdi, Brahms…) ou pour la distance. Michel Chion nous dit que la mort s’inscrit au c?ur meme de la vie, dans une familiarite terrible qui est celle meme, grotesque el derisoire, des Mysteres moyennageux. Les Variations juxtaposent de minisequences violentes en contrastes abrupt, dans une dominante verticale de flashes eruptifs qui s’opposent en tout a la complexure lineaire de Nuit noire, vaste paraphrase lancinante des elements precedents, sorte de maceration insomniaque («Nuits blanches» me paraitrait plus approprie…). Apres: l’au-dela. Tel quel, le Tryptique ainsi constitue est une fabuleuse reflexion un peu a la maniere de celles de Francis Bacon sur la relation entre l’image et son objet. Regardez la pochette: Michel Chion (c’est a dire vous et moi) y est pluriel, represente a differents degres de flou, happe par cette representation jusqu’a la deformation qui, stade ultime, le fait devenir un element geometrique du fond: c’est cela, la Mort, composition-alienation-decomposition. C’est aussi pour cela que cette musique parle, malgre sa prodigieuse maitrise intellectuelle, avant tout a nos tripes, jusqu’a l’insoutenable. Critique by Franck Mallet in Le Monde de la Musique #175 (France), March 1, 1994 » 171 Reedition d’un disque vinyle paru en 1978, qui avait obtenu Ie grand prix de l’Academie du disque francais, le Requiem (1973) de Michel Chion porte les stigmates d’une musique au seuil de l’experimentation. L’ancien assistant de Pierre Schaeffer — theoricien de la «musique concrete» — malmene le son au point d’en faire jaillir toute la violence. C’est un bruit domestique et electrique, parfois fruste et lancinant qui entoure les multiples voix du Requiem. Inadaptee au concert, cette musique trouve, par le biais de la radio et du disque, un fabuleux terrain d’ecoute. Le son interiorise et masque de Nuit noire (1979-85) est plus proche des recherches stylistiques de l’ecrivain Michel Chion, auteur de memorables ouvrages tels que la Voix au cinema, le Promeneur ecoutant, Jacques Tati et David Lynch. Critique by Jerome Noetinger in Revue & Corrigee #19 (France), March 1, 1994 » 170_5 empreintes DIGITALes nous fait decouvrir de nombreux compositeurs, principalement canadiens, et differentes facettes de la musique electroacoustique: bande, mixte, electronique… On critique parfois a tort le principe de la reediton, l’identifiant a un refus du risque, a la mise en avant de valeur sure ou a la glorification de musiciens disparus. Au-dela de la mise a niveau du support, la reedition nous fait decouvrir ou redecouvrir certaines pieces, certains compositeurs. Elle permet aussi, sous le coup de la nouveaute, de re-ecouter une musique. Et parfois on ne savait plus si les craquements provenaient du vinyl ou de la piece. Qui ira critiquer la reedition de l’integral de Schaeffer, de Henry (en cours; l’apocalypse arrive), du De natura sononum de Parmegiani? C’est dans cette logique que se place la reedition du Requiem de Michel Chion. Vingt ans apres, cette piece est toujours aussi forte. L’un des quelques classiques incontoumables realises au GRM. Rappelons qu’a sa creation, cette piece passait, aux yeux de certains, pour un gag et que bon nombre de compositeurs suggeraient a Michel Chion de se consacrer a la litterature uniquement! Avec ce genre de piece, Chion apparait comme un veritable punk au milieu de compositeurs bloques. Le Requiem garde la fomme d’une messe pour les morts mais avec differents niveaux de lecture possibles: doctrinale, diabolique, publicitaire, pro- ou anti-religieux… Cette interpretation n’est pas fixee, elle est le choix de chacun. A cote de ce classique, deux autres pieces, Variations, un theme de valse passe a la moulinette, h?he menu et livre sans emballage, et Nuit noire, veritable cauchemar d’une grande unite tout en nous entrainant dans differentes amblances nocturnes. L’ensemble forme un tout parfaitement adapte a l’ecoute domestique. Meme si Michel Chion revendique haut et fort une technique (celle qu’on appelle aujourd’hui analogique), elle ne nous bloque pas a l’ecoute de ses pieces, elle disparait pour laisser la place a la musique. «L’affirmation d’une dialectique du son et du support sur lequel ce son est inscrit.» Les imperfections, les defauts, du moins ce que l’on nomme ainsi par rapport a une norme, sont ici parties integrantes du discours. La musique concrete et Michel Chion, c’est une vieille histoire. Tout commence avec les initiales MC. Tout est deja dit, c’est son destin! From www.electrocd.com Michel Chion, Biography : Michel Chion was born in 1947 in