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3 CD Box Set: L'Oeuvre Musicale The complete works of Pierre Schaeffer, re-digitised and re-issued with newly discovered tracks.
Book and 3 x CDs: Solfege de l'Objet Sonore This book, accompanied by 285 tracks on 3 CDs of examples is a unique and indispensable resource work for all those interested in electroacoustic music. Examples by Parmegiani, Henry, Bayle, Xenakis, Luc Ferrari etc. illustrate Pierre Schaeffer's text.
Book: Audible Design by Trevor Wishart
5 CD Box Set: GRM Archive 5 CD Boxed Set containing music spanning half a century of GRM inspired compositions
12 CD Box Set: Parmegiani: l'Oeuvre Musicale The complete works of Bernard Parmegiani on 12 CDs

Trevor Wishart - Globalalia/Imago

Trevor wishart - Globalalia/ImagoA re-issue of Globalalia which explores human speech and the syllables common to all, and Imago, which is constructed entirely out of the sound of 2 whiskey glasses being clinked together. Classic Wishart at his best!

Wishart writes: "In Globalalia, I wanted to use human speech, but focus on what we hold in common as human beings. Although the world’s languages contain many millions of words, these are constructed from a much smaller set of sounds, the syllables. I wrote to several friends asking them to collect voices from their local radio stations, and also recorded voices from TV stations via satellite dish, assembling sounds from 134 voices in 26 different languages. I then edited these into their syllables, ending with more than 8300 sources."

Francis Dhomont - Etudes Pour Kafka

Francis Dhomont - Etudes Pour KafkaA new release from Francis Dhomont, who in the opinion of many is the greatest living composer of electroacoustic music. This CD contains 3 studies which were the seeds from which many of his other works grew. Behind major works of the scope of … mourir un peu, Sous le regard d’un soleil noir, and Forêt profonde, in these studies Dhomont experiments with the themes, tries out sound materials, and unveils glimpses of the final work. Dhomont at his best!

Denis Smalley - Sources - Scénes

Denis Smalley - Sources - ScénesrOne of our most popular titles is back in stock. Denis Smalley is one of the UK's best known composers of electroacoustic music, and this CD is a personal favourite of ours - definitely a desert island disc. The music is simply stunningly beautiful, the production and sound quality are as good as it gets. If you don't already have this CD, don't put it off any longer.
Parmegiani: l'Oeuvre MusicaleWe are fans of Bernard Parmegiani and so we now have all of his CDs in stock, including the newly released l'Oeuvre Musicale. If you don't know his music, we recommend that you make an acqaintence with it by listening to some clips and reading the comprehensive notes which we have on the site. Click here for links to his biography and all his CDs.
Pierre Hanry: Labyrinthe We now stock a selection of the best electroacoustic CDs from the GRM Catalog, both historic and new - Electroacoustic Classics from Pierre SchaefferPierre Henry Luc Ferrari and  Jean-Claude Risset are just some of the new offerings.

One of our most popular GRM titles is Pierre Henry's Labyrinthe - Pierre Henry says of Labyrinthe - "For the first time during my journey and ventures into the world of creation, I dreamt of a breath of fresh air deriving from the electronic realm." This CD is a real retrospective of this pioneer of electronic music.
New from Digital Music Archives - Download a continually expanding catalogue of electroacoustic music tracks!

You can now download a selection of single tracks of music from our website. All the tracks are encoded as top quality MP3s at 320k. All you have to do is go to our tracks page, add the ones you want to your shopping cart, and you will be presented with a webpage with links to the tracks as soon as your credit card payment has been authorised. You will also be sent an email with the links and a seven day period to download the tracks.
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CD Details for Francis Dhomont: Forêt profonde

Forêt profonde Francis Dhomont
Forêt profonde (Deep Forest) is an acousmatic melodrama, based on Bruno Bettelheim’s essay The Uses of Enchantment of which this is the third version; an extensively modified version, almost double in length compared to earlier versions. Dhomont says: "This work has accompanied me for 15 years and took 2 years to complete."
Out of print
 Customer Reviews 
 Other Titles by Francis Dhomont 
 Audio Clips 
Track 1
Chambre d'enfants
Track 2
A l'oree du conte
Track 3
Chambre interdite
Track 4
Il cammin di nostra vita
Track 5
Les enchantements de l'imagination
Track 6
Track 7
La muraille d'epines
Track 8
Chambre de tenebres
Track 9
Foret furieuse
Track 10
Musique de chambre
Track 11
Track 12
Chambre de lumiere
Track 13
Fantasme, mode d'emploi
 Sleeve Notes 

