The three works on this CD cover three periods in Bayles output - Trois rèves d'oiseau (1963 - 71), 'La forme de l'esprit est un papillon (2002 - 2004) and 'Minamenta' from 1989.
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
IN THE SOUNDS | have composed for this work,
the hand has never been I so openly present
Very clear white figures or very tangled arabesques have the effect of allowing the perfume to emerge from the timbres, the patterns from the resonances, the evocative power from the fact of being near or far, from the asperities of sound or distant harmonies.
The hand listens
Obedient to the will of forms, and of form, it frees the models. Moving objects, to be chosen as it pleases the variable ear, which, in its wavering, bears a new Experience into the course of memory…
Jeita, or Waters Murmur is a reworked version of one of Bayle's earliest pieces (from 1970). One of Bayle's great qualities is his ability to make 'musique concrete' sound like a live performance - something which is very evident on this CD.
Since my first compositions in the 60's, my purpose was always th same: ...to ocmpose with only "images de sons" (sound-images) To show how pure listening in acousmatic situations these "images de sons" move like butterflies through audible space and project a colored twinkling on the listener. Out of frame, this is a world proved by itself. The old world, but with no relations. It's obvious now.
This is a double CD
EXPERIENCE ACOUSTIQUE IS still, in my opinion, a demanding inward exercise — abstract and open.
That is why | have deferred publication until now. Perhaps | lacked contidence in the variable listening this work requires. But perhaps | was right to wait for the moment when, as today, there was a better adaptation to the strange language of invisible sounds.
This experience may seem wild, trying, varied, ...and above all provocative.
it calls for unconsidered involvement like the involvement | myself experienced.
it is useful to recall when it was composed (and the early stages in my career], the confusion of the years following 1968, when | sensed more than | knew, attempted more than | mastered. Whence the term experiment/experience. But the latter extended its scope, soon taking on the appearance of a total re-evaluation of the inward adventure (of the body and its deep-seated rhythms)
At that time, one could read on walls inscriptions such as «Le vent se léve ii faut tenter de vivre.»
(The wind is getting up, we must try to live...) Poetry (an anonymous Valéry) threw us into the streets
No doubt spurred on by the circumstances, my project received a great breath of fresh air, which was quite necessary before plunging airless into the abysses of the studio. Caught up by a programme that was ambitious to the point of insanity, confident only of my eagerness to learn, | was able to verify a number of certainties: the infinite wealth of sound perception, the unexpected fertility of strokes of inspiration, the need for stocktaking.
Even today, | have only reached the first half (in actual fact, the first quarter here with L’Expérience Acoustique, the second in the 1980s with the continuation, Son Vitesse-Lumiére).
A diary of that journey would have been a literary solution. The other remained to be invented, in an «acoustic style» which would provide an introduction to the variety of levels of listening as well as to that of possible techniques.
I thus acquired my own, which sprang from necessity, from the acousmatic challenge.
!he model listener will go through this experience over again according to his Inner rhythm, his desires, fears, urgencies.
Through himself he will learn about himself, his «properties». He will recognise his star
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).
- ... derrière l'image (1)
- ... derrière l'image (2)
- ... derrière l'image (3)
- ... derrière l'image (4)
- ... derrière l'image (5)
- ... derrière l'image (6)
- ... derrière l'image (17)
- ... derrière l'image (8)
- ... ombres blanches (1)
- ... ombres blanches (2)
- ... ombres blanches (3)
- ... ombres blanches (4)
- ... ombres blanches (5)
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?
A stunning CD by this Australian group who incorporate live sampling and sequencing, computer interactive networked performing and manipulation of improvised sounds. Roger Dean - keyboards, computer; Sandy Evans - saxophones, wind controller; Greg White - computers, sound manipulations.