BAYLE, FRANCOIS — Camera oscura / Espaces inhabilitables
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Nr. 14 im BAYLE-cycle, die das Gesamtwerk dieses bedeutenden zeitgenössischen Elektro-Akustikers zusammenfasst - zwei lange, ausufernde, fordernde Stücke von 1967 und 1976.
“Volume 14 in INA GRM's continuing
documentation of Francois Bayle's complete works. Featuring 2 long pieces: "Camera Oscura" (1976) & "Espaces Inhabitables" (1967). "Camera Oscura" is a literal 39 minute-minute tour de force of Bayle's stereophonic fabric, the perfect "ping", so to speak: "At first a rhythmic maze, mirrors-form that look more-or-less alike, that are assembled, woven, fuged. Then we find ourselves thrown into windings and crystallised sonorities, in which the lines would be lost if they were not supported by low layers, from plateau to plateau, seemingly leading to a muter and muter deep, to the bottom of an abyss that heat and light would reach (maybe), in extremis. But for the ear, those constructions in sequence, processes, stretching, extensions, transpositions, thickenings, harmonisation, spatialisation, reverberations and dissipation are only forms and impressions left on the memory, in view of a joy of a multidimensional, fulfilled hearing."
“Volume 14 in INA GRM's continuing
documentation of Francois Bayle's complete works. Featuring 2 long pieces: "Camera Oscura" (1976) & "Espaces Inhabitables" (1967). "Camera Oscura" is a literal 39 minute-minute tour de force of Bayle's stereophonic fabric, the perfect "ping", so to speak: "At first a rhythmic maze, mirrors-form that look more-or-less alike, that are assembled, woven, fuged. Then we find ourselves thrown into windings and crystallised sonorities, in which the lines would be lost if they were not supported by low layers, from plateau to plateau, seemingly leading to a muter and muter deep, to the bottom of an abyss that heat and light would reach (maybe), in extremis. But for the ear, those constructions in sequence, processes, stretching, extensions, transpositions, thickenings, harmonisation, spatialisation, reverberations and dissipation are only forms and impressions left on the memory, in view of a joy of a multidimensional, fulfilled hearing."