Sundaze 1616

Hello,

Today's artist (born January 24, 1932) is a French electronic music composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Since 2001 she has composed mainly for acoustic instruments. ........N'Joy

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Eliane Radigue was born in a modest family of merchants and raised in Paris at Les Halles. She later married the French-born American artist Arman with whom she lived in Nice while raising their three children, before returning to Paris in 1967. She had studied piano and was already composing before hearing a broadcast by the founder of musique concrète Pierre Schaeffer. She soon met him, and in the early 50s and became his student, working periodically at the Studio d'Essai during visits to Paris. In the early 1960s, she was assistant to Pierre Henry, creating some of the sounds which appeared in his works. As her own work matured, Schaeffer and Henry felt that her use of microphone feedback and long tape loops was moving away from their ideals, though her singular practice was still related to their methods.

Around 1970, she created her first synthesizer-based music in a studio she shared with Laurie Spiegel on a Buchla synthesizer installed by Morton Subotnick at NYU. Her goal at that point was to create a slow, purposeful "unfolding" of sound, which she felt to be closer to the minimal composers of New York at the time than to the French musique concrète composers who had been her previous allies. After the premiere of Adnos I in 1974 at Mills College at the invitation of Robert Ashley, a group of visiting French music students suggested that her music was deeply related to meditation and that she should look into Tibetan Buddhism, two things she was not familiar with.

After investigating Tibetan Buddhism, she quickly converted and spent the next three years devoted to its practice under her guru Pawo Rinpoche, who subsequently sent her back to her musical work. She returned to composition, picking up where she left off, using the same working methods and goals as before, finishing Adnos II in 1979 and Adnos III in 1980. Then came a series of works dedicated to Milarepa,[2] the great Tibetan yogi, known for his Hundred Thousand Songs representing the basis of his teaching. First she composed the Songs of Milarepa, followed by Jetsun Mila, an evocation of the life of this great master; the creation of these works was sponsored by the French government.

In the late 1980s and early 1990s, she devoted herself to a singular three-hour work, perhaps her masterpiece, the Trilogie de la Mort, of which the first part kyema Intermediate states follows the path of the continuum of the six states of consciousness. The work was influenced as much by the Tibetan Book of the Dead Bardo Thodol and her meditation practice, as by the death of Pawo Rinpoche and her son Yves Arman (fr). The first third of the Trilogie, "Kyema", was her first recording, released by Phill Niblock's XI label.

In 2000, she made her last electronic work in Paris, l'Ile Re-sonante, for which she received the Golden Nica Award at the festival Ars Electronica in 2006. In 2001, on request from the electric bass and composer Kasper T. Toeplitz, she created her first instrumental work, Elemental II, which she took up again with the laptop improvisation group The Lappetites. She participated in their first album Before the Libretto on the Quecksilber label in 2005.

Since 2004 she has dedicated herself to works for acoustic instruments. First with the American cellist Charles Curtis, the first part of Naldjorlak was premiered in December 2005 in New York and later played in 25 concerts across the U.S. and Europe. The second part of Naldjorlak for the two basset horn players

Carol Robinson and Bruno Martinez, was created in September 2007 at the Aarau Festival (Switzerland). The three musicians completed the third part of Naldjorlak with Radigue and premiered the complete work, "Naldjorlak I,II,III", in Bordeaux on January 24, 2009. In June 2011 her composition for solo harp Occam I, written for the harpist Rhodri Davies, was premiered in London. Numerous solos and ensemble pieces in the OCCAM cycle have followed.

Performances of her music have taken place at galleries and museums such as the Salon des Artistes Decorateurs (Paris), Foundation Maeght (St. Paul de Vence), Albany Museum of the Arts (New York), Galerie Rive Droite (Paris), Gallery Sonnabend (New York), Galerie Yvon Lambert (Paris), and Galerie Shandar (Paris); at festivals including the Festival de Como (Italy), the Festival d'Automne a Paris, Festival Estival (Paris), International Festival of Music (Bourges, France); and at the New York Cultural Center, Experimental Intermedia Foundation (New York), The Kitchen (New York), Columbia University (New York), Vanguard Theatre (Los Angeles), LACE (Los Angeles), Mills College (Oakland), University of Iowa, Bennington School of Music, the San Francisco Art Institute, and the NEMO Festival (Chicago 1996). She has appeared on many broadcast programs including France Culture, France Musique, distribution via satellite covering over 50 stations in the U.S. including special programs on KPFK (Los Angeles) and KPFA (San Francisco).

