Uploaded May 2026 | Updated September 2026, 2 weeks ago
Carnaval, pour un comédien, trois chœurs et bande magnétique (1969)
Texte de Roger Marty
Pierre Rousseau, comédien
Ensemble Vocal Stéphane Caillat et Choristes des Chorales "A coeur joie" de Paris
Boris De Vinogradow, Rainer Boesch, Stéphane Caillat, chefs de choeurs
Reibel, an accomplished technician, of creative imagination, making full use of modern electroacoustics, reaches in his compositions a harmonious fusion of lively thought and boundless means. While striving with an unerring instinct to follow the line, the inner pulse of sound matter, though he seeks to preserve the union with the basic essential functions of musical media, he has nonetheless succeeded in cutting out for himself from the jungle of contemporary sounds a path of exceptional clarity. However rich in meaning, however plentiful and compact are his works, they are above all admirably written, and, when read, astonish and delight, coming as they do at a time when so many others fall apart owing to saturation.
"Carnival", composed for three amateur choirs, an actor, and a stereo magnetic tape, is a game, a meeting, a pantomine, an explosion of life, a vast chassé-croisé of diverse musical dramatic and sonorous situations where words, syllables and sounds are scattered in a confusion of mime, jumps, gestures and shrieks, where continuity is effected through crowd displacements and general movement. In this jungle of phonetics an irresistible elementary force, a proliferous abundant effervescence stand out and display themselves as being none other than natural micro or macroscopic phenomena. The fundamental asymetrical laws of nature reign over this music though it is governed by an irresistible logic. Not by any means the constrictive arbitrary logic of some pre-established form but the profound unpredictable yet unerring logic of moving matter. Thus Reibel, through his elaborately planned compositions, rejoins the sacral spring, the theatrical efficacy of the Balinese "ketchak". [STU 70599]
Art by Giovanni Domenico Tiepolo (attributed)
Carnaval, pour un comédien, trois chœurs et bande magnétique (1969)
Texte de Roger Marty
Pierre Rousseau, comédien
Ensemble Vocal Stéphane Caillat et Choristes des Chorales "A coeur joie" de Paris
Boris De Vinogradow, Rainer Boesch, Stéphane Caillat, chefs de choeurs
Reibel, an accomplished technician, of creative imagination, making full use of modern electroacoustics, reaches in his compositions a harmonious fusion of lively thought and boundless means. While striving with an unerring instinct to follow the line, the inner pulse of sound matter, though he seeks to preserve the union with the basic essential functions of musical media, he has nonetheless succeeded in cutting out for himself from the jungle of contemporary sounds a path of exceptional clarity. However rich in meaning, however plentiful and compact are his works, they are above all admirably written, and, when read, astonish and delight, coming as they do at a time when so many others fall apart owing to saturation.