Creil (France). After literary and musical studies, he began in 1970 to work for the ORTF (French Radio and Television Organization) Service de la recherche, where he was assistant to Pierre Schaeffer at the Paris' Conservatoire national de musique, producer of broadcasts for the GRAM, and publications director for the Ina-GRM, of which he was a member from 1971 to 1976. It was there that he met Robert Cahen, composer and video artist, and with whom he entered into a long-lasting friendship and collaboration. Parallel to these activities, he composed musique concrete works in the studios of the GRAM including Requiem (Grand prix du disque 1978) and several concrete melodramas, a dramatic form which he inaugurated in 1972 with Le prisonnier du son (The Prisoner of Sound) and continued with Tu, 1977-85, La tentation de saint Antoine, 1984, and Nuit noire, 1985. Also worthy of mention are La Roue, cycle du quotidien, 1972-85, 24 preludes a la vie (24 Preludes to Life), Variations, and Sonate, 1989-91, Crayonnes ferroviaires, 1992, Credo mambo, 1992 — realized at Musiques & Recherches (Ohain, Belgium) —, Gloria, 1994... all works for which he developed original compositional techniques. He also works as a theoretician in a new area: the systematic study of audio-visual relationships, which he teaches at several centres (notably at Universite de Paris III where he is an Associate Professor), and film schools (ESEC, Paris; DAVI, Lausanne) which has developed in a series of five books. Besides the twenty written publications translated into a dozen languages, he has also written on Pierre Henry, Francois Bayle, Charlie Chaplin, Jacques Tati, David Lynch, diverse subjects on music and film; he has published in French and international journals, and has contributed to numerous dictionaries and encyclopedias. He has also commenced work in film direction and production with the short film Eponine (Prix Jean-Vigo, prizes in Clermont-Ferrand, and in Montreal). Most recently in 1995, he has begun an audio-visual piece entitled Messe de terre at the CICV Pierre Schaeffer in Montbeliard (France). After having dedicated his Guide des objets sonores to the ideas of Schaeffer, he continued with Le promeneur ecoutant, essais d'acoulogie, (Plume, editeur, 1993), and finally with Musique, medias, technologies (Flammarion), a theory of sound based on language. In 1991 he published, with the support of Jerome Noetinger, L'art des sons fixes in which he proposes, in order to properly designate this music, the return to the term ‘musique concrete' in its initial non-causal sense. His redefinition insists upon the effects particular to the fixation of sound, a term which he proposes in place of recording. from www.michelchion.com Chion's Requiem probably represents one of the defining moments of the musique concrete canon, a work all other pieces must be judged by and one of the few absolute masterpieces of the genre. Things begin with a high pitched tone soon joined by an electro-acoustic, echoing wind and then just after 40 seconds, silence, a man narrating a few lines in French and the start of a slow buzzing, chant-like humming, dripping water, echoes, reverbs and more French vocals repeating the words 'Requiem Aeternam'. And all of this is only two and half minutes into this labyrinthine construction which comes close to nearly annihilating the standard structure of a requiem. Traces of the traditional Funeral Mass remain (largely through the titles of the various movements), but have been so brutally deconstructed that it's very difficult to know exactly at which point in the proceedings you are experiencing. In fact, it's almost as if Chion wants to create all moments at once, stopping time so that everything and anything can happen simultaneously, purposefully disorientating and confusing the listener. Chion himself has stated that the work is a test of the listener's memory and challenges their ability to be able to connect all the various fragments together in their head. At one moment, you find yourself assaulted by an artillery of static, overwhelmed and confused to then a few moments later be suddenly freed, caught by a single tone, then a fractured libretto (which seems to be transmitted from the nether regions of space), and finally thrown onto an oscillating radiophonic pulse, a powerful wave of sound and whispered vocals, which seem to evoke the passage through time, a calling from another world, the transition from one life to the next. Initially familiar sounds repeat themselves like the three second