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3 CD Box Set: L'Oeuvre Musicale The complete works of Pierre Schaeffer, re-digitised and re-issued with newly discovered tracks.
Book and 3 x CDs: Solfege de l'Objet Sonore This book, accompanied by 285 tracks on 3 CDs of examples is a unique and indispensable resource work for all those interested in electroacoustic music. Examples by Parmegiani, Henry, Bayle, Xenakis, Luc Ferrari etc. illustrate Pierre Schaeffer's text.
Book: Audible Design by Trevor Wishart
5 CD Box Set: GRM Archive 5 CD Boxed Set containing music spanning half a century of GRM inspired compositions
12 CD Box Set: Parmegiani: l'Oeuvre Musicale The complete works of Bernard Parmegiani on 12 CDs
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Trevor Wishart - Globalalia/Imago

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!

Denis Smalley - Sources - Scénes

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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Parmegiani: l'Oeuvre MusicaleWe are fans of Bernard Parmegiani and so we now have all of his CDs in stock, including the newly released l'Oeuvre Musicale. If you don't know his music, we recommend that you make an acqaintence with it by listening to some clips and reading the comprehensive notes which we have on the site. Click here for links to his biography and all his CDs.
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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.

One of our most popular GRM titles is Pierre Henry's Labyrinthe - Pierre Henry says of Labyrinthe - "For the first time during my journey and ventures into the world of creation, I dreamt of a breath of fresh air deriving from the electronic realm." This CD is a real retrospective of this pioneer of electronic music.
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New from Digital Music Archives - Download a continually expanding catalogue of electroacoustic music tracks!

You can now download a selection of single tracks of music from our website. All the tracks are encoded as top quality MP3s at 320k. All you have to do is go to our tracks page, add the ones you want to your shopping cart, and you will be presented with a webpage with links to the tracks as soon as your credit card payment has been authorised. You will also be sent an email with the links and a seven day period to download the tracks.
Our UK Event Listings service is now online....

We now have a listings page for concerts, festivals, conferences and workshops of electroacoustic music in the UK. We hope it will soon be the place to check up on whats happening and where. Its already up and running - click here! to check it out.
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Looking for a course in electroacoustic composition? - Try our links page for some of the best places in the UK. You'll also find links to organisations and institutes all over the world.

Think we've missed out on something? Email us at links@digital-music-archives.com and let us know.
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CD Details for François Bayle: Fabulae

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Fabulae François Bayle
Bayle says of 'Fabulae' (1992): "Thus an imaginary curtain rises on 4 scenes, each with a short simple title, which is cutious, open and is the pretext for a broad interpretation. Can we put forward a meaning?
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CD
56:45
13.50
In Stock
 Customer Reviews 
 Other Titles by François Bayle 
 Audio Clips 
Track 1
Fabula (1)
Track 2
Fabula (2)
Track 3
Fabula (3)
Track 4
Onoma (1)
Track 5
Onoma (2)
Track 6
Onoma (3)
Track 7
Onoma (4)
Track 8
Onoma (5)
Track 9
nota (1)
Track 10
nota (2)
Track 11
nota (3)
Track 12
sonora (1)
Track 13
sonora (2)
Track 14
sonora (3)
Track 15
sonora (4)
 Sleeve Notes 
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About the Artist

François Bayle

bayle_portraitb. 1932, Tamatave — Madagascar


In 1958-60, François Bayle joined Pierre Schaeffer’s Groupe de Recherches Musicales in Paris, and between 1959- 62 worked with Olivier Messiaen and Kariheinz Stockhausen. In 1966, Pierre Schaeffer put him in charge of the GRM which, in 1975, became an integral department of the French National Audiovisual Institute (INA). He maintained this position until 1997.

In addition, it was François Bayle’s idea to create the Acousmonium (1974). He also originated the record series Collection lna-Grm, organizes concerts and radio broadcasts and still supports the development of technologically advanced musical instruments (Syter Grm tools Midi Formers Acousmographe).

In 1993, he founded the Acousmatheque, a repertoire of some 2000 works composed since 1948, and that also organises symposiums and composers’ portraits. Upon leaving the GRM in 1997, he created his own studio and the record label Magison.