"Carnival", composed for three amateur choirs, an actor, and a stereo magnetic tape, is a game, a meeting, a pantomine, an explosion of life, a vast chassé-croisé of diverse musical dramatic and sonorous situations where words, syllables and sounds are scattered in a confusion of mime, jumps, gestures and shrieks, where continuity is effected through crowd displacements and general movement. In this jungle of phonetics an irresistible elementary force, a proliferous abundant effervescence stand out and display themselves as being none other than natural micro or macroscopic phenomena. The fundamental asymetrical laws of nature reign over this music though it is governed by an irresistible logic. Not by any means the constrictive arbitrary logic of some pre-established form but the profound unpredictable yet unerring logic of moving matter. Thus Reibel, through his elaborately planned compositions, rejoins the sacral spring, the theatrical efficacy of the Balinese "ketchak". [STU 70599]
Art by Giovanni Domenico Tiepolo (attributed)

![Alexandre Tansman - Cavatina
Cavatina (1951)
I. Preludio
II. Zarabanda
III. Scherzino
IV. Barcarola
V. Danza Pomposa
Ernesto Bitetti, guitar
Polish-born Alexandre Tansman (1897) is pianist, conductor, and one of today’s most important composers for the guitar. In a very unusual personal feat, he was awarded both first and second prizes for composition in 1919; it was accomplished by the young composer who submitted two different works, each under a different pseudonym. Later, in association with Ravel, he established himself as both pianist and conductor in Paris and later in the United States. During his years away from his native home Tansman retained his national and personal characteristics. His refined and sensitive art probably derives as much from syncopated rhythms and French-influenced modes of expression as from its original, strongly Polish quality. Tansman’s composing style has been compared to Chopin, who was a strong early influence, to Stravinsky, and Ravel, with music full of lyric tenderness and subtle melancholy. His works include symphonies, ballets, chamber music and oratorio. Tansman’s Cavatina for solo guitar received the first International Prize at the Academia Chigiana in Siena in 1951. It is a suite in the modern sense, beginning with a prelude, followed by a group of dances and ending with a light, frothy piece. [MS-871 Stereo]
Art by Wilhelm Sasnal Alexandre Tansman - Cavatina](https://i.ytimg.com/vi/s5dHux7AUpU/mqdefault.jpg)
![Grażyna Bacewicz - Music for Strings, Trumpets and Percussion
Music for Strings, Trumpets and Percussion (1958)
I. Allegro
II. Adagio [7:25]
III. Vivace [12:58]
Amadeus Chamber Orchestra of Polish Radio
Agnieszka Duczmal
Composed in 1958, Music for Strings, Trumpets and Percussion became famous as a unique piece in the composer’s hitherto classicistic-folkloristic oeuvre. The sonoristic technique, manifestations of which can be found in the composer’s many earlier pieces, became here the main force driving the development of each of the three movements.
Despite the novelty of its sound language, the piece does not lack some (neo)classical reminiscences, especially when it comes to its formal structure. The first movement, with its plan of a sonata allegro, is a structure based on two exposition themes, the first of which provides a characteristic expression to the whole movement. However, neither theme is a closed melodic idea, although the second theme contains a sophisticated canon in an inversion (violins and cellos), with a delay of a quaver, preserving the direction of the melody but not respecting strict interval sizes. After all, the development of the form is determined by the dynamism of movement, alternation of textures and variety of sound forms. The movement vector, constantly pointing forward, does make it possible, however, to develop some ideas in a broad sound space.
Theme I begins after an energetic introduction with a relentless monotony of a string tremolo, in some way drawing on the idea of the “pendular movement” from the Concerto for String Orchestra. Pendular figures, from which an accented note sometimes “leaps out” – by a augmented interval – are arranged alternatingly and asymmetrically, which creates an impression of meticulously planned “entropy” of the system, an impression enhanced by unevenly placed pizzicatos. This rushing stream grows steadily, encompassing an increasingly large interval range, only to turn – after a signal intervention of the trumpets and tremolo of the timpani – into a raucous, “turpist” tumult ending with a twelve-note aggregate.
After a moment of calm the trumpets enter with a quasi-theme, whose marching, broken rhythm, syncopated by double bass pizzicatos, resembles the mood of some fragments of Stravinsky’s The Soldier’s Tale. The dreamy theme II, presented by the strings treated as solo instruments and counterpointed by the celesta, turns into the above mentioned canon, followed by a virtuoso transformation and then a mirror reprise.
The second movement is initially concertante music of solo instruments or their groups selected from the entire ensemble and shaping their elegiac phrase against a background of an almost “stationary” motif of two semiquavers and a quaver with a rotationally changed first note. The “epic” part and figurative transition, resembling old, progressively changing figures with a constant base in the form of the initial note, are followed by a mysterious “murmuring” fragment based on trills played by serially entering strings – from cellos (con sordino, ppp) to divided violins (con sordino, sul tasto, pp), as a result of which the composer achieves the effect of “diagonal” movement across the sound space. The fragment – complemented by a delicate tremolo of the snare drum and the timpani, delicate strokes of the celesta and trails of the trumpets – is an example of the composer’s unique impressionism, in which the play of motifs and rhythms is largely replaced by a play of colours, sound planes and textures.
