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La Mémoire des Sons
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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
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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.
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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.
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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.
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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.
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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.

Think we've missed out on something? Email us at links@digital-music-archives.com and let us know.
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CD Details for Bernard Parmegiani: La Mémoire des Sons

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La Mémoire des Sons Bernard Parmegiani
3 works by Parmegiani on this CD - Capture éphémère (Fleeting Capture) (1967), Sons/jeu (Sounds/play) (1987) and La mémoire des Sons (Memory of Sounds) (2001).
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 Customer Reviews 
 Other Titles by Bernard Parmegiani 
 Audio Clips 
Track 1
Capture ephémérè
Track 2
Sons=jeu
Track 3
La mémoire des sons
 Sleeve Notes 
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About the Artist

Bernard PARMEGIANI

Among the catalogue of works by Bernard Parmegiani (60 opus) some of the titles testify more particularly to his musical path: Violostries (1965) Capture éphemére (1968), l’Enfer, after The Divine Comedy from Dante (1972), Pour en finir avec le pouvoir d’Orphée (1971-1972) De natura sonorum (1974-1975) La creation du monde (1982-1984) cycle Plain temps ( 1991-1993), Sonare (1996) La Memoire des sons (2000 2001).
Except for some mixed pieces, his work as a whole takes the form of music for ‘fixed sound’, coming within the scope of the immense repertoire of electro-acoustic music. This experience was to be further enhanced over some 35 years, taking into account that the music for television radio advertising and the stage provided the composer with the opportunity to display musical accomplishment by experimenting with new musical forms and new instrumental techniques. In this respect his most well- known work is undoubtedly the signature sound signal at Roissy-Charles-de Gaulle Airport.
In 1971 be mode a video film based on the music in L’oeil écoute featuring visual imagery processed through a synthesiser.

About the Music

Capture éphémère (Fleeting Capture) 11:57 (1967)

A rustling, a fluttering of wings: so fleeting ; micro-sounds streaking across space: resonant markings, free falls, snapshots forever congealed amidst their fall, all of them symbols, intrinsically leaving in their woke the everlasting trace of their fleeting passing, only just touching upon our ears. One day ... a sound . . and since then “nevermore”
Somewhere in my mind and my body there is something which still resounds… Resonance, what could be less fleeting. “Being so place of resonance” (Bachelard).

Sons/jeu (Sounds/play) 21:lO (1987)

To forget everything, in particular everything learned. To make out “as if” nothing until then had become established. But this “as if” is a mere façade. Because beyond this forgetting, knowledge remains as a “task in the background”, like that similarly- named noise which once used to infest the sounds in any act of purified listening to long-playing records. At the invitation of the poet Jean Cocteau, let us cross through the façade, and return to this “as if”, which itself will then become the great game of forgetting, placing us in a situation of abstraction where words are not to be found.
It is then that an encounter between our ears and the sound becomes a necessity, without any external or internal infesting static. To empty oneself, for once, of all the questions asked time and time again. So let us play with the sound. Positioned now like a pawn on a chessboard, it is the sound which is the first to ask me the question or questions. To this game thus established, I must now find a reply. Whilst unfolding, the game would take on a saddening banality if the sound only played to make itself understood, and even more, if it played only to make itself heard. Commonplace? No, not really. Because, as is the case sometimes with sounds, so too it is with certain things which, it would appear, must be taken as they are. It must be concluded that the sound plays to make itself known. My reply then, despite their resistance, will be to transform them (a cruel game, if ever there were one), to metamorphose them into something else which will be mine. The rhythmic noise of the train — a living example of the closed groove — will now run at 33 revolutions per minute, just like the grooves which were thought to be closed forever and which will soon open, metamorphosing whilst taking flight like insects which in turn … and so on and so forth.
So I dream, in o sound-game, because, are the sounds or arn “I” coiling the tune in the game of forgetting?

La mémoire des Sons (Memory of Sounds) 24:40 (2001)

From time to time, sounds of long ago return like an echo within my mind: Do they wish to reawaken my memory to their presence? The taste of life can endure throughout a whole lifetime. I imagine that they wish to again reveal that they are present. Their very insistence confirms that for me. They will return again to the trails, in a guise recalling themselves. But could they possibly accept to be made up, transformed or metamorphosed and be plunged as such straight into a new context, thereby giving rise to new associates with similarly resonating qualities? We are of course allowed to recognise them as they pass .. Sounds deep within but not engulfed by memory: Who are they? ... Where do they came from? Where are they going? ... Ordinary in origin and yet endearing, sounds of nature spiral forth from childhood or adolescence, spreading throughout and within my ears and clearing a path before them ... Bells nearby, and especially distant, sounding in crescendo and decrescendo, depending on the direction and speed of the wind ... pebbles rolling over the bed of a river pushing them along ... the clinking angle of the chain of a well when an overflowing pail is hoisted up ... No less present are the sounds “created all as one”, contrived so as to express all, those from my past productions, more or less recent creations. Sounds which are not always identifiable, but what’s the point of trying to reproduce them? They have lived, but can live again in yet another way. Sounds are not congealed and must not remain so eternally. They can be recognised without it being necessary to relocate them in an identical context.

