Bernard Parmegiani composed Capture éphémère (‘Elusive prey’) in the period of his life which he called ‘the period of sewing – a time when scissors helped to measure sounds and silences,’ when he continuously ‘changed the buttons to get rid of the unwanted frequencies or the opposite – to add a few missing ones when he was bored stiff with sounds in their natural state.’ Like some other early Parmegiani compositions from the 1960s, (Violostries, L’Instant mobile), Capture éphémère is like a snowball rolling and growing despite the fact that it has melted – from the few basic sounds flows, according to the composer, ‘an ever advancing liquid mass.’ Larousse considers its dynamism so compelling and charming that it may ‘perhaps be a masterpiece; Capture éphémère is undoubtedly a great achievement of electro-acoustic music.’
The Human-Concrete-Music is the project of Diego Losa & Rewind This is where two different but very close worlds meet. The idea of a closed groove, used as a music generator by Pierre Schaeffer in the late 1940s, and playing with records launched by the hip-hop movement in the 1980s revolutionized music. With that in mind, Diego Losa and Rewind went even further, replacing these “instruments” with the human voice, and the GRM Tools and Live computer programs. The former is a composer of concrete music, the latter – a human beatboxer; they jointly took the same experimental direction.