Radigue currently lives in France, where she continues to compose electronic music and study the teachings of the Tibetan lamas. She returns to the United States periodically to present programs of her electronic works.



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Here today the reissue of eliane radigue’s 1971 piece “chry-ptus” :: presented here in two iterations: eliane’s own 1971 realization utilizing the buchla music box at nyu, and a contemporary recording/performance jointly realized by radigue herself (ca. 2001 @ ccmix in paris, assisted by stefano bassanese) and giuseppe ielasi (in 2006). Eeach realization contains two parts (the first track on each disc forming one pair; the second track the other...); these are intended to be played simultaneously but work just as well as individual halves... musically, the introduction of continuous-pulse rhythms (the mid-register twittering) into the purely synthesized/flowing timbres is something i haven’t heard from radigue (outside of “e=a=b=a+b” - another piece with two distinct parts intended for simultaneously/non-sync’ed play...)
As will all of radigue’s long-form electronic music, this is something you’ll want to immerse yourself in for extended durations... highly recommended for the lover of pure analogue sound & those patient enough to let this music in...

“chry-ptus” (1971) :
originally two tapes which are to be played simultaneously, with or without synchronisation, which does not affect the structure of the work, but creates changes in the game of sub-harmonics and overtones. three variations on this piece were performed at the new york cultural center in 1971, with variations of amplitude and location modulation as well as synchronisation. realised on the buchla synthesizer at the new york university. the booklet contains a text by painter paul jenkins, who also realised the watercolor on the front cover, written on occasion of radigue’s first concert in new york, april 6th, 1971.

Eliane Radigue - Chry-Ptus  (flac  325mb)

01 Chry-ptus I (1971) 23:40
02 Chry-ptus I (Version 2001) 24:47
03 Chry-ptus II (1971) 20:28
04 Chry-ptus II (Version 2006) 23:40

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These three magisterial compositions were realized between 1973 and 1980 by Paris-based composer Eliane Radigue, who was formerly a student of musique concrète guru Pierre Henry, until he uncharitably dismissed her immaculate slow-motion minimalism out of hand. Time has happily proved him quite mistaken. Describing Radigue's work with the simple (and these days overused) epithet "drone" is somewhat misleading, for unlike classic examples of the genre, from La Monte Young and his erstwhile violinist Tony Conrad, Radigue's music is almost constantly on the move. But very, very slowly, putting ARP synthesizer to use in ways Herbie Hancock never even dreamed of, Radigue builds the sonic geology of her works in strata. Tuning in to the upper frequencies of "Adnos I" (1973 -- 74) is like lying on your back in a field and watching clouds drift by overhead, while the slow heartbeat of her music recalls Morton Feldman's celebrated observations on duration: "Up to one hour you think about form, but after an hour and a half it's scale." Not surprisingly perhaps, given the unique meditational quality of the music, Radigue eventually became a Tibetan Buddhist, but there's no question here of tuning in and dropping out. "Adnos II" is thicker and more physically present, compelling the listener to focus on what Karlheinz Stockhausen once referred to as "the rhythm of your smallest particles," while the ghostly pendulum ostinati of "Adnos III," which swing in and out of focus from the 11-minute mark, are utterly compelling. There's a lot of "drone" music around these days, because people misguidedly think it's easy to do, but when confronted with authentic masterpieces such as these, the difference between the wheat and the chaff is abundantly clear. Hopefully, Pierre Henry, if he's still wearing a hat, will doff it in reverence.

Eliane Radigue - Adnos I (flac 380mb)

01 Adnos I 71:26

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Eliane Radigue - Adnos II  (flac  358mb)

01 Adnos II 72:44

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Eliane Radigue - Adnos III (flac 386mb)

01 Adnos III 72:40

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