Recollection Grm

Bernard Parmegiani ‎”Violostries” (Recollection GRM)

2020-05-21T20:50:24+00:00May 21st, 2020|

“Violostries” (1963/64): Premiered and recorded in April 1965 at the Royan Festival — France, by Devy Erlih (violin) and Bernard Parmegiani (sound projection). “Violostries” represents the intersection of several musical research directions, presented as two simultaneous dialogues: composer/performer and instrument/orchestra. After a short introduction tutti very spatialized: “1. Pulsion/Miroirs”: multiplied by itself, the violin is projected into the four corners of the sound space. “2. Jeu de cellules”: concertante piece for violin and audio medium, the latter being made up of very tightly woven microsounds. “3. Végétal”: slow and invisible development following a continuous time, resulting from an internal and permanent processing of the matter.

“Capture éphémère” (1967, 1988 version): “This work was composed in four tracks in 1967 for quadraphonic diffusion. Remixed in stereo in 1988. Premiered at the Studio 105 of the Maison de la Radio, Paris, May 1967. Sounds — noises that circulate as time unfolds — continue to exist despite our recording them. Breaths, fluttering wings: ephemeral microsonic sounds streaking space, sound scratches, landslides, bounces, vertigo of solid objects falling into an abyssal void, multiple snapshots forever frozen in their fall. As many symbols leave inside us the permanent trace of their ephemeral brushing against our ear. Someday, a desert, a sound, then never again… Somewhere, in my head and body something still resonates… resonance, what could be more ephemeral.”

“La Roue Ferris” (1971): Premiered at the Festival des chantiers navals, Menton, on August 26, 1971. Sound projection: Bernard Parmegiani. “La Roue Ferris” (Ferris wheel) spins, merging with its own resonance, stubbornly perpetuating its variations. It only sketches a regularly evolving movement around a constant axis. Each of its towers generates thick sonic layers that penetrate each other, producing a very fluid interweaving. The crackling of the origin eventually metamorphoses into sonic threads whose lightness recalls high-altitude clouds, cirrus clouds, haunted by the cries of swifts twirling in the warm air. The wondrous arises and dies off, leaving the listener with an illusion of duration.

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Bernard Fort ‎”FRACTALS / Brain Fever” (Recollection GRM)

2020-05-21T20:50:24+00:00May 21st, 2020|

“Fractals” (1981): Composed at the GMVL from December 1979 to September 1981, this work was commissioned by Fnac. Fractals are mathematical oddities that, when crossing our path, turn the smallest island into an immensity to be explored. “Fractals” is a series of short studies, all based on the same sound source. Seeking in the sound and its very logic a proposal upon which a construction is elaborated, each Fractal remains open and is a mere fragment of itself. “Fractals”, music pieces sculpted in four dimensions, are vast microcosms that can only be inhabited by the mind. Each “Fractal” can be approached from several angles, far, near, etc. Some can be listened to at different speeds, forwards or backwards. “Fractals”: amorphous and endless music pieces whose center is everywhere and circumference nowhere.

“Brain Fever” (2017): Wherever you may be in the forest of South India, the Brain Fever bird, together with the Seven Sisters, literally gets into your head. Whether it be early morning, daytime, or nighttime, amidst the stridulations of insects, its song utterly reflects Indian life: sonorous, noisy, insistent, dense, overcrowded, mobile, swarming, frantic, overheated, deprived of rest and sleep. “Brain Fever” echoes sonic images caught in the Aurovillian forest, near Pondicherry, and rich fragments of improvisations made in Lyon on analog sound synthesis or feedback devices, the kind Fort used to do in the first GMVL studios. “Brain Fever” is dedicated to Sofia Jannok, a musician and sàmi singer.

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Bernard Parmegiani “De Natura Sonorum” (Recollection GRM)

2019-12-13T05:59:19+00:00December 13th, 2019|

The first series comprises six related movements, usually organised in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances brings into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources. Here, ‘incidents’ are opposed to one-off ‘accidents’ in the second movement: Accidents/Harmoniques (Accidents/Harmonics). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap. Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. Géologie sonore (Sound Geology) is similar to a flight over an area where different ‘sound’ layers come to the surface one after the other. When seen from high above, instrumental and electronic sounds seem to fuse … Dynamique de la resonance (Dynamics of Resonance) is a microphonic exploration of a single sound resonating through different forms of percussion. L’Etude élastique (Elastic Study) places together various sounds produced by ‘touching’ elastic or instrumental skins (baloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this ‘touch’, using electronic processes to generate white noise. Conjugaison du timbre (Conjugated Tone), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. “The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. Incidences/battements (Incidences/Beatings) is a reminder of the first movement in the first series which then quickly moves into Natures éphémères (Ephemeral Natures): ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. Matières induites (Induced Matters): just as molecular effervescence triggers a changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes. In Ondes croisées (Crossed Waves), the pizz vibrations interfere with somehow ‘visible’ water drops on the surface of a similar material. Pleins et déliés (Downstrokes and Upstrokes) can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow ‘bubbles’ and points bring together some people’s gravity and others’ downwards movements. The work finishes with Points contre champs (Reverse Angle Points). Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle – and the chanted sound – to grow.

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Regis Renouard Lariviere “Contrée” (Recollection Grm)

2019-04-11T21:53:36+00:00April 11th, 2019|

“Allégeance Volatile” and “Esquive” each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called “repetitive” music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open. The rustic drumming of “Allégeance”, talkative, acidulous, colorful, and over-articulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of “Esquive” with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency. This is, indeed, a “volatile allegiance” and “avoidance” from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer. He returns with another title: “Contrée”, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses, and points emerges. “Something” rises and presents itself out of the sounds — these escaping beings, these “relatively short combustion flames” (Schaeffer). The piece consists of five consecutive and uninterrupted parts: “Entrée” and “Stance I” — “Véhémence De L’air” and “Stance II” — “Grande Allure”. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last. “Contrée” is dedicated to Philippe Mion, whose friendly ears have been entrusted with my music for so many years.

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Luc Ferrari “Music Promenade” (Recollection Grm)

2019-04-11T21:53:36+00:00April 11th, 2019|

“Music Promenade” (1964-1969): Electroacoustic Music, world premiere for the Théâtre de la musique, March 16, 1970 “Hétéro-Concert”. Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl. The “Installation” version is used to sonify a place in which walkers are free to choose their musical itinerary.

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