The third movement is a veritable kaleidoscope of ideas, of events following one another, if threads from the past (ostinatos, pendular figures, parallel runs) as well as those that are completely new. They include the appearance of another “protagonist” – the xylophone. However, there is some order in the ideas, combining the concertante form with a form that has features of a sonata rondo.
Music for Strings, Trumpets and Percussion is dedicated to Jan Krenz. Under his baton the Polish Radio and Television Symphony Orchestra performed the work for the first time on 14 September 1959 at the Warsaw Autumn International Festival of Contemporary Music. In 1960 the piece was ranked third (the highest score among orchestral pieces) at the International Rostrum of Composers in Paris.
There have been many choreographic versions of the work. They include Quadrige by Pierre du Villard (1965), Witness of Innocence by David Earle (1967) and Three Pieces by Hans van Manen, prepared in 1968 for the Nederlands Dans Theater and revived since by other companies. In 1988 van Manen’s choreography was also presented at Warsaw’s Teatr Wielki by the Polish company. [bacewicz.polmic.pl]
Art by Ewelina Skowronska Grażyna Bacewicz - Music for Strings, Trumpets and Percussion](https://i.ytimg.com/vi/s5u0gnORanw/mqdefault.jpg)



![Zreen Toyz - Rouille
Rouille (2003/2013)
Created in 2003 in Paris, Rouille was used as an ambient background for the sculptures exhibitions of Jean Tinguely and Alberto Giacometti. Twenty minutes shorter than the original, this remixed version (March 2013) is more focused on progression of the sonorous events. [suRRism-Phonoethics]
Art by Jean Tinguely Zreen Toyz - Rouille](https://i.ytimg.com/vi/sUclaz1q1C8/mqdefault.jpg)
![Mathias Spahlinger - Apo do (van hier)
Apo do (van hier), for string quartet (1982)
I.
II. Quasi da capo senza fine [6:05]
III. Quasi da capo senza fine [11:04]
Arditti String Quartet
Spahlinger, who received his training in classical music and jazz has, by his own account, developed his own style. The string quartet Apo do from 1982 bears a resemblance to that of Helmut Lachenmann, but in this work Spahlinger uses silence much more as “sound.” The basis of the work was formed by a poem (From Here to the Sun) by the Greek poet Jannis Ritsos, which deals with the German occupation of Greece during the Second World War.
The music for the string instruments is not written for the usual sounds of those instruments. The participants play flautando, flageolet, press and rub strings and instruments, and sometimes also make their instruments produce sighing sounds. The music is “filled” with long general pauses. The difference with Lachenmann also lies in the fact that there is a unison tone in movements 1 and 2; the A-flat, which is supposed to provide rest but actually causes unrest in all movements, the unison tone falls out of tune.
The work consists of three untitled movements; however, the last two movements form a double coda to movement 1. The composer therefore leaves it ambiguous whether the work has a true ending. At the end of movement two or three, one can simply start all over again. The composer assumes that no two performances are alike. It also stands out as a performance with multiple repetitions, a kind of minimal music. The shortest performance (all three movements only once) lasts approximately 11 minutes.
The composer himself draws a parallel with Samuel Becketts play Play. In that play, the first performance also serves to give an impression of the entire work, but before one actually realizes it, the play starts all over again. One thus gets the impression that the play could go on forever.
Apo do was written commissioned by the Goethe Institute of Athens and also received its first performance there. [wikipedia.org]
Art by Eirene Efstathiou Mathias Spahlinger - Apo do (van hier)](https://i.ytimg.com/vi/sUmC-vjWg9g/mqdefault.jpg)


