DERNIER ROMAN DU MONDE,SIGNED: HENRI CHOPIN,1970, 1/50

	£		173
	$		229

THIS IS AN INCREDIBLY RARE COLLECTORS ITEM, book of sound poetry and 7" recording of  PECHE DE NUIT, book ALSO AUTOGRAPHED BY THE AUTHOR (see pics): LE DERNIER ROMAN DU MONDE ("THE LAST NOVEL OF THE WORLD") by legendary french sound-poetry pioneer HENRI CHOPIN 1922 - 2008. 1970 1st EDITION MARKED 1/50 - LIMITED EDITION RUN, ONLY 50 EVER MADE AND THIS IS THE FIRST.  illustrated by RAOUL HAUSMANN & GIANNI BERTINI, both very collectable in their own right as well.  Published by CYANUUR.  TEXT ENTIRELY IN FRENCH.      at the back of the book it is numbered and says that this is the first of only 50 (1/50) made and the record is also limited edition and this record is no.259.  the record says on it LE DERNIER ROMAN DU MONDE 1961 EDITOR J VERBRUGGHEN, PARTIE SONORE: PECHE DE NUIT 1957 L'AUDIOPOEME (see pics)

THIS BOOK IS SO RARE THAT YOU CANNOT FIND IT ON RARE BOOK WEBSITES - CHRISTIES AUCTION HOUSE IN PARIS ARE SELLING THE ONLY OTHER ONE CURRENTLY FOR SALE, STARTING AT £750 MINIMUM STARTING BID and of course is expected to go for alot more than that.   this edition is EVEN RARER AS IT IS the first one AND IS AUTOGRAPHED BY THE AUTHOR, DATED 20th JULY 1970.    ALOT OF HENRI CHOPIN'S SOUND POETRY IS NOW ON SHOW AT THE TATE MUSEUM. 
For the last forty years, with his sound poetry revue OU (1964-1974), then through his participation in various international sound poetry festivals, through his personal experience in the experimental studios of radio stations in Köln, Paris, Australia, Canada or Sweden and in his concert/performances throughout Europe, Henri Chopin has consistently and unceasingly opened the ways to unexplored spaces beyond all known languages. Thanks to the systematic use of microphones, amplifiers, tape recorders, editing and mixing consoles, he has given a voice to realms beyond modern or experimental music, beyond any note system and headed for spaces without norms, categories, definitions or limits: spaces of permanent metamorphosis. But despite misleading appearances, Henri Chopin is not merely doing a new kind of music; he is not just a consequence of Pierre Schaeffer’s concrete music principles and Pierre Henry’s experiments in the fifties. Henri Chopin is an individual (in Stirner’s sense: the ego and its own) who has always resisted absurd attempts to reduce him to part of a movement, a school, an academism; what one perceives are Henry Chopin’s bio-psychical vibrations, that he himself constructed by electronically recording, then modifying, amplifying and transforming the energies of his own body. Henri Chopin?s name is barely known to most people, and yet he was a key figure in the French avant-garde of the fifties and sixties. His poesie sonore or sound poetry, using multi-layered vocals and tape recorder, went far beyond spoken-word, as the vocal component is stripped of language to fully experiment with the power of the voice. As poet, tape experimenter, painter, graphic artist, typographer, performance artist, broadcaster and film director, Chopin was a prolific artist, but in his roles as independent publisher and arts promoter he was also a tireless champion and focal point for other artists in the areas of sound poetry, text-sound, audio-poems and other avant-garde sound experiments. Chopin was born in Paris, France in 1922. He didn?t start recording until after he saw Isidore Isou?s film Traite de Bave dt d?Eternite in 1952, with the soundtrack of Francois Dufrene using his voice without words. Defrene was founder of the Ultraletterists, a poetry movement to abolish words in favor of linguistic noises, inspired by Antonin Artaud as well as the early dada movement. Inspired by Dufrene and the earlier Dadaist, Chopin began his own experiments with voice and tape by the mid-1950s, as well as to record some older sound poets, like Raoul Hausmann, one of the founders of the Berlin Dada of 1918. Chopin's work pointed the way in which technology could re-define the early sound poetry, and open it up to even less reliance on language. Whereas the Dada sound poetry still relied on letters, Chopin often focused on the pure essence of sounds that the voice was capable of. At the same time he started to exhibit his artwork, among which were his typewriter poems that utilize typewritten letters to create visual images. Chopin decided to further promote contemporary sound poetry by publishing the 19-issue journal Cinquieme Saison from 1959 to 1963, and then the 13-issue magazine with phonograph record Ou Revue from 1964 to 1974. The Ou records showcased a broad spectrum of avant-garde artists from Europe and the United States, from the early Dadaists like Hausmann, to Ultraletterists like Dufrene, Swedish text-sound artists like Ake Hodell and Sten Hanson, and early work by Bob Cobbing, Brion Gyson, and William Burroughs, among others, as well as Chopin's own work. In 1979 Jean-Michel Place in Paris published Chopin's Poesie Sonore International, an extensive history of sound poetry accompanied by a two-cassette anthology. In 1968 Chopin relocated from Paris to London, and the next year Tangent Records in London released his LP Audiopoems. Whereas earlier Chopin used tape recorders in his own studio, by the 1970s he was recording in some of the best studios in Europe, including Atelier de Création at Radio France, the Fylkingen Studio in Stockholm, and the WDR Studio in Cologne. Another LP, Poesie Sonore, came out on the Igloo-Carmel label in Brussels in 1983. Chopin moved back to Paris in the late 80s. Since the mid-90s, much more of Chopin?s work has been released by various labels as more people have become aware of the groundbreaking work of this avant-garde artist, bridging the gap from the Dadaists of the World War One era to the experimental electronic artists of contemporary times. ~ Rolf Semprebon, All Music Guide
CONDITION: SUPERB CONDITION, RECORD UNPLAYED AND STILL IN ORIGINAL WRAPPER, BOOK SLIGHTLY AGE CREASED EXTERNALLY BUT PRETTY GOOD AND INTERNALLY SUPER, BRIGHT AND CLEAN. FEEL FREE TO ASK ME ANY QUESTIONS!

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