遂に初のアーカイヴボックスが登場、お見逃しなく!!当店ではほぼ全ての音源を紹介してきた、フランスの実験フィルムメーカーPatrick Bokanowskiを夫に持つ電子音楽家Michele Bokanowski。現在までアルバム、数種のEP、ミニCD、コンピレーション等細々とした作品を残していますが、本作は彼女のコンサート音源にフォーカスし纏め上げた4CDボックス。現在は廃盤となっている作品が多く、メタムキンのミニCDシリーズに登場した[Tabou]や、94年の[Cirque]、そして個人的激推しの74年ピアノコンクレート[Pour un pianiste]等々、名作を広くカバーした充実の編集となっています。更に今回が初出となる二つの未発表音源も収録。2023年の重要出版物。
This 4 CD box edition collects all concert musics by Michèle Bokanowski, a composer of electroacoustic music living in Paris, France.
Passionate about music from childhood, it wasn’t until later, at the age of 22, after reading À la recherche d’une musique concrète by Pierre Schaeffer, that she decided to study composition. After classical training in harmony, she met Michel Puig, a pupil of René Leibowitz, who taught her writing and analysis upon Schönberg Theory. In 1970, she began a two-year internship at the Research Department of the ORTF under the direction of Pierre Schaeffer. Between 1973 and 1975, she took part in a research group on sound synthesis, studied computer music at the University of Vincennes as well as electronic music with Éliane Radigue. She mainly composes for concert and for cinema (music for Patrick Bokanowski’s short films and for his feature films L’Ange and Un Rêve solaire). She has also composed for television, theatre and dance.
In her music, often infused with a mysterious atmosphere, she uses evocative and poetic concrete sounds, with a mastery of looping and feedback techniques and with an art of cinematic editing.
“Why musique concrète is so attractive to me, as opposed to written music… To write music implies that an idea or a thought is at the origins of the composition and that the final thing is the sound rendering of this thought. The sound is at the end of the line, in other words. Musique concrète is the exact reverse of this process: you start from sounds… sounds that will perhaps lead you to a constructive thought. Here, it’s the material that induces the thought, or the writing. The possibilities of finding or inventing new sounds and, therefore, new forms are tremendous, infinite… Moreover you can use chance to a much greater extent.”
(Excerpt of an interview with Michael Karman for Asymmetry Music Magazine 2007)
Pour un pianiste (1974)
Trois chambres d’inquiétude (1976)