PIERRE HENRY APOCALYPSE DE JEAN PROSPECTIVE 21e siecle PHILLIPS 3 LP BIEM 1968

	£		30
	$		40

"APOCALYPSE DE JEAN - APOCALYPSE OF JOHN - APOKALYPSE DES JOHANNES"

BOX: in Excellent condition, only one corner split the rest are intact, the laminated silver front is in excellent condition a few light wrinkles and a tiny scratch top right otherwise very nice. 3 LPs - all 3 discs MINT- look unplayed.

PIERRE HENRY - APOCALYPSE DE JEAN Philips Prospective 21 Series ( 837.923/25 LY ) France, 1969 Rare First Pressing Red Label of this musique concrete masterpiece sorry no booklet. VERY RARE!

"From the first opening words of this deep male voice we say that the text will conform to the standard translation of the Apocalypse . It then waits for the music and there we are not disappointed with the trip . How to raise one who was , who is and who is between our ears if by oscillating sound from right to left and vice versa contradictory and overlapping movements that give more dizzy as dizziness, sense of flight that the fall . And these are the sounds that wind and unwind the seven seals and seven trumpets . No noise too small or too worldly, too surreal or too imaginative not to be the sword of the son of man springing from its two cutting edges of the mouth of the living who was dead and comes back for eternity . Everything in this story resonates numbers, numbers, algebra whose zero is the ultimate voice of the unknown, the voice of the alpha and omega in the chaotic mess of these numbers that do not end up sounding , plaintive voice and lamenting the coming of what is promised immediately. Speech tiaras laminated, reciting , priest, prophet, and faithful that multiply layered and collective voices and sources, veils and draperies that haunt and fill , divide and join empty or too full of our souls space. The four horses are so brief sketch it becomes epic gallop notes, the ride of a spectral band of Valkyries and steel whose engines have bursts of fear and fear horses." Par Jacques COULARDEAU

Genre: Electronic, Non-Music Style: Monolog, Musique Concrète, Religious, Experimental

“…The term “Musique Concrete” was coined by [Pierre] Schaeffer to describe the music that he and [Pierre] Henry (& others) were creating from Natural Sources; such sounds as industrial and traffic noises, sounds of nature, sounds produced by musical instruments and the human voice, etc., were tape-recorded and then altered by re-recording them backwards, through filters, at different speeds, with echo effects, and so on. While Henry and Shaeffer were producing their first experimental works, the West German Radio founded a similar research studio in Cologne. This studio differed from that of the R.T.F. [Radio-Diffusion Television Francaise; with whom Henry & Schaeffer were associated] in that Sinetone Generators were installed to produce “Sinusoidal” sound – i.e., pure tones, without any overtones. This variety of tape music employed by such composers as Eimert and Stockhausen, became simply known as “Electronic Music.” By 1958, when Henry left the R.T.F. to set up his own studio (The Studio Apsome), the terms “Musique Concrete” and “Electronic Music” were beginning to fuse, as electronically produced sounds were being mixed with “concrete” sounds both in France and in Germany, and in the new Italian and American studios.

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