About the Artist

Francis Dhomont studied under Ginette Waldmeier, Charles Koechlin and Nadia Boulanger. In the late 40’s, in Paris (France), he intuitively discovered with magnetic wire what Schaeffer would later call “musique concrète” and consequently conducted solitary experiments with the musical possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition.

An ardent proponent of acousmatics, his work (since 1963) is comprised exclusively of works for tape bearing witness to his continued interest in morphological interplay and ambiguities between sound and the images it may create.

The Conseil des arts et des lettres du Québec has recently awarded him a prestigious carreer grant. In 1999, he was awarded five first prizes for four of his recent works at international competition (Brazil, Spain, Italy, Hungary and Czech Republic). In 1997, as the winner of the Canada Council for the Arts’ Lynch-Staunton Prize, he was also supported by the DAAD for a residence in Berlin (Germany). Five-time winner at the Bourges International Electroacoustic Music Competition (France) — the Magisterium Prize in 1988 — and 2nd Prize at Prix Ars Electronica 1992 (Linz, Austria), he has received numerous other awards.

He is the editor of special issues published by Musiques & Recherches (Belgium) and of “Électroacoustique Québec: l’essor” (Québec Electroacoustics: The Expansion) — for Circuit (Montréal). Musical coeditor of the Dictionnaire des arts médiatiques (published by UQAM), he is also lecturer and has produced many radio programs for Radio-Canada and Radio- France.

Since 1978, he has divided his time between France and Québec, where he has taught at the Université de Montréal from 1980 to 1996. He is an Associate Composer of the Canadian Music Centre (CMC, 1989) and a Founding Member (1986) and Honorary Member (1989) of the Canadian Electroacoustic Community (CEC). Great traveller, he participates in sevral juries.

He now focuses on composition and theory.

The Acousmattitude of Francis Dhomont

What is immediately attractive about Francis Dhomont, fortunately, apart from appearances, is that he posses nothing of the Cloven Viscount, the Italo Calvino hero whose two halves, misfortune and kindness, scatter along the way loss mixed with consolation. If that story has a happy ending—where, after a duel, both halves of the mini viscounts re-emerge as one reharmonized entity—and if this fable comes to mind at this moment it is because of a profound tendency towards this dichotomy characteristic of today’s composers, to which some do not escape, either by perverted coquetry— slandering and vituperating contemporary art while being in it themselves—or by naive proselytism—discrediting their work by making an irremediable gap between the ambition of their discourse and the aesthetical result.

In the case of Francis Dhomont, the process is out of the ordinary. We have with him the interesting double union of a composer whose work is constant with consistent quality, varied but with unity of style, colored but with great coherence. And, as a bonus, he is a teacher who produces numerous quality good students, devoted to listening to others and thinking about their discourse, a constant mover and continuous analyst of the theories of an art which remains experimental, who encourages an art allowing as much musical as human exploration, both abundant qualities of this composer.

Because each half may exist without the other—one nourishing the other—we can explain this remarkably balanced case of acousmattitude…

—François Bayle, Paris, June, 23rd, 1991

About the Music

Listening to the Ineffable, A Cycle of Depths (2)

Forêt profonde belongs to a group of works inspired by psychoanalytic thought: the Cycle des profondeurs (Cycle of Depths), comparable to my Cycle de l’errance (Cycle of Wanderings) (IMED 9107; IMED 9607).

This Cycle of Depths is presented, in its current form, as a diptych of which this disc constitues the second part; the firstpart is an oldest composition, Sous le regard d’un soleil noir (Under the Glare of a Black Sun)—instigated by the work of Bristish psychiatrist and psychoanalyst Ronald D Laing which constitutes another empreintes DIGITALes compact disc release (in coproduction with the Ina-GRM) [IMED 9633].

