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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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Looking for a course in electroacoustic composition? - Try our links page for some of the best places in the UK. You'll also find links to organisations and institutes all over the world.

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CD Details for Alejandro Viñao: Hildegard's Dream

Hildegard's Dream Alejandro Viñao
The soprano Frances Lynch is the soloist on this wonderful CD of Viñao's music. Three of the four pieces are for soprano and computer, the fourth is GO, for tape. Viñao is a superb composer - if you don't know his music, try this CD
In Stock
 Customer Reviews 
 Audio Clips 
Track 1
Chant d'Ailleurs (Chant 1)
Track 2
Chant d'Ailleurs (Chant 2)
Track 3
Chant d'Ailleurs (Chant 3)
Track 4
Hildegard's Dream (1)
Track 5
Hildegard's Dream (2)
Track 6
Borges y el Espejo (1)
Track 7
Borges y el Espejo (2)
Track 8
GO (1)
Track 9
GO (2)
 Sleeve Notes 

About the Artist

Born 4/9/1951, Buenos Aires, Argentina. British citizen since 1994.

Alejandro Viñao studied composition with the Russian composer Jacobo Ficher in Buenos Aires. In 1975 he moved to Britain where he continued his studies at the Royal College of Music and the City University in London. He has been resident in Britain since then. In 1988 he was awarded a PhD. D. in composition at the City University.

Viñao has received a number of international prizes and awards including the 'Golden Nica' Prix Ars Electronica (1992), 1st Prize at The International Rostrum at the Unesco World Music Council (1984) and many others.
Viñao's music has been played and broadcast throughout Europe and the U.S.A and has been featured in international festivals such as the Tanglewood Festival, the Warsaw Autumn Festival and the London PROMS.

He has received commissions from various performing groups and institutions around the world such as I.R.C.A.M, in France, MIT in the USA, the BBC Symphony Orchestra and the Kronos quartet.

During the 80’s Viñao worked at Ircam at regular intervals and 1987 he was composer in residence at M.I.T. in the U.S.A.
In 1994 Alejandro Viñao was awarded the Guggenheim fellowship in composition. His piece Apocryphal Dances was premiered by the BBC Symphony Orchestra in London in 1997. The same year Viñao was invited to Japan to present his music in a Portrait Concert. Later that year, his chamber opera Rashomon was premiered in Germany. This work was commissioned by ZKM for the opening of their new building in Karlsruhe. Since then Rashomon has been produced in Paris, London and Gothenburg.

Following the success of his choral work Epitafios, Viñao was commissioned a new piece ‘La Trama’ for mixed choir and computer by the German Sudwestrundfunk. This latest work was premiered in February 2003 by the SWR Vokalensemble Stuttgart.

Alejandro Viñao's music is characterised by the use of pulsed rhythmic structures to create large scale form, and by a melodic writing which -as in the case of much non-European music- develops through rhythm rather than harmony.
In addition to instrumental and Electroacoustic compositions he has also been involved with the creation of multimedia works, has composed music for some 20 films and produced several radio programmes for the BBC.
During 1994 Viñao was Research Fellow at the Music Faculty of Cambridge University.

About the Music

The first 3 pieces in this CD form a trilogy for soprano and computer which explores the relationship between melody and timbre in 3 different contexts. Both #Chant d’Ailleurs’ and ‘Borges y el Espejo’ are concerned with melodic processes based on non European singing models, seeking to extend the syntax of these models beyond their Oriental origin. ‘Chant d’Ailleurs’ takes as a model the chanting tradition of Mongolia and ‘Borges y el Espejo’ that of the classical Arabic singing. ‘Hildegard’s Dream’ functions as a connecting point between these Eastern traditions and the more recent melodic tradition of Europe. The piece, as the title suggests, draws its melodic material from the monophonic singing of the Middle Ages. In those early days, the European melodic syntax was not as different from its Eastern counterpart - as it was to become after the Renaissance - enjoying a rhythmic freedom which had not yet been subjected to the constraints of a rigid meter. It was in ‘Cu’ (1980) that I first managed to articulate my interest in non European compositional models in a way that satisfied me. This composition marks the beginning of my exploration of melody and timbre which culminated, some 10 years later, in the 3 pieces forming the trilogy. All four works were influenced by the writings of Jorge Luis Borges and his labyrinthine view of the world. His influence was imprecise and diffused and yet I experienced it as something very real. If I try to define it in my own words it is the words of Burges that come to my mind: “luckily we don’t owe ourselves to one tradition. We can aspire to all of them”. A.V.

