Boomkat Product Review:
First ever issue of engrossing electro-acoustic work from the GRM archive circa 1972 and 1982. Highly dynamic, even playful, with a keen sense of rhythm and movement between myriad prisms...
“Erda (1972): This piece illustrates my early research carried out in a professional composition studio. After studying every available tools and creating variably hybrid connections between them, I chose to compose several short sequences, each being the expression of a research based on a sonic manipulation and exploring a well defined sound hue. Besides, my background as a percussionist and a jazzman encouraged me to conduct a rhythmical study in each of these sequences.
Suite N (1982): Commissioned by the Direction de la Musique and the Ina GRM. Composed in the Ina GRM's numerical composition studio with the assistance of Benedict Maillard and Yann Geslin.
In a composition studio, musical research is never very far removed from madness. The first step is the initial work on the sound picked up by the microphone and the varieties of delirium that result from it : exaggerated amplification, inversion, transformation. Synthesizers and their crazy possibilities com next. The third step is the computer, one of the purest products of logic. All the same, the musician approaches the robot warily : he prefers his own models to formal and mathematical models, and he uses the computer like an instrument.
Jean Schwarz is an idiosyncratic figure in the world of electroacoustic music. With a dual background in jazz and ethnomusicology, he has crossed times and genres with an unwavering singularity, infusing improvisation, ballets or cinema with the art of acousmatics. 'Erda' or 'Suite N', each in their own way, demonstrate Schwarz's unique propensity for exploring sound, its cross-fertilisations and its evocative power. François Bonnet, Paris, 2015”