11 Dec 80 [2 CDs]
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The first release of electronic composer Éliane Radigue's 1980 live session for the Bay Area's KPFA radio, performing two works: a studio performance of "Chry-ptus", Radigue's work for asynchronous recordings on a Buchla Modular System; and the world premiere of Parts I through III of "Tryptych", an hallucinogenic work of sound and texture.
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Label: Important Records
Catalog ID: IMPREC 498CD
Squidco Product Code: 32865
Format: 2 CDs
Packaging: Jewel Case
Recorded live on KPFA, in Berkeley, California, on December 11th, 1980.
Eliane Radigue-composer, performer
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• Show Bio for Eliane Radigue
"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)
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1. Chry-Ptus 24:11
2. Triptych I 17:58
1. Triptych II 24:56
2. Triptych III 19:56
sample the album:
"11 Dec 80 is a two-CD set containing Eliane Radigue's live performance of "Chry-Ptus" (1971), her first work for modular synthesizer, and the world premiere of parts one and three of "Triptych" (1978). "Triptych part 2" is also performed.
Upon hearing these performances for the first time in many years, Radigue declared them to be the best versions she'd ever heard. Radigue's sublime renderings of these major pieces are full of illusory stasis, slow change, and dense, slow-motion drone that has characterized her pioneering electronic work. These pieces move like a river with currents shifting beneath the surface. While you can't quite distinguish the individual components you get a clear feeling of motion and change."-Important
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