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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.
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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.
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.
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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CD Details for François Bayle: La Forme du tempsest un cercle

La Forme du tempsest un cercle François Bayle
La forme du temps est un cercle (Time’s form is a circle), Francois Bayles most recent acousmatic poem invites the listener to explore time in its various states, in five passages” through very rich poetic philosophical sound images
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si lin, si proche
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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.
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...

how is it that by listening distractedly or attentively, the schema of “that passage “becomes indelibly associated (and is it not from such a “passage” that we remember a piece of music)?
This sensation of flowing, which distinguishes musical emanation from a wave and its apparent passage, also implies that a certain pressure activates it. Through empathy or sympathy, it is this that makes us feel embraced to such a point that, at times, it’s as though it leaves its mark, the resonance left in our mind, like an insistent, persistent ritornelle
Process and pressure, memory and impression, that special emotion transverses the given instant, prolongs this precise point of hearing, this “eye” of the hourglass where a mysterious matter trickles out: time.
Spinning top pulsar, ballroom ball with multiple facets, bursts of instants or probes of durations, time’s object legato staccato-rubato reveals and conceals itself, suddenly appears and at its best, vanishes, only to return through memory. Memory that loses and finds, inscribes then forgets. Such is a music made of passing outbursts, of momentous events of angled projections. Transversing-transversed time.
If listening means giving form then it is always relevant within a temporal perspective perceptible from a standard measure, from a point of fleeting time.
One will then be able to hear that my goal was to examine my own reactions to listening, based on several temporal measures each determined by it own caliber or grain, sometimes mingled. dense pulses, crowd bursts, shocks, water swishing, dancing rhythms. Distant or near bells (times supreme toll) Up to and including the sparkle, the crackling of circular winds.
Time in its various states, in five passages.
And my extremely humble homage offered to the garland of philosophers, a child’s pebble in their pond a smoke ring in their firmament.

F. B.

A few indications concerning each movement:

La forme du temps est un cercle 1999/2001 59’20”

(Time’s form is a circle)

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. . Their textures and designs term the ground floor, the carpet of our existence.
Time’s figures, those whose audible traces reveal their inner movements, can surprise as by their seemingly familiar vocabulary. 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 each 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 sea 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 dropping off, - that only 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.

Some Pythagorean considerations then, since, as the poet says:
(...) Pythagoras reveals to his Greeks that time’s form is a circle...
(...) Everything happens a first time, eternally.
He who reads these words
in vents them. J. L Borgès The Number 1981

At the end of the the 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 terms.

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.

I concrescence. . . bubbling, time’s pressure 12 ‘53”

A sound effervescence is established and fills the listening space like a gas.
But, at times, it is as though there are holes, sudden amnesia, parasitical reminiscences.
Some unreal segments of durations coming from nowhere appear. Strange multiples.
2 si loin, si proche (so close, so far...).. spacing, mirror-time 16’58”

The atmosphere alone carries the sound and its reflections....

In the same way that two tonalities are never more distant than when separated by a small interval, very different sonorities can easily fuse together Yet, the more they resemble each other, they more they remain distinct.

Here, whet appears to me as a song is the interplay of these associations - dissociations between close figures and distant images. instantaneous perceptions grasp them like an odor. The animallike nature of listening is on the right track and, by turning memory inside-out, rediscovers hidden patterns and desires. So, representation does work: I can identify with this!

Time’s wings carry the sounds’ reflections.

The echo of the bells on the walls of an enclosed courtyard and in particular those of the Saint Severie church that I have heard every day for the last 30 years, with, as a bonus, the chirping of the sparrows that answer back cadentially
.so close (barely fifteen meters) . . so far (I’m not a bird)
Such are the “knocks” that I impart to the Pan flutes, whose delayed reflections I have organised...
Plus the microtonal differences, the fusion of different materials, the percussiveness of the wind,
accents within the lines. Smaller and smaller mutations, distances...
Air carries the wings.
Time carries their fluttering.

bayle_picture3 tempi . . . morseling, internal time 7’52”

Agited, sliding entities. Subito-presto figures, almost-slow Gigues. Contracted stretches, contrary accents, widely separated points, harmonised single hues. Where are we, where are we? What is all this agitation, palpitation, alteration?
Does all this trembling, swarming concern me? Am I in the middle of this vibrating spider web?
Am I the actual place of this temporal vibration? Of this phenomenon? Quickly forgotten...
But, could it ... when and why, and for whom else . . be reproduced?
(Am I not myself a ‘tempo-phenomenon?)