To date, he has composed 97 works.
Recent compositions include Fabulae (1990-91), La main vide (The empty hand) (1994-95), Morceaux de ciels
(Pieces of heavens )(1996), Jeîta –retour (1985-99), Arc, pour Gerard Grise (1999), La forme du temps est un cercle
(Time’s form is a circle))1998-2001), La forme de l’esprit est un papillon (The mind’s form is a butterfly) (2001-03).

Releases:18 monographic CSs ) Magison Cycle Bayle (1 to 18)

Musique acousmatique, propositions ... positions — Buchet/Chastel, Paris, 1993.
Parcours d’un compositeur— M. Chion/Mssiqees et Recherches, Brussels, 1994.
L’image do son/Klangbilder— lmke Misch - Ch. v. Blumroder/Lit verlag, Munster, 2003.
François Bayle, portraits polychromes — M. de Maule/Ina, Paris, 2004.
Distinctions
SACEM Grand Prize for Composers, 1978— National Record Grand Prize, 1981 —Ars Electronica Prize, Linz, 1989
City of Paris Grand Prize for Music, 1996— Homage by the CIME of Sao Paolo, 1997— Charles Cros Presidential
Grand Prize, 1999.

Currently. President of the Symphonic Music Commission of the SACEM (since 2001).


About the Music

bayle_butterflyto the ideal listener*

WHAT! Is it not contradictory to talk about  “notes” in music that uses neither instruments nor a score, and depends entirely on projected sound-images?...

I wanted to tackle this difficulty
not without some precaution hence by the short distance marked by this “note” (nota bene!)
Here is the “fable”


By nota I mean something that starts from the note, taken as a complex object with a short, dry, concise value, and encompasses space until a direction appears: the path of an arrow flying towards its target, or rebounds off the target
So, on the one hand, the note as a target, on the other as an arrow or impetus.
This results in a dual musical interpretation, according to the “pregnancy” of the movements, parallel or alternate, sombre or colourful, and according to the
salience” of the notes as staccato objects, or short commentades, or motifs taken from the lines.
In short, a play of sonances and mobility “Moving sound”
(Son mu)...

Each of these Fabulae is aimed at inventive listening, based on forms-cum -signs, which are arranged to create an imaginary tale, an impossible story of “visions”
(sound images).

An invention, in the musical sense of the word.
We may take inspiration from the personal readings of Dominique Druhen and Jean-Christophe Thomas, follow the instruments that guide their interpretation, trigger off the incentive. As fictitious as the animals in the fable, they bring out the musical meaning all the better


Fabulae 56’45- 1990/1992


THUS an imaginary curtain rises on four scenes, each with a short, simple title, which is curious, open, and is the protext for a broad interpretation. Can we put forward a meaning?
fabula. . sings no doubt of the bird of the table, and the wind bearing it...
onoma... projects five cliches or snapshots, scenes of naive ‘vitromagie’
nota... plays with the decomposed movement of notes, surprised n full fight...
sonora. mingles colours, space and rhythms to form a dance that is at once light
and serious...

How does the fabula change, how does the fabula i.e. the ear, which interprets — establish itself, during these four episodes
Here I must briefly clarify my approach, which is marked by acousmatics in its mode of expression and, above all ,characterized by a deliberate intention to build up figures whose movements are clearly perceptible to the listener.

We can thus follow, by ear, the progress on of timbres cum-characters, rhythmic expressions, dynamic motifs, as episodes occur.

In the first tubule a song presents directions for intervals, neumes, which contrast their differences (ascending, erased, descending, augmented, compressed) with the clashes and morphological irregularities of the landscape of sound. But the ascending interval asserts itself, dominates. In the second onoma— it is succeeded by a descending run, which introduces five microclimates, unmated postcards, with the following sequence “clair de lune” (moonlight), “tango”, “tohu-bohu “(hubbub),” balançoire (swing), rebondissements (rebounds/developments), with their childish, figurative images. The third one — nota chooses short note values. They form directions, paths, bouncing colours. The result is dots, lines and, above all, impulses.

Finally, the fourth episode — sonora— brings the piece to a close with a sort of variation, a motif cum-refrain, which progresses five times from light to serious, from bright to dark, to join and confirm a suspensive, soaring resolution, that of the bird n the opening fabula.

