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Bernard Parmegiani
De Natura Sonorum

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Recollection GRM, 2019

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nr tytuł play mp3
  Side A
1 incidences / résonances 4:00
2 accidents / harmoniques 4:46
3 géologie sonore 4:34
Side B
1 dynamique de la résonance 2:53
2 étude élastique 6:42
3 conjugaison du timbre 5:05
Side C
1 incidences / battements 1:43
2 natures éphémères 4:08
3 matières induites 3:44
4 ondes croisées 2:01
5 pleins et déliés 4:39
Side D
1 points contre champs 8:31


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https://soundcloud.com/editionsmego/bernard-parmegiani-accident

Digital Transfer: Diego Losa
Cut at 45rpm by CGB & Rashad Becker at Dubplates & Mastering, Berlin, April-May 2013
Layout: Stephen O'Malley
Translations: Valérie Vivancos
Coordination GRM: Christian Zanési & François Bonnet
Executive Production: Peter Rehberg

De Natura Sonorum (1975)

Premiered at the Salle Wagram in Paris on 3rd June 1975.
A suite of twelve movements, divided into two series of six.

“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 intern.......
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