Mire spectralist electroacoustic music -
Tristan Murail - Désintégrations (1982-83)Murail is associated with the "spectral" technique of composition, which involves the use of the fundamental properties of sound as a basis for harmony, as well as the use of spectral analysis, FM, RM, and AM synthesis as a method of deriving polyphony.
Major pieces by Murail include large orchestral pieces such as Gondwana, Time and Again and, more recently, Serendib and L'esprit des dunes. Other pieces include his Désintégrations for 17 instruments and tape, Mémoire/Erosion for French horn and nine instruments Ethers for flute and ensemble, Winter Fragments, for flute, clarinet, piano, violin, cello and electronics as well as Vampyr! for electric guitar.
Murail also composed a set of solo pieces for various instruments in his cycle Random Access Memory, of which the sixth, Vampyr!, is a rare classical piece for electric guitar. Vampyr! is one of several works in Murail's catalogue that do not employ spectral techniques. Rather, in the performance notes, the composer asks the performer to play the piece in the manner of guitarists in the popular and rock traditions, such as Carlos Santana and Eric Clapton.
Among Murail's awards are the Prix de Rome (presented by the French Académie des beaux-arts in 1971), the Grand Prix du Disque (1990), and the Grand Prix du Président de la République, Académie Charles Cros (1992).
Murail's works are published by Éditions Transatlantiques and Éditions Henry Lemoine. His music has been recorded on the Una Corda, Metier, Adés, and MFA-Radio France labels.
video created with vokoscreen and Sonic Visualizer on a Kubuntu 14.04 LTS Linux System.
Bernard Parmegiani – L'Œil écoute / Dedans-DehorsL'Œil écoute (1970)
"From the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece, woven with different materials, triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like Panurge. This form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories. Perhaps, in looking too hard, man eventually stops listening. And, as I said when creating the piece in 1970, the eye, now a "solitary wanderer" only has ears for what assaults it." (B.P.)
Dedans-Dehors (1977)
“When listening to the sound material, we metamorphose the inside into an outside. This notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluid-solid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some whilst it takes us away from others: each with their own inside.” (B.P.)
ENJOY.
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