Éliane Radigue - Occam XIII, Occam River XI, Occam V (2026) [Hi-Res]
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BAND/ARTIST: Éliane Radigue
- Title: Occam XIII, Occam River XI, Occam V
- Year Of Release: 2026
- Label: Blank Forms Editions
- Genre: Contemporary Classical, Minimalism
- Quality: FLAC 24/96000; 16/44100
- Total Time: 01:04:04
- Total Size: 301; 1190 MB
- WebSite: Album Preview
French composer Éliane Radigue (1932–2026) moved from tape editing in the studios of musique concrète to acoustic chamber music. A student and assistant to Pierre Schaeffer and Pierre Henry, she mastered tape splicing in the 1950s and ’60s. Unlike her teachers, she preferred fluid, delicately balanced feedback works to spasmodic dissonance. From 1970, drawing close to American minimalists, she worked with synthesis and eventually settled on the ARP 2500 synthesizer, which she used for all her electronic works. She spent years on each piece, recording series of pulsating ARP parts and mixing them into hourlong suites of perpetual mutation, such as “Trilogie de la mort” and “Adnos I–III”. In 2001 she adapted an early feedback work for live performance on electric bass (“Elemental II”). In 2004, at the urging of cellist Charles Curtis, she abandoned electronics for good and began writing acoustic music, starting with “Naldjorlak” for solo cello.
From 2011 this method grew into the “Occam Ocean” series: more than eighty compositions made without a score, in dialogue with each performer. The composition “composes” the particular playing of a given musician just as the musician plays the composition. The usual division of roles between composer and performer is therefore erased, and this model has not yet been theorized. The title refers to William of Ockham and the principle of parsimony. Each piece rests on a radically reduced technique and a handful of fundamental tones, and the scarcity of material opens up a richness of acoustic detail: the flickering, idiosyncratic spectral behavior of the instrument. The series was sparked by Radigue’s visit to the Natural History Museum in Los Angeles. There she saw a depiction of the electromagnetic spectrum and was struck by how tiny the range of human hearing is next to the infinity of frequencies.
A double LP presents, for the first time on vinyl, three late works from the cycle, performed by two of the composer’s longtime collaborators: cellist Charles Curtis and bassoonist Dafne Vicente-Sandoval. The bassoonist came to Radigue through her own investigations into the complex sounding properties of her instrument. The works are “Occam XIII” for bassoon (Side A), “Occam River XI” for bassoon and cello in two readings that reveal different instrumental responses (Sides B and D), and “Occam V” for cello (Side C). The recording was made in 2024 at Temple Saint-Théodule in La Tour-de-Peilz, Switzerland, during a residency at La Becque. The musicians had chosen the place in advance for its acoustics.
Tracklist:
01-01 Éliane Radigue - Occam XIII (for bassoon) [15:52]
01-02 Éliane Radigue - Occam River XI (for bassoon and cello) (17'12") [17:12]
01-03 Éliane Radigue - Occam V (for cello) [13:44]
01-04 Éliane Radigue - Occam River XI (for bassoon and cello) (17'16") [17:16]
From 2011 this method grew into the “Occam Ocean” series: more than eighty compositions made without a score, in dialogue with each performer. The composition “composes” the particular playing of a given musician just as the musician plays the composition. The usual division of roles between composer and performer is therefore erased, and this model has not yet been theorized. The title refers to William of Ockham and the principle of parsimony. Each piece rests on a radically reduced technique and a handful of fundamental tones, and the scarcity of material opens up a richness of acoustic detail: the flickering, idiosyncratic spectral behavior of the instrument. The series was sparked by Radigue’s visit to the Natural History Museum in Los Angeles. There she saw a depiction of the electromagnetic spectrum and was struck by how tiny the range of human hearing is next to the infinity of frequencies.
A double LP presents, for the first time on vinyl, three late works from the cycle, performed by two of the composer’s longtime collaborators: cellist Charles Curtis and bassoonist Dafne Vicente-Sandoval. The bassoonist came to Radigue through her own investigations into the complex sounding properties of her instrument. The works are “Occam XIII” for bassoon (Side A), “Occam River XI” for bassoon and cello in two readings that reveal different instrumental responses (Sides B and D), and “Occam V” for cello (Side C). The recording was made in 2024 at Temple Saint-Théodule in La Tour-de-Peilz, Switzerland, during a residency at La Becque. The musicians had chosen the place in advance for its acoustics.
Tracklist:
01-01 Éliane Radigue - Occam XIII (for bassoon) [15:52]
01-02 Éliane Radigue - Occam River XI (for bassoon and cello) (17'12") [17:12]
01-03 Éliane Radigue - Occam V (for cello) [13:44]
01-04 Éliane Radigue - Occam River XI (for bassoon and cello) (17'16") [17:16]
| Classical | Ambient | FLAC / APE | HD & Vinyl
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