PIERRE HENRY LE VOYAGE PROSPECTIVE 21e siecle PHILLIPS 1963 LP

	£		17
	$		23

"LE VOYAGE - D'après le Livre des Morts Tibetan" Creation a paris le 25 juin 1963 en l'Eglise Saint-Julieb-le-Pauvre, dans la version concert qui est celle de ce disque. The ORIGINAL FRENCH PHILIPS 836.899 DSY  / PROSPECTIVE 21° Siecle / PIERRE HENRY / LE VOYAGE
LP - visually the disc: VG+ light scuffing, plays fine with occasional light background noise and light clicks heard only in quiet moments, generally great and enjoyable audio: EX+ The silver COVER is still in its cellophane shrink wrap, some rubbing at bottom edge and at the opening: EX+ Pierre Henry - Le Voyage -- The Fantastic Journey From Death To Life : An electronic score based on The Tibetan Book of the Dead

Pierre Henry's early masterpiece, 'Le Voyage' (1962), based on the Tibetan Book of the Dead - the Bardo Thodol. It revolves around seven pieces dealing with the soul's journey between death and reincarnation in the next life. It is one of the first works composed by Henry at the Apsone-Cabase Studio, a new, electronically equipped facility which he set up after realising that if he wanted musique concrète to evolve, he would have to move away from the Club d'Essai studio at RTF, set up with his colleague and peer Pierre Schaeffer, and begin experimenting with electronics. The result is a remarkably involving and immersive experience shifting away from the more dynamic angular architectures of his concrète incursions to an interdimensional soundscape of scurrying oscillator patterns, drones and strange tones with a weighted sense of gravity. Two pieces of heavy-breathing manipulations, 'Souffle 1 & 2' bookend a passing through rich bass drones, alien bleeps and discordant, metallic creaks reminding of more recent work of Oren Ambarchi, Mika Vainio or Sunn 0))), but, of course this was made 50 years earlier...

“…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. In 1955 Henry met Maurice Bejart, a choreographer who was using”musique concrete” to accompany experimental ballets that he created. Encouraged by Bejart, Henry composed for him Le Voyage (The Voyage), based on The Tibetan Book of the Dead. The work was first heard on April 15, 1962, in Cologne; but Henry produced another version in The Church of St. Julian-le-Pauvre in Paris on June 25…1963…And it is the second version that we hear on this recording. Now, The Tibetan Book of the Dead, which first appeared in English in 1927, is used as a breviary, to be read or recited on the occasion of death to help the dying man concentrate on the experience he is about to undergo, and to give him instruction in the cycle of events after death which lead either to liberation or reincarnation. In highly symbolic language, the dead man’s spirit is told what to expect in each of the three stages between death and rebirth. The first stage describes the psychic happening at the moment of death; the second stage describes the dream-state which follows and the “karmic” illusions which occur; and the third step describes the beginnings of pre-natal feelings. …Hearing is perhaps the last faculty to remain. The ears of the dying man are filled with the final clamorings of earthly life: thousands of whispering voices, motor cars, marine trumpets, torture applied to the teeth, the hands, the sudden agony of the radio. And a wind, a wind that comes nearer, and which he recognizes as the sound of his own breathing. By his side is the lama, the priest, or the friend.” (sleeve notes)   O nobly-born, the time hath now come for thee to seek the Path. Thy breathing is about to cease. Thy guru hath set thee face before with the Clear Light; andnow thou art about to experience it in its Reality in the Bardo state, wherein allthings are like the void and cloudless sky, and the naked, spotless intellect islike unto a transparent vacuum without circumference or center….

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