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Trevor wishart - Globalalia/ImagoA re-issue of Globalalia which explores human speech and the syllables common to all, and Imago, which is constructed entirely out of the sound of 2 whiskey glasses being clinked together. Classic Wishart at his best!

Wishart writes: "In Globalalia, I wanted to use human speech, but focus on what we hold in common as human beings. Although the world’s languages contain many millions of words, these are constructed from a much smaller set of sounds, the syllables. I wrote to several friends asking them to collect voices from their local radio stations, and also recorded voices from TV stations via satellite dish, assembling sounds from 134 voices in 26 different languages. I then edited these into their syllables, ending with more than 8300 sources."

Francis Dhomont - Etudes Pour Kafka

Francis Dhomont - Etudes Pour KafkaA new release from Francis Dhomont, who in the opinion of many is the greatest living composer of electroacoustic music. This CD contains 3 studies which were the seeds from which many of his other works grew. Behind major works of the scope of … mourir un peu, Sous le regard d’un soleil noir, and Forêt profonde, in these studies Dhomont experiments with the themes, tries out sound materials, and unveils glimpses of the final work. Dhomont at his best!

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Denis Smalley - Sources - ScénesrOne of our most popular titles is back in stock. Denis Smalley is one of the UK's best known composers of electroacoustic music, and this CD is a personal favourite of ours - definitely a desert island disc. The music is simply stunningly beautiful, the production and sound quality are as good as it gets. If you don't already have this CD, don't put it off any longer.
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Pierre Hanry: Labyrinthe We now stock a selection of the best electroacoustic CDs from the GRM Catalog, both historic and new - Electroacoustic Classics from Pierre SchaefferPierre Henry Luc Ferrari and  Jean-Claude Risset are just some of the new offerings.

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CD Details for François Bayle: Morceaux de Ciels

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Morceaux de Ciels François Bayle
Two works by Bayle on this CD: The first, 'Morceaux de Ciele' (1997) is dedicated to Stockhausen and calls to mind the early successes of electroacoustic music. The second is Theâtre d'Ombers (1988).
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 Customer Reviews 
 Other Titles by François Bayle 
 Audio Clips 
Track 1
Morceaux de Ciels
Track 2
Theâtre d'Ombres - …derrière l'image (1)
Track 3
Theâtre d'Ombres - …derrière l'image (2)
Track 4
Theâtre d'Ombres - …derrière l'image (3)
Track 5
Theâtre d'Ombres - …derrière l'image (4)
Track 6
Theâtre d'Ombres - …derrière l'image (5)
Track 7
Theâtre d'Ombres - …derrière l'image (6)
Track 8
Theâtre d'Ombres - …derrière l'image (7)
Track 9
Theâtre d'Ombres - …obres blanches (1)
Track 10
Theâtre d'Ombres - …obres blanches (2)
Track 11
Theâtre d'Ombres - …obres blanches (3)
Track 12
Theâtre d'Ombres - …obres blanches (4)
Track 13
Theâtre d'Ombres - …obres blanches (5)
 Sleeve Notes 
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About the Artist

François Bayle - b. 1932 Tamatave.

Childhood in Madagascar, self taught during the fifties, then professional training alongside K. Stockhausen, 0. Messiaen, R Schaefter, as well as at the GRM, which he headed from 1966 to 1977. Spearheading the acousmatic movement all over the world, F. Bayle has conceive the design of the Acousmonium in foundation of the Acousmatheque in 1991, which for decades has inspired hundreds of composers and generated thousands of works, concerts, radiophonic and discographic productions. He has won several awards and distinctions:

Grand Prix des Compositeurs 1978 with l’Experience Acoustique, Grand Prix du Disque 1981 with Tremblement do terre très doux, Prix Ars Electronica 1989 with Theatre d’Ombres, and recently the Grand Prix do Ia Musique de Ia Ville de Paris 1996, Tribute from Sao Paulo 1997.
In 1997 F. Bayle installed his own multiphonic home studio - the Magison Studio -, and now fully devotes his time writing and composing.


