![]() ![]() Rather than working with professional musicians, he chose to use locals and children he encountered in Aix-en-Provence between 19. In 1980 the Direction de la Musique awarded the composer Jean-Yves Bosseur a grant to start a collective practice of music using the instrument constructed / reconstructed by Armengaud. With their help, she was able to construct 240 instruments, collected in her book “Musiques Vertes”, published in 1978 by Christine Bonneton éditeur, that had long been used for bird calls, dancing, toys of young shepherds and children, and much more, but had been lost to common usage following the First World War. The “Musiques Vertes” project began in South East France during the late 1970s, spearheaded by Christine Armengaud, who was investigating, via elderly people in the region, a long tradition of musical instruments made with organic materials and plants. A student of Henri Pousseur and Karlheinz Stockhausen, as well as a close associate of Knud Viktor, he belonged to the legendary collective Groupe d'Etude et Réalisation Musicale GERM, widely celebrated for their realization of Terry Riley's Keyboard Study 2, issued by BYG / Actuel in 1970. Jean-Yves Bosseur is a relatively obscure figure in the history of the French avant-garde. Utilising handmade instruments constructed from plants and other natural materials, played by a collective of children and untrained musicians, its radically experimental sounds build a revelatory bridge between the avant-garde and ancient forms of folk. Cover artwork and fold out poster by Graham Lambkin.ģ00 copies, black vinyl, fold out A2 posterįirst ever vinyl reissue of Jean-Yves Bosseur's visionary LP “Musiques Vertes”, recorded by the legendary French ornithologist and wildlife field recordist Jean-Claude Roché, originally issued by Atelier 82. Composed and recorded 2015-2018 at Akademie Schloss Solitude (Stuttgart), California Institute of the Arts (by Sam Dunscombe) and Chinatown Studios, Melbourne (by Joe Talia). Mixed by Joe Talia, mastered by Giuseppe Ielasi, cut by Daniel Krieger at SST, Frankfurt am Main. Creaks, stutters and sweeping fingers on keys become instrumental sounds in their own right, creating a further logical layer in Rushford’s compositional world.Īn intimate, nocturnal, and slightly suffered dialogue between the instrument and the body building a shining and fragile monument to the ephemeral nature of the organ, one of the most intriguing and ancient families of musical instruments in history. ![]() Using harmonium, portative organ and electric organ, each piece is linked by Rushford’s idiosyncratic combination of strict intervallic systems in different tunings (Werckmeister, quarter-tone, equal temperament), and haptically-informed rhythmic and expressive freedom. ![]() Block Gifts is a collection of three works for organs composed by James Rushford between 20. ![]()
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