choral passage introduced in the 'Dies Irae', but slowly as time passes and the journey spins into the unknown depths, those familiar sounds being to dissolve, becoming more and more impossible to cling onto. Towards the end of the piece, after traveling through a maze of sound, disorientated now, the last few minutes of the journey seem to take place alone - the familiar patterns of the beginning have all but disappeared now and through pounding drums, the start of a new harmony emerges. Childlike voices break through from distant realms, as the final waves draw to a close, floating slowly and cautiously with a final flourish before the subdued finale, laughter and then silence. from modern-illusions.blogspot.com Nowadays Michel Chion is probably better known for his work as an academic, writing extensively on the subject of audio-visual relationships, helping to define how we think about concrete and acousmatic music. His credentials as a composer are just as formidable, with a CV that includes GRM membership and an apprenticeship working alongside the great Pierre Schaeffer at the French radio and TV broadcaster ORTF. It was during his six-year tenure with the Groupe de Recherches Musicales that he composed this, his signature work. You may already have encountered excerpts from Requiem on various electroacoustic compilations, most memorably the finely chopped and edited choral theme that recurs throughout the album, constituting one of the very few 'hooks' in the musique concrete canon. Giving a concise overview of Chion's Requiem is a near impossible task. It's a labyrinthine construction in the truest sense: you'll find the entire work riddled with repetitions, wormholes and what Chion himself saw as a structure based on echoes and a kind of narrative symmetry - a test of the listener's memory and an assault on how we perceive time frames. Upon first listen it's hard to identify any such correlations and links, but as the overall work seeps into you consciousness you'll find motifs emerging from what initially appears to be a collaged chaos. As dictated by the conventions of the classical requiem, Chion uses the Funeral Mass as a basis for his compositions, here transfigured into a kind of mangled libretto and embedded into a sound world that flirts with radiophonic confusion, warping oscillators and a vast symphonic wealth of recorded sounds. Some of the most powerful moments seem to fly by, presenting dead ends and disorientating digressions in this Borgesian meta-tract. For instance, one of the last things you hear on the first side is a sudden surge of swirling air flow, like wind at the top of a hill, and a voice announcing "Je suis la resurrection et la vie". Such sequences all evaporate as quickly as they appear, and certainly don't seem like much on paper, but nonetheless they're imbued with a real sense of magic, because this is just one of countless instances in which Chion gives you a glance into some auditory parallel dimension, only to slam the door on you before you can work out exactly where you're supposed to be. And then another portal opens... An amazing, defining work from the second wave of musique concrete. from boomkat.com Chion's Requiem probably represents one of the defining moments of the musique concrete canon, a work all other pieces must be judged by and one of the few absolute masterpieces of the genre. Things begin with a high pitched tone soon joined by an electro-acoustic, echoing wind and then just after 40 seconds, silence, a man narrating a few lines in French and the start of a slow buzzing, chant-like humming, dripping water, echoes, reverbs and more French vocals repeating the words 'Requiem Aeternam'. And all of this is only two and half minutes into this labyrinthine construction which comes close to nearly annihilating the standard structure of a requiem. Traces of the traditional Funeral Mass remain (largely through the titles of the various movements), but have been so brutally deconstructed that it's very difficult to know exactly at which point in the proceedings you are experiencing. In fact, it's almost as if Chion wants to create all moments at once, stopping time so that everything and anything can happen simultaneously, purposefully disorientating and confusing the listener. Chion himself has stated that the work is a test of the listener's memory and challenges their ability to be able to connect all the various fragments together in their head. At one moment, you find yourself assaulted by an artillery of static, overwhelmed and