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Radigue, Eliane

Geelriandre / Arthesis [VINYL]

Radigue, Eliane: Geelriandre / Arthesis [VINYL] (Important Records)

Two hallucinatory works for keyboards that envelop their listeners in deep, slowly shifting sound, from composer and electronic explorer Eliane Radigues, the first "Geelriandre" from 1972 and realized on an ARP 2500 synthesizer, with Gerard Fremy on prepared piano; "Arthesis" from 1973 was realized by Radigue on a Moog Synthesizer at the University of Iowa.
 

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product information:


UPC: 793447546414

Label: Important Records
Catalog ID: IMPREC 464LP
Squidco Product Code: 26776

Format: LP
Condition: New
Released: 2018
Country: USA
Packaging: LP
Geelriandre was recorded at the Stedelijk Museum, in Amsterdam, the Netherlands, in December, 1979.

Arthesis recorded at the University of Iowa, in Iowa City, Iowa, in 1973.


Personnel:

Eliane Radigue-synthesizer

Gerard Fremy-piano

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Artist Biographies:

"Eliane Radigue was born in Paris, France. She studied electroacoustic music techniques at the Studio d'essai at the RTF, under the direction of Pierre Schaeffer and Pierre Henry (1957-58). She was married to the artist, Arman, and devoted ten years to the education of three children, deepening classical music studies and instrumental practice on the harp and piano at the same time. In 1967-68 she worked again with Pierre Henry, as his assistant at the Studio Apsome.

Radigue worked for a year at the New York University School of the Arts in 1970-71. Her music, its source an Arp synthesizer and medium recording tape, attracted considerable attention for its sensitive, dappled purity. She was in residence at the electronic music studios of the University of Iowa and California Institute of the Arts in 1973.

Becoming a Tibetan Buddhist in 1975, Radigue went into retreat, and stopped composing for a time. When she took up her career again in 1979, she continued to work with the Arp synthesizer which has become her signature. She composed Triptych for the Ballet Théâtre de Nancy (choreography by Douglas Dunn), Adnos II & Adnos III, and began the large-scale cycle of works based on the life of the Tibetan master, Milarepa.

In 1984 Radigue received a "bourse à la creation" from the French Government to compose Songs of Milarepa, and a "commande de l'état" in 1986 for the continuation of the Milarepa cycle with Jetsun Mila.

Notoriously slow and painstaking in her work, Radigue has produced in the last decade or so on average one major work every three years. Very recently, in response to the demands of musicians worldwide, she has begun creating works for specific performers and instruments together with electronics. The first of these was for bass player Kaspar Toeplitz, and more recently the American cellist Charles Curtis.

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."

-Lovely Music (http://www.lovely.com/bios/radigue.html)
4/15/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Gérard Frémy (12 March 1935 - 19 January 2014) was a French pianist, composer and percussionist.

A student with Yves Nat at the Conservatoire de Paris, Frémy ended his studies by winning First prize at 16.

He was designated by Marcel Dupré and the Association française d'action artistique (CulturesFrance) as a Soviet government scholarship holder. For 3 years, he studied at the Tchaikovsky Conservatory of Moscow with Heinrich Neuhaus and then rubbed shoulders with Sviatoslav Richter, Emil Gilels etc. Forty concerts in the USSR and recordings for the state radio will punctuate his stay in Russia. He then performed with equal success in most European countries, the United States, Japan... and participated in the biggest festivals. Gérard Frémy was also the spokesman of contemporary music: soloist of the ensembles Ensemble Ars Nova, Musique Vivante, he played with the Stockhausen group in Osaka (1970). Among his favourite composers are Mozart, Schubert, Schumann, Debussy, Ravel, Cage. His very extensive repertoire therefore goes from J.S. Bach to John Cage. Gérard Frémy is not only the closest French performer to John Cage's universe, he is considered one of the depositories of the composer's heritage. He is known, in particular, for his interpretation of the Sonatas and Interludes and Music of Changes. Familiar with contemporary creation, he created and gave the first auditions of the most important composers of our time. Among the premieres he made, Société II, Si le piano était un corps de femme, and Luc Ferrari's Und so weiter as well as Stockhausen's Pôle pour deux. Composer Michèle Bokanowski dedicated Pour un pianiste to him. An important part of his career has been devoted to pedagogy since he taught at the Conservatoire de Paris, among others, in piano and chamber music classes. Many of his students have won prizes and distinctions in the most important international competitions. Among his pupils were Cédric Tiberghien, Jérôme Ducros [fr], Nicolas Horvath and Nicolas Stavy."

