{"product_id":"v-a-festival-dada-paris","title":"v\/a - Festival Dada Paris","description":"\u003cp\u003eA unique anthology of piano music linked to the Dada art movement in Paris between 1920 and 1923,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFestival Dada Paris\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis based on the piano repertoire performed at two landmark Dada happenings staged in Paris. The first was the Festival Dada on 26 May 1920, and the second the infamous\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSoirée du Coeur â Barbe\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eon 6 July 1923 - an event disrupted by violent confrontation between Tristan Tzara's Dada faction and the Surrealist vanguard lead by André Breton.\u003c\/p\u003e\n\u003cp\u003eMusic from the 1920 event includes two pieces by Georges Ribemont-Dessaignes as well as\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe American Nurse\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby Francis Picabia, consisting of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e\"three notes repeated to infinity\"\u003c\/i\u003e. Pieces performed at the riotous 1923 soirée include two fox-trots by Georges Auric and Darius Milhaud (both members of compositional grouping Les Six),\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTrois Morceaux en Forme de Poire\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby Erik Satie (performed in person by the composer on the night), and\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThree Easy Pieces\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby Igor Stravinsky.\u003c\/p\u003e\n\u003cp\u003eThe anthology also includes other pieces such as Satie's bizarre playlet\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLe Piège de Méduse\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(premiered in Paris in May 1921),\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDrie Composities voor Klavier\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby the Belgian-born Dada\/Surrealist E.L.T. Mesens, and a piano rendering of Marcel Duchamp's short vocal\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMusical Erratum\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efrom 1913. The album closes with an historic Stravinsky recording from 1925 by Marcelle Meyer, the virtuoso pianist who performed at both Dada events in 1920 and 1923.\u003c\/p\u003e\n\u003cp\u003eWhile often described in written histories of Dada and Surrealism, the music performed at these legendary happenings is rarely heard. Remarkably, this project includes the first ever recordings of the featured compositions by Ribemont-Dessaignes, Picabia and Mesens. All were researched and performed by Dutch pianist Peter Beijersbergen van Henegouwen.\u003c\/p\u003e\n\u003cp\u003eThe CD booklet includes detailed liner notes by James Hayward as well as archive images.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTracklist\u003c\/b\u003e:\u003c\/p\u003e\n\u003cp\u003e1\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eERIK SATIE\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTrois morceaux en forme de poire\u003c\/i\u003e\u003cbr\u003e2.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eDARIUS MILHAUD\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eCaramel Mou (shimmy)\u003c\/i\u003e\u003cbr\u003e3\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eGEORGES AURIC\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAdieu, New York (Fox-trot)\u003c\/i\u003e\u003cbr\u003e4\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eIGOR STRAVINSKY\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTrois pièces faciles à quatre mains\u003c\/i\u003e\u003cbr\u003e5\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eGEORGES RIBEMONT-DESSAIGNES\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLe Nombril Interlope\u003c\/i\u003e\u003cbr\u003e6\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eFRANCIS PICABIA\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLa Nourrice Américaine (fast)\u003c\/i\u003e\u003cbr\u003e7\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eGEORGES RIBEMONT-DESSAIGNES\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePas de la chicorée frisée\u003c\/i\u003e\u003cbr\u003e8\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eERIK SATIE\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLe Piège de Méduse\u003c\/i\u003e\u003cbr\u003e9\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eE.L.T. MESENS\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDrie Composities voor Klavier\u003c\/i\u003e\u003cbr\u003e10.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eMARCEL DUCHAMP\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMusical Erratum\u003c\/i\u003e\u003cbr\u003e11.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eFRANCIS PICABIA\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLa Nourrice Américaine (slow)\u003c\/i\u003e\u003cbr\u003e12.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRagtime\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1925 recording by Marcelle Meyer)\u003cbr\u003e13.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLe Pelican (fox-trot)\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(wax cylinder recording)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReviews\u003c\/b\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\"This soundtrack to four Parisian Dada events recreated on this CD is revealing. The 1923 event included cute foxtrots by Satie acolytes Milhaud and Auric, an exercise in suave primitivism by Stravinsky, and Satie's own Trois Morceaux en Forme de Poire, a sardonic response to Debussy's accusation that his compositions were formless. Satie, whose music alternated between quirky charm and translucent beauty, has been hugely important to later, more overt experimentalists, not least because of his constitutional perversity and creative independence. For these reasons he was Dada's favoured composer, although audibly his own man. Les familiar, and in that sense more interesting, music is included here, for example three pithy pieces by ELT Mesens. Picabia outstrips even the confrontational minimalism of Satie's sublimely tedious Vexations, while Duchamp's Musical Erratum enshrines randomness decades in advance of John Cage's use of chance procedures. Still more arresting are the mechanical thrust and punchy articulation of two chance-based pieces by Ribemont-Dessaignes, a distorted echo perhaps of fashionable player piano music. Dada music may not have captured the 'roaring of tense colours' that Tzara was after in his soirees, but with Satie's unassuming guidance it has reverberated into an experimental future\"\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cb\u003eThe Wire\u003c\/b\u003e, 04\/2008)\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\"Pianist Peter Beijersbergen van Henegouwen's account of Satie is flat and cerebral, a winning strategy that allows Satie's oddness to register on its own terms. His take on Stravinsky adds coolly controlled grit, while he relishes the structural labyrinth of the Auric. Picabia's slowly unfolding piece hovers like an anticipation of Morton Feldman, and Duchamp is curiously refreshing. The disc concludes with two archival gems, and this latest instalment from the LTM label is a stimulating postcard of bygone controversies\"\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cb\u003eInternational Piano\u003c\/b\u003e, 5-6\/2008)\u003c\/p\u003e","brand":"LTM","offers":[{"title":"CD","offer_id":67995539898644,"sku":"LTM2513","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1035\/0284\/0084\/files\/71jDteb-zXL._SL1070.jpg?v=1793922157","url":"https:\/\/primeunion.shop\/products\/v-a-festival-dada-paris","provider":"Linden \u0026 Oak","version":"1.0","type":"link"}