|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
TRANSVERS 007LP
|
Transversales Disques present Electrucs !, a new release of never-released music by Francois Bayle. On the occasion of the 60th anniversary of the GRM, composer Bayle introduces some of his unpublished archives; pieces include the title composition, "Electrucs !" (1974) composed on a 1970s Synthi AKS synthesizer like an imaginary soundtrack, "Foliphonie" (1974) inspired by La Grande Polyphonie (1978), and "Marpège" (1995), dedicated to Bernard Parmegiani. Also included is "Cinq Dessins En Rosace" (1973). Born in 1932 in Tamatave, Madagascar, where he lived for 14 years, Bayle is a major figure of electro-acoustic music and member of Pierre Schaeffer's historic Groupe de Recherches Musicales (GRM), formed in Paris in 1958. In 1975, the GRM was integrated with the new Institut National de l'Audiovisuel (INA) with Bayle as its head, a post he held until 1997, bringing invaluable contributions to the opening of musical research in these original innovative institutions. Ever since his first productions, L'expérience Acoustique (1971) Bayle has developed through a great variety of formats and designed the Acousmonium, a sound diffusion system used originally by the GRM. He also originated the record series Collection INA-GRM, and continues to organize concerts and support the development of technologically advanced musical instruments (Syter, GRM Tools, etc.).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REGRM 019LP
|
François Bayle on Tremblement de terre très doux (1978); first performance on March 19, 1979 at the Grand Auditorium of Radio-France, Ina-GRM's Cycle Acousmatique: "The familiar generates the strange. These rolls, these hums, these sudden rushes; this song, these peaceful circlings; these sudden outbursts, these returns to quiescence -- what do they remind us of? This piece's trajectory could also be a representation of the dramatic unfolding of a day -- of a life -- from sunrise ('Climate 1') to night-time ('Landscape 4') via restless encounters, transitions ('Transit 1', '2', and '3') that announce the drama climaxing in 'Landscape 3', before reaching its denouement in "Climate 4"... A whole concrete 'story'. The subterranean properties inherent to listening gently shift our ideas..."
François Bayle on Toupie dans le ciel (1979); first performance on January 21, 1980 at the Grand Auditorium of Radio-France, Ina-GRM's Cycle Acousmatique: "A wave is swaying on two minors thirds. This constantly uniform yet constantly varied swaying revolves in a swarm of sharp designs that blink on and off in a layer of growing density and mobility. Distance, speed, pressure, density, temperature, color, intensity, are the 'themes' of the 27 short interconnected cells flowing together though this seemingly unified movement. Occasionally, a breach in the texture reveals skies dotted with little comets. In the center, a slow gliding picks up the distant harmonics of a basic chord. Toward the end, this gliding returns with a fiery burst. Fine lines and whirs are generated from the song of a spinning antique top. To end on a lighter note the title Toupie dans le ciel -- 'Spinning Top in the Sky' reminds us of 'Lucy in the Sky with Diamonds' by The Beatles as well as Lucy, the oldest Australopithecine (three million years), our African grandmother in the Erosphere... The overall title Erosphere alludes to the desire inherent to the listening experience, and to the very primitive cues that sustain the auditory attention and are the basis of all musical pleasure."
Cut by CGB at Dubplates & Mastering, Berlin, June 2017; Digital transfer by Jonathan Fitoussi; Translations by Valérie Vivancos; Layout by Stephen O'Malley; Coordination GRM - Daniel Teruggi and François Bonnet; Executive Production - Peter Rehberg.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SR 371CD
|
Sub Rosa presents the complete version of Les Couleurs de la Nuit, as premiered in 1982, and one of François Bayle's masterpieces. François Bayle studied with Stockhausen and Messiaen. He joined the ORTF Groupe de Musique Concrète in 1960. He later led the group when it became the Groupe de Recherches Musicales in 1966. Most of his compositions are electronic, and his first important work, "Espaces inhabitables" (1967) is suggestive of an imaginary world in which nature is distorted in a dream-like fashion. He later utilized natural and synthetic sounds in his compositions, such as the recorded sounds made in a Lebanese cave. He has stated that his purpose as a composer is to enable the listener to feel the motion and vibration of energy in the universe. François Bayle characterizes his art like this: "...my purpose was always the same: to compose with only 'images-de-sons' (sound images); to show how, through pure listening in an acousmatic situation, these sound images move like butterflies through audible space and project a colored twinkling on the listener. Out of frame, this is a world proved by itself..." Les Couleurs de la Nuit was created for "tapes and computer."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3LP
|
|
REGRM 010LP
|
"In addition to being a masterpiece of the acousmatic repertoire, L'Expérience Acoustique is also a fine example of the 'musical research' spirit. This work, a systematic exploration, investigates the true nature of the listening process itself. The composition of this piece, spread over several years, managed to tap into the potential of the analogue technologies of its time, producing a complex blend of unprecedented sonic occurrences. What emerges from this extensive work is a reflection on sound, in all its forms and through all its textures. François Bayle therefore invites us to a genuine listening experience and for the first time on vinyl, in its full version lasting more than two hours." --Christian Zanési and François Bonnet
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MGCB 01
|
Vol. 15. of INA's complete Françoise Bayle series, featuring the 60-minute title piece (from 1999/2001). "Nature -- that reservoir of organisms and temporal forms -- proposes many patterns to our rhythmic imagination breathing, pulses, ebb and flow, a day's circle or the passage of seasons... My project, the idea behind this work, is to arouse the desire or pleasure of listening by presenting rather temporal perceptions based on their images, figures, impetus and vividness. Several 'moments' therefore that such entities traverse shall attempt to demonstrate special aspects of time's 'grain,' in order to prolong its emotional potential. Here then, are some of time's such figures at work. There is the one that hurries then flees, - the one that pounds and hammers, - that breaks the wave, - that moves backwards and does an about- face, - that splashes into a shower, - that trickles like rain, - that flows, while dripping off, - that slowly forms a bead, - that spurts out in jolts, - that gyrates in a whirl, - that evaporates... Variations from 'knocks' to 'traces,' from a heavy pulse to melody, from a tolling bell and its mysterious concurring powers to the furrows of clouds of dust and orbits circulating at various speeds, not to mention the various 'paces' of the pulse itself. At the end of the five stages, the listener will have completed a trajectory, one of temporal unity beginning from the finest 'grain' and progressively focusing his/her perception in order to discern and identify images and forms. Colors' transience, speeding figures will be resolved in a spiral (the three-dimensional form of a circle), by which the initial sound-image (tolling bells) will infinitely evolve into the final sound-image: that of summer crickets during a night of suspended, dream-like time." -- Bayle.
|
|
|
|