About the Music


Sound and musicality, human and cosmic dimension
by Gerard Oenizeau

François Bayle likes to remind us: a long time ago, the pedal sounds of the organ established a duration of sound that went beyond our idea of such duration and was no longer subject to the limitations of the gesture, and therefore of the body. Consubstantial with the organ, even though it partly results from the stability of the foot (or its relative awkwardness), this relative duration, which disorientates our perception of ‘normal’ sound information, is also associated in our European culture with the mysteries of Oriental music (‘which does not regain its breath ‘), or more recently with the modality of electroacoustic music. However with the arrival of synthesizers, and therefore keyboards, there was a spectacular shortening of sound units and, at the same time, the creative gesture became radically different, the pressing of a key replacing the turning of buttons for transferring the required quantities of electricity

Moreover if electroacoustics permit sounds of unlimited duration, they also generate a new scale, from the static quality of great expanses of sound to sounds that are most briefly ‘ruffled’. When it comes to listening to such music, its raison d’ètre maybe to relate cosmic forces (benevolent or otherwise see Raphael and his Saint listening attentively to the heavenly voices, she lets fall the pipes of the ‘lascivious’ organ) to the human condition, if electroacoustics did not at the same time lead to secularisation of those universal elements.

Furthermore, electroacoustic music has opened up a vast discussion as to the principle of recognition of forms. A neighing sound, for example, will immediately give rise to a type of ‘equine curve’, a related form; but on a soundtrack for radio, for example - this new agent will have a direct bearing on the action. Any sound during a classical symphony (coughs, an aeroplane flying over; etc.) will be untimely electroacoustics, a simple cracking sound (a sound that is singularly ambiguous, as there are so many possible sources, including the accidental) reverses the problem of causality in relation finality. In musique concrete, that same sound becomes the form, the outline of the work. Thus, as the formal principles (in the Gestalt/st sense) tell us: the origin of a sound/s its very form, as in painting the colour blue may in itself be a form (see Matisse), for the basic form does not have to burden itself with causality A person listening to a sonata, for example, does not hear simple conflicts of timbre, but takes into account the distinct morphologies of the to-ing and fro-ing of the violin bow and the rippling of the piano in the complexity of their union. Even if the idea of effect is present, the essential thing lies in the intertwining of sound morphologies, and therein lies the composer’s victory: a shower of sounds which move the listener as such (with particular, though marginal, gratitude for the excellence of the performance). If there is still a notion of peril (there is always an element of tauromachy in art), success lies well beyond that. Electroacoustics images further complicate and shift this whole idea of causality, of the reading of forms, of the right momentum for crossing-points, indeterminations, junctions, segmentation.

For François Bayle, music is a very realistic metaphor for specific things (nceuds) and unspecified things (which he calls fuseaux), corresponding to needs, to the image of the child who, learning to walk, chooses his props at random. Practice in listening limits those needs: the listener then finds himself swimming in the indeterminate space of the sea or the sky
And it is that constant indetermination that becomes a state of music, a mood...
Gerard Denizeau is Professeur dHistoire de Art - University of Paris V-Sorbonne and Nancy.

Morceaux de Ciels

Dedicated to Karlheinz Stockhausen, Morceaux de Ciels - ‘Pieces of skies’ - calls to mind the early successes of electroacoustic music, refers to its earliest finds, the re-injection of a sound’s energy into itself gives rise to striated layers of colour circulating amongst themselves and upon which the wave exists before it has been perceived. The sounds move from the inside.

As the body of the classical musician invents spontaneously... after twenty years of experience! This rustic looping of energy with the body is here doubled by other modalities, thanks to electric power, but without losing the perceptive models. For ‘listenability’ works only through archetypes. The need for innovation remains, provided that the unheard is only a variety of a standard model. Otherwise it would not be perceived. An archetypal model is necessary for perception. It is maybe because he became aware of this body of necessities that François Bayle ‘threw his javelin into future fields’.
The person listening to Morceaux de Ciels finds himself travelling in the composer’s head. Everything is open.
If the figures seem to be entangled, the form adopted boils down to a series of states (the listener can easily detect the ‘seams’(. From the macroformal point of view, it is not a question of spotting the signposts but of determining how the references to early circumstances result through bifurcation in the coming of those events.

