>Volume 3: Les révisions 1948-1952; Les œuvres postérieures 1957-1959, 1975-1979
Volume 3 starts off with short etudes titled Quatre études de bruits. The first etude employs more piano and percussion. The second etude has more of Raymond Scott reminiscent electronic manipulations. The third etude has a train in it. Now that’s my fetish! I love trains. The third and the fourth etude are based on shocking percussion as well as some Ligeti-style tension on the fourth one.
The next section is a concertino. The first movement is abrupt piano hits, several stringed notes and a full blown string section that sounds really good. The second movement kind of goes on where the first one left off, developing this weird folk-tune with an orchestral blend.
Suite 14 was composed in 1949. The first part incorporates numerous orchestra performances into one. It all sounds very united except for the last section with the drums. The second part Vagotte is much more horn-based. It is playful in both audio channels. It quickly skips to the third section which starts off as a bagpipe/piano wonder with more orchestral clutter.
After the suite is over we get a couple of short pieces and etudes. Masquerage features piano, some grunts and stomping. There are trumpets, clutter and more wilderness. The following track features a spoken word section that might be some French radio banter or maybe a movie sample. It is accompanied by expansions of sound in between the samples. It sounded…vulgar? To me the interruption of the speech with loud bangs was rude. An etude follows, which sounds like it contains numerous conventional instruments manipulated to the point of unrecognition. The next etude takes a similar approach except for it has more machinery samples. The huge bell adds onto the picture fairly well.