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Messe Pour Le Temps Present Import


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Audio CD, Import, July 15, 1999
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Editorial Reviews

This is the much admired, somewhat groovy and extremely experimental Messe Pour Le Temps Present from french composer Pierre Henry - one of the pioneers of the music concrete movement. Recorded in 1967, Messe Pour Le Temps Present was originally scored for a Maurice Bejart ballet, Henry being an ardent admirer of the french choreographers work. Messe Pour Le Temps Present was one of a handful of collaborations with Bejart and Pierre Henry even travelled the world as sound engineer with Bejart's group. The first five tracks of this CD are really nice and groovy (with some cool electronics thrown in!) and the rest, as you can expect from one of the original exponents of music concrete, is very experimental. Philips. 2005.

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Henry: Messe pour le temps présent - Prologue 1:37$0.99  Buy MP3 
listen  2. Henry: Messe pour le temps présent - Psyché Rock 2:52$0.99  Buy MP3 
listen  3. Henry: Messe pour le temps présent - Jericho Jerk 2:33$0.99  Buy MP3 
listen  4. Henry: Messe pour le temps présent - Teen Tonic 2:45$0.99  Buy MP3 
listen  5. Henry: Messe pour le temps présent - Too Fortiche 2:53$0.99  Buy MP3 
listen  6. Henry: La Reine Verte - Marche Du Jeune Homme / La Reine Et Les Insectes 8:57$0.99  Buy MP3 
listen  7. Henry: La Reine Verte - Rock Electronique 3:42$0.99  Buy MP3 
listen  8. Henry: Le Voyage, d'Après le Livre des Morts Tibétain - Le Couple 7:00$0.99  Buy MP3 
listen  9. Henry: Le Voyage, d'Après le Livre des Morts Tibétain - Apres La Mort 1 (Fluide Et Mobilite D'un Larsen) 9:55$0.99  Buy MP3 
listen10. Henry: Le Voyage, d'Après le Livre des Morts Tibétain - Divinites Paisibles 9:36$0.99  Buy MP3 
listen11. Henry: Variations Pour Une Porte Et Un Soupir - Balancement 1 1:16$0.99  Buy MP3 
listen12. Henry: Variations Pour Une Porte Et Un Soupir - Chant 10:32$0.99  Buy MP3 
listen13. Henry: Variations Pour Une Porte Et Un Soupir - Eveil 1:29$0.99  Buy MP3 
listen14. Henry: Variations Pour Une Porte Et Un Soupir - Chant 2 1:33$0.99  Buy MP3 
listen15. Henry: Variations Pour Une Porte Et Un Soupir - Etirement 1:02$0.99  Buy MP3 
listen16. Henry: Variations Pour Une Porte Et Un Soupir - Gestes 1:44$0.99  Buy MP3 
listen17. Henry: Variations Pour Une Porte Et Un Soupir - Comptine 1:39$0.99  Buy MP3 
listen18. Henry: Variations Pour Une Porte Et Un Soupir - Fievre 1 2:27$0.99  Buy MP3 
listen19. Henry: Variations Pour Une Porte Et Un Soupir - Gymnastique 2:19$0.99  Buy MP3 
listen20. Henry: Variations Pour Une Porte Et Un Soupir - Fievre 2 2:30$0.99  Buy MP3 

Product Details

  • Audio CD (July 15, 1999)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Philips Import
  • ASIN: B0000243C3
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #397,662 in Music (See Top 100 in Music)

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5 of 5 people found the following review helpful By J. Verbunt on April 12, 2001
Format: Audio CD
In the sixties Pierre Henry and Michel Colombier composed "Messe pour le temps present" as a ballet for Maurice Brejart. More than thirty years later some of the modern electro-artists rediscovered this masterpiece. William Orbit, St Germain, Tek 9, Dimitri from Paris, Coldcut and a lot of others did their own thing with this controversial piece of art. Electronic psychedelia transformed to a modern age, but the original also still is worth listening to. Trance, drum 'n bass, techno all are styles which have arisen the last decade. But if you listen to Pierre Henry's musique concrete you will know that really there is nothing new under the sun. Some of the remixes stay very close to the original versions, some are completely different. In a whole this is a fantastic CD for modern people to discover the roots of electronic music. This is where Kraftwerk have found their thing.
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3 of 4 people found the following review helpful By Jacques COULARDEAU on March 23, 2008
Format: Audio CD
This mass is a real miracle. Pierre Henry uses all music and noise available to create a pulsing heart of harmony, the heart of the Lord, Jesus' heart pulsing on his cross one beat at the time towards complete death and one step at a time down towards the grave. This harassing and in many ways harrowing experience leads us to extraterrestrial three-dimensional sounds that cross the space of our brain between our two ears with the precision and plowing effect of a golden hoe that breaks the dry crust of the earth to let the deep fumes of decaying compost come out and fly up to the sun.