For the concert, the sounds unfold on eight tracks. The ‘leader’ appears on the screen as a superposing of irregular coloured lines, traversed by a vertical cursor indicating (to a thousandth of a second) the chronological position of the ‘performance’. For the stereophonic mixing of the CD, there is obviously a virtual panoramic distribution of the precise assignments of each track, but this loss of localisation is made up for by the emergence of the continuum of that imaginary orchestra. Then the tracks are interpenetrated by colours—from the initial sky of dawn (ci’el initial) to the slight glimmering following nightfall—which are proposed as untitled ‘passages’ that are nevertheless indicated by a word on the score. Thus we find, successively, vibre (inner vibration(, ciel octo (eight perceptible sources), transbojs (friction on wood, as a transition), trans-initial (repeat of an element from ciel initial with an element from transbois), vibre-transbois (a blend of elements that have already been heard), c/el trompette (the stridency of compact blocks of trumpet timbres), c/el ooh-aah (on the vowels o and a)... Francois Bayle uses orchestral sounds (harps, trumpets, wooden scrapers, voices...) as a virtuoso of ‘timbric’ information, multiplying the slight contacts between those timbres, restabilised by the determinism of certain references. One of the remarkable features of this magnificent piece lies in the fact that it often moves in four-track blocks (arid always, initially, in pairs). As a result, the listener, aware of an overall sound over four poles, finds himself with no alternative but to mentally reduce to one source the turbulent sounds he bears on four tracks. François Bayle may be compared to a watercolourist who provides an infinite number of nuances but refuses, in the midst of his experimentation, to set things down in a definitive state.

In the most (or least) complex instances of sound mixing, chance may play a part, suggesting a perfectly accidental ‘rule of conduct’; therein lies a wonderful means of corn bating anguish and doubt, the arbitrariness of selection: the creator’s inner tumult is arbitrated by an object that is completely external to him. The only ones who will be worried are those who do not realise to what extent, before François Bayle, men such as Bach and Berg (and many others, if not all) made constant use of figures to orientate the teeming flow of their ideas. The contract of proportions is then irrelevant to the music, but not to the creative process—a process that is all the more serious in that its seriousness is not audible. Therein lies, perhaps, the secret of Morceaux de Ciels, one of the most enviable and most enigmatic musical successes of our time.

Théätre d’Ombres 1988 — 39’.34

This piece (the title means ‘Shadow theatre’) quite obviously sets out to be narrative, Is it an Oriental fairy tale? A raga which gradually gets out of hand? Yet the assumption that the musical discourse is guided by a literary framework is very simplistic. François Bayle s tale itself contains the condemnation of its linear virtuality. Here it is the music that creates the mythical atmosphere and everyone is free to take it as he wishes.

So we have a land.., a land where everything has always been just right. A land where people dream and flowers grow... One fine day, a ball is dropped and it rolls over the border... upsetting that wonderful balance. So there is no other alternative but to go and retrieve the ball in the forest of that unknown outside world. Someone therefore has to venture out, a masculine ‘someone’, for the forest belongs to a wizard, who shows no mercy when anything disturbs him.

As all the characters have roles to play, it is up to the narrator to dress this framework. Thus François Bayle’s music expresses an order that has been disturbed, the urgency of fighting off evil spells in order to restore the wonderful situation that existed in the first place. The very long prelude, the build-up to the fight, the fight itself, the noise of the fight all that is situated behind the image. In the end, as the enchanting little melismas of the violins disappear, the evil spells have been defeated... the wonderful world was behind.., a world without gravity.

The second part—more whimsical—is that of the elusive ombres blanches (‘white sha dows’). Are the rungs of the narrative ladder suddenly missing? The discourse is now arranged in a strange series of stages. Right from the very beginning of the prelude, things flutter in space, carried along by an ephemerality which generates gusts of sound of all sorts: rattling, transformation of vocal sounds, heart beat, impalpable music, fleeting, startled sounds,... and sometimes a threnody, from a human throat, constantly
renewing the tension..., the violent trace of a many-coloured bird. Suddenly, in the midst of this elaboration, there appears a focal point, a column supporting buoyant elements, the tree in the middle of the garden. The listener perceives an immense sound, presented backwards, then forwards, like a wave ebbing and flowing, moment of crisis, of gripping and momentary dazzle. Like a dream that is about to disappear, everything accelerates, the voices return in echo, the vision vanishes to the sound of evasive clarinets.

There are many concrete sounds in this piece: the rolling of a ball, sounds of impact, ‘colourful’ touches from the harpsichord, the human voice (that of the composer for the incoherent phonemes of the wizard, frantically juggling with sound), fragments of ethnic chant, sounds of water and pebbles, sounds of a flute, electronic sounds, threads of very high-pitched sound, broad or closely woven strips, timpani. But also, beneath a seal of subtle emotion, a horde of reminiscences: evocation of the land as it once was, touches of nostalgia, the girl watching for the hero’s return, return to the wonderment of the beginning.
If derriere l’image reminds us in some ways of Ravel, ombres blanches is similar, in its absolute success, to the Debussyan’ fantasy, momentarily shattered by an inconsequential awakening.

Music which would make a wonderful ballet... presenting an imaginary place built entirely of sound.
G.D.
Translation Mary Pardoa.

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