confused to then a few moments later be suddenly freed, caught by a single tone, then a fractured libretto (which seems to be transmitted from the nether regions of space), and finally thrown onto an oscillating radiophonic pulse, a powerful wave of sound and whispered vocals, which seem to evoke the passage through time, a calling from another world, the transition from one life to the next. Initially familiar sounds repeat themselves like the three second choral passage introduced in the 'Dies Irae', but slowly as time passes and the journey spins into the unknown depths, those familiar sounds being to dissolve, becoming more and more impossible to cling onto. Towards the end of the piece, after traveling through a maze of sound, disorientated now, the last few minutes of the journey seem to take place alone - the familiar patterns of the beginning have all but disappeared now and through pounding drums, the start of a new harmony emerges. Childlike voices break through from distant realms, as the final waves draw to a close, floating slowly and cautiously with a final flourish before the subdued finale, laughter and then silence. From rateyourmusic.com The Form of this music was not meant as an excuse to deploy refined geometry over a time frame seen as space. And if Requiem as a whole is built on a system of echoes and correspondences that seem to be symmetrically organized (see graphism) around an axis represented by the work's middle point, it is not my fault. The form was developed in the course of the process, as a dramatic scheme that played off the listener's memory and premonitions, since once the listener has heard the work more than once, they can predict as well as recall. The musical analysis I came to perform, and of which I am disclosing a few pieces here, I did long after composing the work and for my own enjoyment. It should be understood as a game, not as the Key of Dreams, and it is surely not essential. Echoes and correspondences of what ? Themes, musical motives, ranging from the most elemental (a loop, raw matter) to the most elaborated (a musical development), and which are reprised, quoted or announced at various moments of the work - some are easily identifiable as "leitmotivs" (theme-chorus from the Dies Irae quoted in the finale), while others are accompanying motives, matter that does not need to be memorized at a conscious level. An extreme case of such echo effect is found in the short movements 2 & 9, which use almost the same "music" cast under completely opposite sound lighting. The centre of the work, the axis of that symmetry, is the 6th movement (Evangile), where happens a symbolical tear in the magnetic tape, a crack in the work itself, opening in the timeline a breach of eternity that lets us glimpse "something else." This figure illustrates that breach as a sawtooh line, while the vertical line illustrates the pasted point, the moment (at the beginning of Sanctus) when the mass itself, like a broken reel of film at the cinema show, resumes. Within this large form in two parts, we find the small forms of each movement: forms with choruses and episodes, litanies, recitativo, levelled crescendos, etc. There is also another formal course delineated by the succession of several vocal characters, their timbre, intonation, and relation to the libretto. Without giving more details, it is worth mentioning that the only time a well-assured, peremptory voice is clearly heard is, once again, at that central moment in Evangile ("il va ressusciter" or "he will rise"), where its irruption seems to spread panic throughout the whole system and provoke the breach... Like the great requiems of the classical era, this Requiem's text is taken from the Funeral Mass, to which are added an Epistle, a Gospel and a Pater Noster. The texts are mostly said in their original language (Latin or Greek) and in French, in some rare cases. The Requiem was composed whilst thinking about the troubled minority of the living, rather than the silent majority of the dead. Also, I tried to turn this oratorio into a "great sonic show," cinemascope music. One can detect the obvious (at least to me) influence of a few filmmakers and films, more in the way of playing with forms, time and space, than through realistic evocations. Thomas Mann's Docteur Faustus was another influence, again acknowledged after the fact; the pages spent describing the imaginary works of Adrian Leverkuhn might have inspired the megalomaniac dream of carrying bits and pieces of them into the sound world. With Requiem, my