‘Chant d’Ailleurs’ (Chant from Elsewhere) for soprano and computer is a set of 3 song-like chants from a fictional culture. I imagined this culture as one which had developed technology in spite of having remained rural. This improbability accounts for the ritualistic and at times monodic nature of the singing, coupled to a computer part which seeks not to harmonize or orchestrate the songs but rather to extend the phrasing and timbre of the voice beyond its natural acoustic means. Our culture has used each new technological development to further its original musical concerns: harmony, large scale form and timbre. My imaginary culture too, used technology to develop its rural and ethnic singing tradition. Based on this idea, I developed an imaginary singing style, with its own melisma, its own
ornamental identity, the identity of a chanting ‘tradition’ that I invented. In this tradition, the tune of each chant is less important than its ornaments, which can have a much stronger musical profile. Such a tune is difficult to remember. We may recall the ‘style’ of the phrasing but not the phrase itself. The computer is also part of this imaginary style. The vocal sounds it manipulates and the new timbres it creates are articulated and ‘performed’ in a way which is consistent with the chanting style of the singer. When the computer takes the vocal sounds and transforms them into new timbres, it does so following the ‘stylistic constraints’ of this imaginary culture. I based the invented singing style on one Mongolian folk tune which I like for its beautiful use of melisma and glottal vibrato. I wrote the text in ‘Chant d’Ailleurs’ to suit the musical needs of the piece and it has little semantic meaning beyond the occasional appearance of the words ‘Chant d’Ailleurs’. Most of the phonemes that I used should be understood as words of an imaginary language. Yet, the phonemes have been chosen for their musical qualities vis a vis the particular melismatic phrase they are attached to as well as to blend with the implicit phonemes in the computer part. ‘Chant d’Ailleurs’ was commissioned by the French Ministry of Culture for G.R.M. The computer part was produced using a Syter Computer to process original vocal sounds.

Hildegard’s Dream (1994)

Hildegard von Bingen, the legendary visionary, composer, poet and religious figure of the Middle Ages was continually plagued by illness throughout most of her life. In 1141, these afflictions receded and gave way to a series of religious visions which were recorded in the book “Know the Ways”. When I was composing ‘Hildegard’s Dream’ I imagined that amidst these visions, Hildegard had a dream, too awesome, too frightening, too beautiful to be recorded or even to be acknowledged to anybody, perhaps not even to herself. It was a musical dream: the armies of the Islam are overrunning Europe. Hildegard is attending a performance of one of her vocal compositions which the Lord had ‘revealed’ to her in one of her visions. The piece is being sung by 80 nuns of her own convent. Half way through the
performance the nuns start singing long notes which unfold micro tonal intervals and motifs which no longer speak of God but suggest the forbidden modes of the infidel. The original melismatic rhythms had now turned into figurations with no clear meter, the text, still in Latin, features both the names of Christ and Allah in it. The dream would be an intolerable nightmare if the music were not so overwhelmingly beautiful. Hildegard is suddenly woken up by her own singing.
From the technical point of view ‘Hildegard’s Dream’ could be described as a study on the relationship between melody and timbre in a micro-tonal context. I wrote the text using words and phrases in Latin taken from different texts by Hildegard von Bingen. I combined these words freely to suit the musical needs of the piece. ‘Hildegard’s Dream’ was jointly commissioned by the Groupe de Recherches Musicales in Paris and by Frances Lynch with funds provided by the Arts Council of Great Britain. The computer part was created at the composer’s private studio in London.
Borges y el Espejo (1992)
‘Borges y el Espejo’ (Borges and the Mirror) for soprano and computer is loosely based on a Turkish semi-classical song. I was primarily interested in the rhythmic complexity of the melismatic singing in the Ottoman and pre-Ottoman music traditions of Turkey. In this type of singing, the melisma seems to be the centre point from which repetitive rhythms are triggered and multiplied, creating complex and diverse phrases and yet, retaining a great sense of unity. In ‘Borges y el Espejo’ I used the simple repetition of melismatic singing to generate complex rhythms and to create an ever changing perception of pulse.