4 allures (paces) . . .moving, time’s pulse 9’14”
What is a “pace”? In Schaefferian “musique concrete” solfeggio, it means the fluctuating quality that asound maintains. The movement that animates the life of a resonance through an internal pulse, one that beats .. (not to be confused with a “vibrato,” which is a melodic oscillation from the trill family).

The word in French, allure, comes from the verb “aller,” to go, a way of going (rigid or supple, regular or limping) In English, pace, comes from the Latin “passus,” or rate of movement. Both apply to the dynamic energy behind the phenomenon-being.

The “pulse” of those beings My own participative “pulse"

In addition, the pace or manner of being is also that which can not hide any psychological flaws: that particular, awkward appearance, developed over experience (that of time).

5 cercles (circles) . . streaming time whirlwind l.3’l 7”

First, the light hail of these “grains” of time that trickle out as if from an hourglass and nibble at a steady duration, stimulating it like gusts of wind over water, slight accelerations within an immobile velocity.

Then, these sliding gusts that slowly rise, wandering in a circular manner, up the listening space. Then, these figures, in constellation form that the wind encircle us...
Then, these circles that grow larger, encircling themselves concentrically, stimulating one another, soothing one another...
Then, this fine grain that weaves its thread that itself gives substance and engulfs the space...
It is readily understandable, this game could go on …

The Battle between Chronos and Aïon

By Gianfranco Vinay

La forme du temps est un cercle (Time’s form is a circle), Francois Bayles most recent acousmatic poem invites the listener to explore time in its various states, in five passages” through very rich poetic philosophical sound images

The ‘first state” (or movement) is concrescense , a keyword in Bayle’s po(i)tetics, suggesting a dynamic interpretation of musique concrete that which grows together conjunctions of intermingled growths the word “concrete” coming from ‘cum’- with and ‘crescere’ -to grow.

In this first movement “passage times state” (bubbling, time’s pressure?), the sound image of a “spinning top in the sky creates a vortex generating a long series of fluid images : liquid fluidity of running water, atmospheric fluidity of crickets, verbal fluidity of a crowded marketplace, rhythmic fluidity of jazzy fragments. And finally, the bucolic and wooded fluidity of a Pan flute, the sound icon of natural fluidity arid musical time’s circular nature (in Homer’s hymn to Pan , the ‘nymphs that live in the mountains sing with a clear voice while dancing in rounds’ celebrating the god playing his flute).

The ‘close and “far” evoked in the second movement’s title refers just as much to distance and proximity as it does to the perception of that which is identical or different. At first, sound homologies and differences attract our perception Bells, birds Pan flute chorus, a xylophone’s metallic sounds : images played in near-unison provoke us to question the diversity of their timbres and the quasi-identicalness of their pitches. Later the spatial principle comes into play. Polyphonic elaboration, concrescense of sound objects, interplay between reverberations and echo’s make these images move around the acousmatic space which, little by little, is transformed into a dream like scene, into a mysterious and disquieting nocturnal.

The third and fourth movements are also connected by a mirror play based on the relationship between homology and difference Shorter than the others these two mirrored movements resonate with all sorts of percussive sound objects : metal-sheet bells, metalophones, sleigh bells, bells and hand bells, drumheads, human voices and coughing bouts, plucked instruments, air punctuated by breath.. The time-flow differentiates the two movements. In the third movement, the multiplicity of tempi Phenomena as well as of relationships between objects (sounds) and subject (creator), “that place of temporal vibrations, “is expressed through shifts of silence and extremely varied animations between the full and the void. Such a phenomenology of musical time is both very modern and very ancient (consider, for example, Saint Augustin ‘s sublime speculation in his Confessions on the relationship between musical time and the soul, between “internal time” and “external time”.