-Wikipedia (https://en.wikipedia.org/wiki/G%C3%A9rard_Fr%C3%A9my)
4/15/2019

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track listing:


SIDE A



1. Geelriandre 29:59

SIDE B



1. Arthesis 25:46

sample the album:








descriptions, reviews, &c.

"Eliane Radigue's Geelriandre / Arthesis is named for the pieces that fill its two sides.

Geelriandre, realized on an ARP 2500 synthesizer in 1972, features Gérard Fremy on prepared piano.

Arthesis, realized using the University of Iowa's Moog in 1973, comprises the full duration of side B.

Eliane Radigue has received much deserved praise for her transcendent composiitions for tape, synthesizers, and acoustic instruments. Her work is deep, slowly changing, and timelessly resonant with slowly shifting timbres so dense that they seem infinite. Acute physicality, overtones, and psychoacoustic activity fills your space, follows you, grounds you, pulls you in or lets you go. It's all here/hear."-Important



"When the music of Eliane Radigue is discussed, two aspects always come up: her practice of Tibetan Buddhism and the drone. While her spiritual interests are surely important for her on a personal level, and "drone" is a valid description of her long-form electronic compositions, there's a problem here: The reduction of her work to these two aspects ultimately limits how we understand it. The interest in them actually distances us from her sound. Her Buddhism and her exploration of the drone get tossed out like exotic facts. They make for easy pegs to talk about her music, but they do nothing to tell us why we should be listening to her today -- and listen we should.

These two pieces, both from the 1970s, were originally released on Giuseppe Ielasi's Fringe Recordings in 2003. In his Paris Transatlantic review of the original issue, Dan Warburton makes a good case for why Radigue's music is unique in the late 20th century canon of both electronic music and minimalism. She was the first, he suggests, to fully explore the capabilities of analog synthesizers to produce sustained, slowly shifting timbres -- what these days we inevitably, and not always accurately, call a drone.

But Radigue's music is anything but monolithic. It's full of psychoacoustic activity and subtle gradations of color. Her compositions are like the sound of a bell being struck, its reverberations allowed to decay infinitely and captured in slow motion as complex webs of overtones interacting with your space. "Geelriandre," here a live performance of Radigue's ARP synthesizer and G"rard Fremy's live prepared piano, evokes this sound almost literally. It not only sounds like the tolling of a gigantic bell; it feels like it. Turn it up loud and walk through your house or apartment. This music follows you, changes as you change rooms and go around corners.

Here we get to an essential point. If you"re listening to Radigue on headphones or computer speakers, you"re not really hearing her. This isn't an argument for hi-fi or against downloads. It's just stating an acoustic fact. Her work is immediate and physical. You"re meant to be in contact with it.

Listen to Arthesis on headphones and what you hear is this: a slow, vague rumble in the right channel and more active mid and high frequencies in the left. It stays basically the same for the duration. But put the same piece on a pair of loudspeakers and it is transformed. You start to notice a gradual, rising dynamic. The channel separation starts to produce pockets of audio hallucinations. By the end, the air is alive with beat frequencies, difference tones and rich timbral interaction.

And now we get to why Radigue matters. She doesn't fit into our cloud-mind, playlist culture. You can't listen to Arthesis on a bus or a subway. I'm no Luddite and I'm not getting nostalgic, but we shouldn't confuse progress with development. Progress is just movement. When we gain one thing, we lose something else. Radigue represents what we lose with endlessly streaming playlists and ultimate mobility. Her work is long. Unhurried. Subtle. Accurately experiencing it, much less understanding it, requires concentration and a measured pace -- two qualities our online life fails to promote.

I chose to not include a sound sample with this review. If you seek this music out, do so deliberately. Listen to it and it only. Don't read something else. Don't put it on a playlist. Its moral is simple: stop, listen, and above all, experience."-Matthew Wuethrich, Dusted Reviews


Get additional information at Dusted Magazine
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