What is strange in the "Jericho Jerk" is that the basic noise he uses transmutes a recording of some popular rock piece of the time by unraveling it and crisscrossing it with these worms from out-space we have already spoken of. This is tonic for sure, but somewhere becomes "teen tonic" in the repetitivity of teenagers suffering from early Parkinson's disease. But it breaks and we move on, Parkinson-like, to the next Tourette syndrome, slightly metallic indeed, beating syncopatingly to some drilling sounds and cosmic pulses and we must say it is not that too "fortiche" though it is quite "fortiche" enough.

What could Bejart have done on that music, with that music, to that music that wraps us up with in the far distance some jazzy trumpet. What a mass indeed! What does it consecrate? What holy body does it raise to our worshipping? No answer of course without the ballet. What must be a Green Queen, a female voice singing some shrill vocalic sound on top of the surf of the music that does not accept length as an argument and cuts short any attempt at lasting more than an evanescent moment. And that shrill voice comes back over and over parading on the boulevard of our still conscious minds.
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3 of 4 people found the following review helpful By Bill Your 'Free Form FM Print DJ on January 3, 2010
Format: Audio CD
Sometimes getting into early electronic music can be a little offputting, if you're going via Cage or Stockhausen.

It is great music, but can be a little accidemic: "Here I chose to work with the frequencies of five ossolators using non-circular structures on five HH Scott Speakers, a Heathkit mono ampifier, and five syncronized General Electric Tape Decks. This will be a peice of 64% atonal elements, 15% tonic interval dissonenece, and 21% 12-tone rubricks.

Ok, sounds groovy. I'll get my honey, and we'll dance. Seriously, though. It can be more about testing the behavior of sound than a listening experiance.

Henry (on-ree) is not like this. His 1960s work is electronic, but throws sound collages of rock, martching music, avant-gaurd, really anything Henry wants into the stew.

There are some extremely creepy and gripping passages here, and the music can be chaotic--altough here, that is welcome. You get the sense hearing this that Henry was more interested in creating a psychadelic trip for the listener than studying wave forms on an occiliscope.

This also fantastic early use of stereo seperation, which is the same sound moving between two speakers, or, even better, darting through your headphoned head. If you want to know what progressions were made in recording in the 1960s, this is a great album to hear

And I'll bet I know who did hear this: Spooky Tooth, who enlisted Henre to make Ceremony.
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1 of 2 people found the following review helpful By P. Winslow on March 15, 2010
Format: MP3 Music
Originally entitled "Les jerks électroniques de la Messe Pour Le Temps Présent
et musiques concrètes de Pierre Henry pour Maurice Béjart" (something like: "The Electronic Jerks of the Mass for The Present Time and Concrete Music by Pierre Henry for Maurice Béjart) contains a number of works that give the listener a great idea of how electronic music beginning to shape the larger sphere of music in the 1960s.
The first five tracks comprise Henry's ballet composed for Maurice Béjart (Mass for The Present Time) and are really my favorite bits off of the album. The tracks represent a successful blending of electronically created sounds with catchy beats and guitar rhythms from rock music. The first track "Prologue" sets the stage for the rest of the ballet, introducing traditional drums and guitars interspersed with electronic sounds that branch off of Pierre Henry's collaborations with Pierre Schaeffer in the world of musique concrete - Henry seems to use mostly electronic sounds versus recorded samples, which are the defining elements of Schaeffer and musique concrete. While I can't claim to be a "concrete" fan, if that's your bag, check out "Symphonie Pour un Homme Seul" which is a joint work by the Henry and Schaeffer that really exemplifies musique concrete. (For the curious, Béjart actually choreographed a dance for some of the "Symphonie..." as well, which you can see here: [..])

The second track, "Psyche Rock," has survived in popular music through the theme to the TV show "Futurama" and remixes by the likes of Fatboy Slim; it has definitely been stuck in my head since I bought the album. Henry uses really cool sounds and tertiary rhythms layered on top of the infectious beat.
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