Le Monde de la Musique 4
… Chion’s work is probes the existential panic of those living under the threat of death. — Outsight, USA
It’s French, it’s acousmatic… what more could you ask for? — Splendid E-Zine, USA
- empreintes DIGITALes
- IMED 9312 / 1993
- UPC/EAN 771028931224
- Total duration: 70:04
Not in catalogue
This item is not available through our web site. We have catalogued it for information purposes only.
- 1Requiem (1973), 37:16stereo fixed medium
- 1Requiem Æternam (1973), 5:32stereo fixed medium
- 2Kyrie Eleïson (1973), 1:37stereo fixed medium
- 3Épître (1973), 1:12stereo fixed medium
- 4Dies Iræ (1973), 6:00stereo fixed medium
- 5Domine Deus (1973), 1:53stereo fixed medium
- 6Évangile (1973), 3:28stereo fixed medium
- 7Sanctus (1973), 2:29stereo fixed medium
- 8Pater Noster-Agnus Dei (1973), 2:17stereo fixed medium
- 9Lux æterna (1973), 1:39stereo fixed medium
- 10Libera Me (1973), 10:37stereo fixed medium
- 11Variations (1990, 2003), 10:02stereo fixed medium
- 12Nuit noire (1979-85), 22:14stereo fixed medium
CD 2.0IMED 9312Out of print
The wild evolution of our societies forces all of us to re-examine our abilities and to develop our faculty to adapt, unlike anything preceding generations have had to deal with. In this respect, Michel Chion is fully armed to face this day and age, with as much versatility (historical chronicler, essayist, biographer, musicologist, filmmaker, composer) as know-how (writer of stature, experienced speaker, outstanding musician).
But present times are also the crucible of disillusions, the levelling of ideas, and the obsolescence of ideologies. By becoming committed to new forms of communication and by passionately taking a stand for the music of “fixed sounds,” Michel Chion carries on a tradition that now belongs to the past, where the debating of ideas expressed something other than the helplessness of politicians or the distress of the man in the street.
But it is precisely through this close chemistry, this merging of standpoints that are generally mutually exclusive that Michel Chion is perhaps presenting us with a path to explore, a “future with a future.”
François Guérin, Montréal [x-93]
The three works gathered on this album were composed at different times and with distinct aims — although the Requiem and Nuit noire (Black Night) do exhibit common elements. Nevertheless, they can be listened to as a single program made up of three complementary parts, in which time first appears as solemn and ritualized (the Requiem), then maximally contracted (Variations), to finally become more and more still and floating, in an attempt to lead the listener to the edge of his night.
Michel Chion, Paris (France) [x-93]