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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.
Our UK Event Listings service is now online....

We now have a listings page for concerts, festivals, conferences and workshops of electroacoustic music in the UK. We hope it will soon be the place to check up on whats happening and where. Its already up and running - click here! to check it out.
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.

Think we've missed out on something? Email us at and let us know.

CD Details for Pierre Henry: Labyrinthe

Labyrinthe Pierre Henry
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." Ten amazing tracks from this pioneer of electronic music.
In Stock
 Customer Reviews 
 Audio Clips 
Track 1
Track 2
Gouffre Circulaire
Track 3
Noyau Secret
Track 4
Track 5
Track 6
Four Solaire
Track 7
Track 8
Mer Interieure
Track 9
Track 10
 Sleeve Notes 

About the Artist


• 1 1949 - Through the example of his teaching, Olivier Messiaen introduced me to a new world of sound inventions in music. It was thus that I joined Pierre Schaeffer at the Studio d’Essai de Ia Radiodiffusion française (French Radio Broadcasting Test Studio) in order to create a genre called Musique Concrete:

Symphonic pour un homme seul (1950), Musique sans titre (1950), Concerto des Ambiguités (1950) and Orphée 53, for which, in my view, the Voile d’Orphee remains the foundation piece.

• II 1953 Variations pour les cordes du piano, an immense corpus created for my preferred instrument, with the latter to subsequently feature in most of my works, including Le Microphone bien tempéré (1950/1952), Le Livre des marts egyptien
11988), La Tour de Babel (1999), Concerto sans orchestre (2000), Duo (2003) and Lumières (2003).

• III - 1954 - Following an enthrallingly intense period working with Edgar Varèse, who, moreover, encouraged me to direct some of my attention to contemporary painting, and following the truly unforgettable concert Desert, performed at the Théâtre des Champs Elysees and amplified under my guidance and supervision, it was in the same year that my decisive meeting with Maurice Béjart took place. His visionary choreography for Symphonic pour un homme seul (1955), was to become known worldwide. Another ballet was created with Maurice Béjart, HautVoltage (1956), having a significant and special musical feature: highly developed research into experimental stringed instruments and an emphasis on micro-contacts. A quintessence of styles and registers emerging from electronics, the art of sound and the instrument, it was this type of creation I came to refer to as ‘Musique Electro-Acoustique’. This music has again attained great vitality, as seen through the recent fusion of musical objects developed by GRM composers, namely in Labyrinthe! (2003).

•IV - 1958 - Breaking off of relations with Pierre Schaeffer and the Studio d’Essai de Ia Radiodiffusion francaise, followed by makeshift creative period at my parents’ home, with Orphee ballet, Coexistence and Investigations having emerged during this precarious stage.

• V - 1959 - Using professional equipment obtained mainly in Germany, my first private studio was set up at premises in rue Cardinet, being dedicated to electroacoustic music and known as Studio APSOME lApplications de procédés sonores en musiques electroacoustiques — Sound system applications for electra- acoustic musicl. A second studio was set up in Saint-Germain-des-Prés (1966), being involved in particular with a magnificent range of productions encompassing sound track music for films and advertisements.

• VI -1960 - Fociès, La Noire a soixonte (1961), Le Voyage (1962), Variations pour une porte et un soupir (1963) are works which were to bring into play a more subtly mastered style in respect of formal development. Such works were created on the occasion of my very first concert at the Eglise Saint-Julien-le-Pauvre in Paris, held on 27 June 1963.

• VII -1967- Messe pour Ie temps present, a stroke of inspiration in the guise of thematic tunes created spontaneously using an array of personal equipment and resources, heralding the use of the synthesisers of the future. The original ‘mixed- sounds’ of this work brought forth a renewal of the electronic sound register, as occurs in L’Apocalypse de Jean (1968), Fragments pour Artoud (1970) and Kyldex (1973). La Messe pour Ie temps present seems to have influenced the music of modern times.

• VIII - 1970 - In Gymkhana, followed by Mouvement-Rythme-Etude (Barre-fiction creation dedicated to Maurice Béjart) and Pierres réfléchies (1982), I launched into a creative venture featuring a strictly instrumental pointillism with a pulsating timbre achieved through a particular development of arrangement technique and evolutionary repetition.

• IX - 1971 - Corticolort, an improvisation based on my own brain wave vibrations recorded using an electronic system invented by Roger Lafosse.