Sky Stone by Jeon-Christophe Thomas

Listening to Capture éphémère (Fleeting Capture) I can distinguish two features: firstly, this “white- coloured” sound, undoubtedly the raw material chosen for its theoretical fullness (a white sound is one “whose mass contains all accumulated frequencies”, as noted in Schaefferian theory); and secondly, this youthful vigour, this technical brilliance, this profusion, this quickness ... Both these features - the harmonic and the movement — converge into a sort of panic effect, a strange celebration —freely offering, in the style of a misty-sparkling mixture, a succession of the tousled and the eloquent, an amassed array of breathless sequences, of rhythmical aroused figures gliding from the elusive to the articulated; and in this material, there is always white monochrome...
The beating of terror-stricken wings, gliding ascents, rockets, dull explosions: the fission of the fine powder of the sound is then recovered, in layers of “captured”, beating time: impossible stases of resonance (“fleeting” by their very nature) which however persist, beating out their miraculous cohesion: a magical effect even today: proof that it is not due to technique [1’34-3’06]. Or: a sequence of utter loss, waste: an accumulation as Schaeffer would hove said (“reiteration abounding in brief elements”; like a shower of stones dispersing”.. .), having the fluidity of a waterfall, with one hundred thousand elements interwoven in discontinuity, “eccentric”, generous, suffocating [3’37]. Or: this furious vibration, which in its steep ascent, is imbued with a triumphant appearance of tireless virtuosity... And so many intimately interwoven composite sequences, as they advance, hurtling through space (and the Russian mountains . .) with seemingly inexhaustible energy; and marked several times, just before a silence, by the same small elegant asterisk [6’55-7’ 19]. However, all of this (deafening volubility) is finally calmed by a short coda [10’34]: where a movement to reduce and rarefy particles splits this mass in extremis into an ethereal shower of sparks, having the effect of a prolonged pause.

Sons/Jeux (Sounds/Games): And here again is the realistic and repetitive train; “mimicked” immediately by voices which come together to form a loop “in the ancient manner”, by remembering ancient works, Bilude en ré (Thingummy in D), etc. Voices, and music from bygone times, and train, all fuse together, with humour in unison. ... Unless perhaps it is a childhood memory, this “talking train which, in its scanned purring, emits enigmatic verbal formulae and repetitive, chanted nursery rhymes: “N’est pas ceci, n’est pas cela...” : “.. .Alors quest-ce” (“It isn’t this, it isn’t that : “... Well then, what is it?”.
It is — undoubtedly — music, since the sound of the last word [22’41, through a technical/magical “elongation”, becomes music, leaves behind the tribe of words, changes status, takes off ... and takes us beyond gravity, into the clear, open sky, where everything flows away ... and where respite can be found from gravity, from obsession, from the “same old tune”. Here there is the miracle of weightlessness of an air borne end refined ebb and flow, with its silky shimmering between glass and mall. - In this way Sons/Jeux alternates rhythm and the dissolving of rhythm, the scanned and the unscanned— these two very basic kinds of sound; of sound, amongst other things ... - but whilst also putting to “music” some words where meaning becomes unclear where “tone” predominates: irritated Japanese, American, etc.; and the voice of the composer himself, as if hearing himself, listening from within, whispering quickly, on the edge of precious sleep: for us, it has a projective effective hypnotising effect [12’10]. if we now compare with Capture éphémere, the modernity (“computer- assisted”...) of this new piece is apparent, particularly its inherent quality of smoothness: an all encompassing careening swallows up all the discontinuities: it pushes them into the “seamless” keelson of the musical flow... The important events, disparities, etc. — the very discontinuity of the diverse — are as if absorbed within the viscosity of a blister ... of a bubble. Perhaps we then come dawn a notch, suddenly, with a slight apprehension of events which, although just as abundant as they were before, turbulent, threaded with mischievousness - lose the immediacy of their openness in favour of this metamorphosis which puts them into perspective and sublimates them at the same time:
things are no longer, as before, “scanned” or “tinkling” for example: from this point on they seem to be somewhat scanned or somewhat tinkling. Therein undoubtedly lies the very essence of these sophisticated and delightful jeux, as the title itself suggests.

And La Mémoire des sons (Remembrance of Sounds) is even more sophisticated. Veritable stealth, uncertain direction: for some time we don’t know at all where it will go... But what a pleasure to allow yourself to be carried along — by an enigma with such sureness of tact Lohengrin? in the midst of this Fellinian wind ? [41’31] But of course, yes... The two “weaves” will combine very well Soon there will no longer be any Wagnerian ghost. Immanence has returned ... with these “concrete” granularities [6’30]... the “spray of Schaefferian stones” (see above)... Evolving towards the rumbling of a cart ... soon to become a stream [9’20]. Yet soon again (since each moment passes so swiftly) we find that we hove again moved on, without having seen how: the deftness of the metamorphoses gives rise to a hypnotised, lazy listening: a “floating” torpor combined with a sharpness of vigilance but which is not itself interested in the magic how of this imponderable mechanics of fluids. “We idealists, in love with immanence (Nietzsche, I think?) The perfect follow-up of the mirage takes us, in the first half, sliding from the somewhat fluid to the somewhat gritty, embodied in refined moving forms, with concrete weaves, half ideal, half immanent... The desire for change then becomes more perceptible: a degree of directivity; it seems that the journey is not made alone ... Each person will choose their moments, in these strange mixtures of flow and forces, sometimes heavily polystratified [17’33], drifting with the infinite melody which, in fine, brings us back to the beginning, briefly recalling its acrid “sky stone” taste...

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