In the fourth movement, on the other hand, time becomes less morseled, now that the author’s attention is concentrated on its pace, or allures (meaning, “in Schaefferian solfeggio, the fluctuating quality that a sound maintains. The movement that animates the life of a resonance.”) This series of ‘inner pulsations’ is closer to the theoretical notion of Philoxenos’ chronos taxin (rhythm as a series of time measures) than to that of traditional rythmics measured and codified by writing, based on mathematical proportions between time and notes’ durations. Therefore the distinction between acousmatics and mathematics (in the ancient Greek sense of “the science of learning”) does not only affect the pedagogic methods of listening (Pythagoras’ famous curtain 5), but also the actual nature of musical elements.

The last movement begins with a circular image similar to a grain of energy spinning in an accelerator of particles. An image, not unlike that of the first movement’s “spinning top ‘ which provokes a chain and a concresence of fluid sonorities. A regular clinking resonates in sidereal space, leading to a last repetition of fluid images, further and further distanced.

“It is readily understandable, this game could go on are Francois Bayle’s concluding notes. Indeed... Pythagoras’ circle, evoked in the quoted Borges poem, designates the geometric form of time controlled by Aïon, the god of vital fluid origins, and consequently, that of the destiny of mortals and the duration of their lives, symbolized by a serpent biting its own tail (an image of eternity, of oriental form, of the Jungian concept of soul, etc). Another poem by Borges enumerates human civilization’s topol, rich in allusions to metempsycose and to the eternal return (“A fish jumps out of the sea and a man from Agrigente will remember/having been this fish”; “The entire past returns like a wave / these olden things come into view/because you were kissed by a woman “).

Two thousand years of the history of Western music could be interpreted as a battle between two temporal principles: a Chronos time, linear and dialectical, expressing the teleological orientation of Christian times (from the birth and death of Christ to the Apocalypse) and an Aïon-time, circular, pagan, underlying, repressed yet always present in the collective unconscious as a reservoir of poetic and dream-like images, metamorphic and labyrinthian sequences.
Chronos time is at the root of rhythmic regularity codified by musical notation as well as of the harmonic dialectic of tension/release. On the othe rhand, Aïon-time opposes rhythmic regularity through all sorts of agog, aleatoric, metrical, polymetrical and metaphorical loopholes. It is also this Aïon time that attempts to transform the linear and dialectical sequences of tonal harmony and tempered scales into a circular and labyrinthian procession (by the circle of fifths and the 24 keys).

The fluidity of time. the circular nature of the sound images, the series of sound transformations in François Bayle’s most recent work demonstrate the composer’s vocation (as well as that of acousmatic music) to let Abs-time triumphantly return during an epoch when Chronos-time (whose attributes are a scythe and a clepsydra) excercises its tyrannical powers, encouraged by the contemporary atomization of existential time.

Gianfranco Vinay is a musicologist, professor emeritus at the Torino Conservatory
Translation Sharon Kanach

Bayle’s oeuvre is notable for its masterly craftsmanship and rhetoric, its agile discourse and its sophisticated thought. Large-scale forms include long developmental sections shot through with recycled mutations of various ‘proto-elements’ (Son Vitesse Lumiere)and vast sequences of contrasting, but complementary movements that give rise to variations on certain initial propositions (Grande polyphonie, Les couleurs de Ia nuit, Tremblement de terre tres doux).
Additional style characteristics include intertwining textural variations (Toupie dons le ciel), filigree-like sound (Jeita), sequential pro iferat’ons and reactions (Motion emotion), distinctive tone colours and syntactical articulation (‘montages-catastrophes’) (Theatre d’Ombres, Fabul, La main vide, Morceaux de Ciels).
Bay;e’s mus’c is brought to light through a succession of unveilings since, as he would say:
“the underlying attributes of the listening process gently disrupt any given ideas.”
after F. Dhomont in New Grove Dictionary 2000

Grand Prix de l Musique de la Ville de Paris 1996, Grand Prix de l’Academie Charles Cros 1999

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