• X - 1975 - Futuristic, a sound and visual demonstration created as a tribute to Luigi Russolo. I myself played and recorded all the music for this work in my studio, using acoustic variations suggestively engaged and enhanced by resonance, plates, rods, pipes, developed as a duo composition with my new piano, incorporating a full noise orchestra in the futurist spirit.

• XI - 1977 - God, a work involving voices, sounds and gestures inspired by God, by Victor Hugo, a production adapted for the actor Jean-Paul Farré. Conceived as a new ‘living spectacle’ following (a Reine verte (1963), Enivrezvous (1974), lnstantané/Simultané (1977). Others were to follow, with highly sophisticated staging and lighting: Perpetuum (1979), Les Noces chymiques (1980), Parodis perdu (1982) and Hugasymphanie (1985) sung by Martine Viard.

• XII - 1979 - With La Dixième Symphonie by Beethoven (a combinotory logistics work with marked respect for the classical traditions and the original masterpieces, I undertook a work that would enjoy varying fortunes and which was destined to be widely extended upon in various creations, namely, Phrases de quatuor (1994), Cornet de Venise (2002) and Dracula (2002). 1998 saw a rem ix of the 10th for the Mantreux Jazz Festival.

• XIII 1982 SONORE, emerging following the setting up of a third studio at my home, incorporating new technologies, some already being for digital applications features and to be developed further in 2004 using computer programming.

• XIV - I985 - Berlin, symphonie d’une grande yule, a silent film by Walter Ruttmann, a veritable delight as an imaginary score for ‘musique concrete’. The sound tape stems from music for a radio programme on La Ville, created in 1984 for the WDR in Cologne. L’Homme a Ia camera by Dziga Vertov in 1993 is yet another approach for a silent film framework, where I have emphasised the rhythmical attributes with lyricism.

• XV 1969 Une Maison de Sons. 5000 sound loops lasting from to 20 seconds were isolated from and taken out of their technical format and sequence in order to achieve an inventive continuity as an expression of life itself. This ‘maison de Sons’ (house of sounds) which is now both my studio and home, in some way became my privileged workshop where meditation meets and merges with listening and pictorial creation. From that time on, the house became a sound projection instrument, for creations emerging with a sense of closeness, and since 1996 the Festival d’Automne in Paris has organised a series of concerts under the title ‘Pierre Henry chez lui’ (Pierre Henry at Home), with the creation of the work Intérieur/Extêrieur.
Pierre Henry

About the Music

First performance commissioned by Radio France
An expedition in sound in 10 sequences:
Enfoncement, Gouffre Circulaire, Noyau Secret,
Apesanteur, Entrailles, Four Solaire,
Mer Intérieure, Eruption, Remontée.

Labyrinthe! The light of darkness. The perfect reversal. The intertwining of difference and repetition. Crossed sounds. Crossed lines. Oblique lines. Coinciding lines. Lines which open. Blocked lines. Lines which close. The parallelism between writing and the ways of reality. A language which constantly raises sounds and things. Mental gold. Perpetual births. A wonderful toolbox of noises where certain GRM sounds hit the windows of a ghost train. A spiral in an imaginary crucible made of bone. Clamours, and breathing on pn immense scale. A secret ceremony of the great circle in the depths of the earth. A magnetic lift in a way.

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.

Labyrinthe emerged as the result. All in all, a collaborative work achieved, overcoming the distance between its sources.

The sound cuts from GRM reached me as set of reflections, like “cadavre exquis”. Fragments in any order, all on CD, sent by post, 7 composers, 7 colleagues sent me 58 tracks of varying lengths in various keys. This continuity inspired me to create a maze-like musical form, in concentric volumes, all thoroughly intertwining with each other. Above all, my contribution is intended to be harmonic. I take great care in attending to any drifting effects occurring with other sounds.

A smooth descent for all, in their order of entry into the subterranean: Donato, Geslin, Gayou, Losa, Zanési, Terruggi, Dao.

Pierre Henry would like to thank the composers Philippe Dao, Francois Donoto, Evelyne Gayou, Yann Geslin, Diego Losa, Daniel Teruggi and Christian Zanési for having given him, in tribute, the sounds and musical oblects of the current GRM, specially produced for his birthday. Pierre Henry has included these sounds in his Labyrinthe!

Pierre Henry

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