intention was not to deliver a message or a manifesto, whether pro- or anti-religious. Instead, this work is a personal testimony, into which listeners are invited to project their own self, if they care to inhabit it with their own experience and sensibility. Michel Chion. subrosa.itcmedia.net/en/catalogue/early-electronic-music/michel-chion.html Requiem is an electroacoustic masterpiece built on a system of echoes and correspondences within the context of a "choir" of voices, loops, tape crackles and drama-schemes. As Chion himself describes, "Themes, musical motives, ranging from the most elemental (a loop, raw matter) to the most elaborated (a musical development), and which are reprised, quoted or announced at various moments of the work -- some are easily identifiable as 'leitmotivs' while others are accompanying motives, matter that does not need to be memorized at a conscious level. Within this large form in two parts, we find the small forms of each movement: forms with choruses and episodes, litanies, recitativo, levelled crescendos, etc. There is also another formal course delineated by the succession of several vocal characters, their timbre, intonation, and relation to the libretto. From tequilasunriserecordshop.blogspot.com Preface By Francois Guerin imed_9312-0001 The wild evolution of our societies forces all of us to re-examine our abilities and to develop our faculty to adapt, unlike anything preceding generations have had to deal with. In this respect, Michel Chion is fully armed to face this day and age, with as much versatility (historical chronicler, essayist, biographer, musicologist, filmmaker, composer) as know-how (writer of stature, experienced speaker, outstanding musician). But present times are also the crucible of disillusions, the levelling of ideas, and the obsolescence of ideologies. By becoming committed to new forms of communication and by passionately taking a stand for the music of “fixed sounds,” Michel Chion carries on a tradition that now belongs to the past, where the debating of ideas expressed something other than the helplessness of politicians or the distress of the man in the street. But it is precisely through this close chemistry, this merging of standpoints that are generally mutually exclusive that Michel Chion is perhaps presenting us with a path to explore, a “future with a future.” Francois Guerin, Montreal [x-93] Requiem, the disc By Michel Chion imed_9312-0002 The three works gathered on this album were composed at different times and with distinct aims — although the Requiem and Nuit noire (Black Night) do exhibit common elements. Nevertheless, they can be listened to as a single program made up of three complementary parts, in which time first appears as solemn and ritualized (the Requiem), then maximally contracted (Variations), to finally become more and more still and floating, in an attempt to lead the listener to the edge of his night. Michel Chion, Paris (France) [x-93] Requiem (1973) 37m16s imed_9312-1.1 | 14153 Requiem ?ternam • Kyrie Eleison • Epitre • Dies Ir? • Domine Deus • Evangile • Sanctus • Pater Noster-Agnus Dei • Lux ?terna • Libera Me Composer: Michel Chion Commission: Ina-GRM Premiere: March 19, 1973, Theatre Recamier (Paris, France) As with classical Requiems, the text of the Requiem is that of the Funeral Mass, to which are added an Epitre (Epistle) (3), an Evangile (Gospel) (6) and the Our Father, the Pater Noster-Agnus Dei (8). It is presented in its original language (Latin or Greek), on rare occasions in French. The Requiem was composed whilst thinking about the troubled minority of the living, rather than the silent majority of the dead. To the listener, it takes the form of an uneven dramatic course, the turnings and defections telling of a fundamental uncertainty in the face of life, death and faith. At the level of form, the piece is based on a system of echoes and correspondence that is organized in a symmetrical fashion around an axis found in the middle of the work: movement 10 incorporates elements already heard in movement 1, movement 9 has elements from movement 2, etc, with variants and dissymmetries in the detail. The axis for this construction is to be found in the 6th movement (Evangile), where a symbolic rupture of the tape occurs, a breaking of the piece itself, that opens a gap of eternity in the flow of time, allowing a glimpse of ‘something else’. With the Requiem, my intention was not to deliver a message or a manifesto, whether pro- or anti-religious. Rather, the piece is a personal