This form nevertheless remains open and will perhaps be augmented by a third part (thus, a project-in-progress) devoted to the works of Kafka guided by the writings of Marthe Robert.

It is a very old preoccupation of mine, this meeting of the imagination adhering to the ‘psychology of depths’ and the mental images projected by acousmatic art; what more appropriate, in fact, than this very language for staging, musically, these fantastical representations?

The resources of a morphological vocabulary and its most adventure some associations— which the alchemy of the studio permits—procure for the ‘acousmate’ a power of auditory suggestion capable of expressing the inexpressable unconscious.

Furthermore, in one case as in another, it is about exploring the domain of archetypes.

—Francis Dhomont, Montréal, October 1996

Forêt profonde (1994-96) | 58m32s

Chambre d’enfants (Children’s Room); À l’orée du conte (At the Edge of the Tale); Chambre interdite (Forbidden Room); Il cammin di nostra vita; Les enchantements de l’imagination (The Enchantments of Imagination); Antichambre (Anteroom); La muraille d’épines (Wall of Thorns); Chambre de ténèbres (Room of Darkness); Forêt furieuse (Furious Forest); Musique de chambre (Chamber Music); Sortilèges (Spells); Chambre de lumière (Room of Light); Fantasme, mode d’emploi (Fantasy, Directions for Use)

To my mother

Forêt profonde (Deep Forest) is an acousmatic melodrama, based on Bruno Bettelheim’s essay The Uses of Enchantment (Alfred A Knof/Random House, New York 1976), of which this is the third version; an extensively modified version, almost double in length compared to earlier versions. Forêt profonde is a work that has accompanied me for the past fifteen years, and its final production required more than two years.

Begun thirteen years after Sous le regard d’un soleil noir, Forêt profonde also derives its inspiration from a psychoanalytic reflection. An adult reading of children tales that moves between the memory of my naïve wonder and the discovery of its secret mechanisms. This hesitating between two ages perhaps presents the risk of failing to reach either one; but it is nevertheless possible for the magical intuition of childhood, that always sleeps in us with one eye open, to revive buried revelations, and for the rational mind to delight in deciphering, under the manifest content of this universal unconscious, the logic of its latent content.

It is a listening on three levels—novelistic, symbolic, musical—more disconcerting no doubt, but more active than an unidimensional listening.

The human journey of Bruno Bettelheim, whose thoughts are behind this star shaped course, interferes, for obvious reasons, with these old stories that confront us with questions on our time.

A guided tour of the childhood soul, which is nothing more than a return to the initiatory world—both cruel and reassuring—of fairy tales.

Forêt profonde comprises 13 sections, of which the 6 Rooms (sections 1, 3, 6, 8, 10 and 12) constitute transit periods/areas, secret passages of sort, between the seven thematic sections (sections 2, 4, 5, 7, 9, 11 and 13). These Rooms contain little or no text.

Each of the 13 sections borrows a brief element, a colour, an atmosphere, from the 13 Kinderszenen (Scenes from Childhood) op. 15 from Schumann, as a tribute to this pathetic composer, engulfed in the depth of his forest.

I wish to thank Inès Wickmann Jaramillo for offering me a poetic Colombian sound recording, and Beatriz Ferreyra for allowing me in such friendly manner to borrow a short but colorful excerpt from her Petit Poucet magazine (1985).

Forêt profonde was commissioned by the French government and by the Ina-GRM (Paris). A bursary from the Canada Council [for the Arts] (category A) was awarded for the composition of the work. Most of the materials and the treatments were obtained through the Syter (real-time sound synthesis system) at the Ina-GRM, and the piece was produced at the composer’s private studio in Montreal. The present version was premiered on June 8, 1996 during a concert presented by ACREQ (Association pour la création et la recherche électroacoustiques du Québec) at Usine C in Montréal. The two first versions were premiered respectively in Paris on May 16, 1994 during the Cycle acousmatique Son-Mu of the Ina-GRM, in the Salle Olivier-Messiaen of the Maison de Radio-France (Paris, France), and on September 1st, 1995 at the Futura Festival of Acousmatic Art in Crest (France).

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