The Turkish melismatic phrases are copied, repeated and transformed by mirrors which multiply them into the perfection of symmetry or the abyss of obsessive repetition. Mirrors and the Islam: two of Boryes’ favourite subjects and in a metaphorical sense, the subject matter of this work too.

The text in ‘Borges y el Espejo’ has little or no semantic meaning. Most of the words are in Turkish and have been rearranged according to the musical needs of the composition and do not necessarily follow the syntactical rules of the Turkish language. The text is a fiction which I have invented.
‘Borges y el Espejo was commissioned by Groupe de Musique Expermentale de Bourges, and was premiered by Frances
Lynch during the 1992 lnternational Music Festival at Bourges, France.
The computer part was generated at G.M.E.B. and post produced at the composer’s private studio.
Principal voice used as sound source: Sue Bickley.
Other voices used as sound sources: Frances Lynch, Tracey Williams, Alan Belk, Ian Cross, Bruno von Ehrenberg.
Based on a text by Ian Cross.

Go (1981)

‘Go’ uses as its sound source both voice and percussion. Though processed and transformed by electronic means, the original sounds are not electronic. Nearly every single note was recorded independently with a different reverberation amplitude and sound quality and later edited to articulate the musical phrases.
‘Go’ is based on a ten-chord chorale. The text consists of ten phonemes, of which ‘go’ is one. In the first draft of the piece the phoneme ‘go’ was not the most important one. As I started production of the piece in the studio I found myself more and more interested in the sound-word ‘go’ and gradually departed from my first draft of the score and the text, so that I could centre the composition on the action suggested by the word ‘go’. I was concerned with the feeling of going, moving, being active as an action, without stating a particular direction for this action. The subject and object of the action were left for the listener to fill in or leave empty according to his mood and imagination.

‘Go’ was commissioned by Elms Concerts with funds provided by the Arts Council of Great Britain, and was produced at the City University Electroacoustic Music Studio in London.

Frances M Lynch - Soprano

Frances has developed an interesting and diverse career as a soloist in Opera, Music-Theatre, Oratorio and on the concert platform. Much of her operatic work has been with the composer Judith Weir, most notable in ‘A night at the Chinese Opera’ (Kent Opera), and as ‘Fortuna’ in Scipio’s Dream (BBC 2, Not Mozart). As Artistic Director of Vocem electric voice theatre, she has explored the music-theatre genre, working with voice and electronics, combined in a theatrical presentation, It was with this company that she first performed ‘Son Entero’ by Alejandro Viñao. The subsequent composition of ‘Chant d’Ailleurs’ became the inspiration behind ‘1 X Electric Voice’, a project within which trances experiments with solo vocal repertoire in an Electroacoustic and dramatic context. With both “electric” ventures she has toured Scandinavia, Britain & Europe (East & West), giving live performances, radio and television broadcasts and an extensive range of workshops. In oratorio she has collaborated regularly with Scottish composer Karen Wimhurst, beginning with ‘Songs for the tailing Angel’ - A Requiem for Lockerbie (Edinburgh International Festival and Scottish Television). On the concert platform she is at home in music by Monteverdi through Schubert and Debussy to Tavener and Weir working with a variety of solo instruments and ensembles.

In addition Frances has sung for Drama (Communicado), Dance (eq. Extemporay Dance) and Rock & Pop Bands (eq. Fun Boy Three The Skids); composed music for children; co-produced 12” dance singles; and works as Music Director for Solent People’s Theatre.
Recorded at the City University Studios, London, from the 4th to the 7th of January 1994. Mixed and post produced at
the composer’s private studio.
Recording engineers. Alejandro Vinao & Sebastian Castagna
Cover and graphic design: Horacio Monteeerde

Alejandro Vinao wishes to thank the following people and institutions for their advice and technical assistance:
Dr Simon Emmerson, Bob Aims, Chris Miller and the Electroacoustic Music Studio of the Music Department at the C ty University, London. François Bayle, Daniel Teruggi and the Groopr de Recherches Musicales INA-CRM. Ian Dearden and Kicca Tommasi.

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