testimony, in which I invite the listener to project himself, if he should like to dwell in this music of his experience and sensibility. [xii-93] The Requiem was produced at the studios of the Groupe de recherches musicales (GRM) in Paris (France) and was premiered on March 19, 1973 at the Theatre Recamier in Paris, in a concert given by the GRM. The work was commissioned by the Ina-GRM. Released in 1973 on the Ina-GRM label (AM68905), the Requiem was awarded the Grand prix du disque of the Academie du disque francais in 1978. With the voices of: Andre Allag (6), Michele Bokanowski (2), Caroline Bruas (3-7), Laure and Pierre Bruas (7), Robert Cahen (10), Michel Chion (1-3-4-5-7-8-9-10), Catherine Colas (8), Jean-Pierre Colas (3-7), Catherine Guerin (9), Bernard Guillochon (4), Genevieve Julien-Labruyere (1-10) and the vocal ensemble Le Madrigal de Paris (directed by Rachid Safir) (1-4-10). Many thanks to all those who have contributed to the production of this work, specially my friend Robert Cahen for his support and encouragement. Variations (1990) 10m02s imed_9312-1.11 | 14164 | ISRC CAD509310670 Composer: Michel Chion Commission: French State (Music Office), Ina-GRM Premiere: March 7, 1990, (Caen, Calvados, France) Along with Dix etudes de musique concrete, Sonate, and 24 preludes a la vie, Variations belongs to a series of works, composed between 1987 and 1990, that takes the form of technical studies (through the search for ways to create varied sound textures using so-called ‘analog’ technology) as well as studies in concision, that aim at finding a kind of briefness specific to music on tape. Thus Variations starts off with an original waltz theme, modified according to forms and methods designed to attest the specific field of the art of fixed sounds (also called acousmatic music or, as I prefer to call it, musique concrete). Separated by marked periods of silence, the successive blocks which make up this piece are not movements in the traditional sense of the term, but rather ‘fragments’, as those of a mosaic. Nevertheless, I don’t believe I relinquish any expressive intentions in this work: it is the affirmation of the whirlwind of life which despite everything, remains vital even when confronted to failure and reality. [xii-93] Variations was produced at the studios of the GRM in Paris (France) and premiered in concert on March 7, 1990 in Caen (France). It was also presented on April 25, 1990 at the Clair de terre concert series organized by the Association pour la creation et la recherche electroacoustiques du Quebec (ACREQ) at the Planetarium de Montreal (Quebec) — it was spatialized by Gilles Gobeil. Variations was commissioned by the French State (Music Office) and the Ina-GRM (Paris). Nuit noire (1979-85) 22m14s imed_9312-1.12 | 14165 | ISRC CAD509310680 Composer: Michel Chion Premiere: March 24, 1986, Grand Auditorium — Maison de Radio France (Paris, France) In memory of American writer Philip K Dick (1928-1982) Nuit noire (Black Night) is a nightmare, made up of a series of descents into different levels of dreaming, uneasiness and terror. But it could also be a wakeful night, a sleepless night of anguish leading up to death. As in my other ‘monodramas’, Le prisonnier du son or La Tentation de saint Antoine, Nuit noire centers around a single character who endures this nightmare. But in this piece, the anonymous hero can only be heard in moans, groans and sighs, and never emits a clearly articulated sound. Nuit noire was fashioned from Nuit, the last and longest movement of Diktat, a piece produced in 1979 at the Groupe de musique experimentale de Marseille (GMEM). This movement was later modified at the GRM studios to create an autonomous work under this new title. [xii-93] Nuit noire was produced at the studios of the GRM and of the GMEM. The work premiered in concert on March 24, 1986, as part of the Ina-GRM’s Cycle acousmatique, at the auditorium of the Maison de Radio France in Paris (France).     Состав Art Direction - Jean-Francois Denis Artwork By [Cover Image], Photography [Inside] - Michel Chion Cgi Artist [Computer Graphic Design And Production] - Luc Beauchemin Edited By [Digital Audio Editing] - Francois Donato Liner Notes - Francois Guerin, Michel Chion Liner Notes [English Translation] - Aline Barnoti Mastered By [Digital Audio Transfer] - John Klepko Voice - Caroline Bruas (tracks: 3 to 7), Genevieve Julien-Labruyere (tracks: 1 to 10), Jean-Pierre Colas (tracks: 3 to 7), Le Madrigal de Paris (tracks: 1, 4, 10), Michel Chion (tracks: 1, 3 to 5, 7 to 10)