In these apologues, we may thus hear the voice that speaks in the language that existed before sounds and tells of the native land — that of the unconscious. And we may thus perceive a parable

well, dance now...

and also.

movement alone does not lie

Fabula

 
bayle_pictureThis first part is introduced by a carpet of sound ascending runs of xylophones, which change into birds, which, in turn, become carillons. This carpet is a stage curtain It rises and the fable settles in. At first, easily identifiable movement comes forward, like a character endowed with speech. It is a short, insistent, childish melody, as if played by an organ hesitating between the church and the merry-go round. A short, old fashioned formula, which advances on one foot.

This motif plays a very important role in the first part: on the one hand, its structure traverses the whole of the Fabula on the other, its plastic qualities sustain the piece and even the whole cycle.

This motif is produced by a hybrid instrument in which the air struggles with the mechanism. When we listen, we can easily make out the sound of the air pressure in the pipe. Subsequently, the organ, which is full of these two tensions (the living air, breath, and the constraint of the mechanism), is to be heard variously throughout the cycle in a series of different roles corresponding to these two aspects The successive metamorphoses are as follows: on the one hand, organ, oriental mouth organ, flute, bird, fog horn and wind on the other, organ, barrel -organ, merry-go-round organ, musical box, harpsichord, guitar and harp.

onoma Five musical postcards, as the composer puts it. Five clichés, snapshot, five moments that are lost for ever.
Clare de lune (moonlight) sets out a few simple elements, like those cardboard sets that portrait photographers used to use as a background. The gurgling of water bubbling, the organ which becomes an oriental mouth organ, the ukelele guitar which longs for the islands but cannot makeup its mind whether it is a harp or a harpsichord : the scene a good natured, full of humour, evoking the ridiculousness of the amorous moment par excellence.

On the other hand,
tango is a miniature heavy with threat. On the background of a rainstorm, the guitar has become double, is now electrified. It is nervous, it is in search of an identity, warming up rather than paying Then comes tohu-bohu (hubbub) Percuason (bounces are transformed into growling animals(, carillons, car horns, hunting-calls from the brass — everything concurs to create a veritable (angle of sound, a commotion. A melancholy, almost tender classical guitar solo contrasts with this hustle and bustle.

Balançoire
(swing) is a larger-than-life postcard In a matter of seconds, everything is there: the rope chafing and creaking, whistles and childrens’ voices, words repeated over and over again for fun until they lose their meaning The whole piece hinges on the movement of the swing around its axis.

Finally, rebondissements (rebounds/developments) is a polyphony of impacts, a broad, sparkling, iridescent fabric, such as are often to be found in François Bayle’s works. Rebondissements: rebounds, but also new elements in the plot of the fable

nota It is a large scale polyphony in short note values, a general vibration of matter - whether it be in detail or in the whole. A shimmering fabric. Frictions arise from the different periods of each of the isolated sounds making up the polyphony.
If the fable is an epilogue, it is because it allows itself to play the game of metaphors: nota is like a great symphonic organ - remember the 19th century organ that wanted to become en orchestra but each key is associated with a different periodicity, each note is a world in itself.
Music makes games of illusion possible: the infinitely small and the infinitely large can be identified at the same moment As if the listener had, at the same time, a microscope and a telescope to examine and contemplate the life of the sounds.

- sonora From nota onwards, the naive nature of the Fabulae has become less clear. Yet, in sonore, we once again find an organ motif which punctuates and marks out the whole piece. A motif in descending runs this time, which slows itself down ; and the noise of the air pressure in the pipes is even more clearly audible than in fabula.

This motif recurs five times, each time more solemn, deeper, in the musical and the psychological sense, each time more restrained, as if it were imposing a constraint on itself, end providing its awn accompanying figures. The five refrains are interrupted by couplets. the guitar (the guitar-harpsichord-harp of onoma) returns once; and in the middle of the piece, a break interrupts the flow of the narrative — a magnificent breech in the messed sound, a prodigious staging effect, muffled in the background, a nursery rhyme is played on an imaginary xylophone whose bars are horses hooves.
The end of the piece is no longer bathed in naivety. Wisdom has become sombre; the tone serious. A long chord, with duplications of the octaves, brings the fable toe close with iridescent rending towards the high notes. All is said.

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