Uploaded March 2012 | Updated September 2026, 2 days ago
STOCKHAUSEN IN THE JEITA CAVES (Lebanon).
(colour film by Anne Marie Deshayes, 1969)
Duration: 45 minutes,
Contents: Luc Ferrari made this film in November 1969 for the French film society MIDEM. (Also in the film: Max Ernst, André Masson and other artists.)
The following Stockhausen works were performed:
November 22nd 1969: SPIRAL (Globokar) -- SPIRAL (Vetter) --INTENSITÄT (INTENSITY) -- SETZ DIE SEGEL ZUR SONNE (SET SAIL FOR THE SUN);
November 23rd: TELEMUSIK -- STIMMUNG; November 24th: SPIRAL (Bojé) -- KURZWELLEN;
November 25th: HYMNEN (Alings, Bojé, Gelhaar, Fritsch, Eötvös).
Language: French (English transcription by Paul Dirmeikis).
STOCKHAUSEN IN THE JEITA CAVES (Lebanon).
(colour film by Anne Marie Deshayes, 1969)
Duration: 45 minutes,
Contents: Luc Ferrari made this film in November 1969 for the French film society MIDEM. (Also in the film: Max Ernst, André Masson and other artists.)
The following Stockhausen works were performed:
November 22nd 1969: SPIRAL (Globokar) -- SPIRAL (Vetter) --INTENSITÄT (INTENSITY) -- SETZ DIE SEGEL ZUR SONNE (SET SAIL FOR THE SUN);
November 23rd: TELEMUSIK -- STIMMUNG; November 24th: SPIRAL (Bojé) -- KURZWELLEN;
November 25th: HYMNEN (Alings, Bojé, Gelhaar, Fritsch, Eötvös).
Language: French (English transcription by Paul Dirmeikis).
![WDR3 Studio Elektronische Musik: François Bayle [2/2]
Profil [44]: François Bayle
Friedl, Reinhold
2014.02.05
deutsch / german WDR3 Studio Elektronische Musik: François Bayle [2/2]](https://i.ytimg.com/vi/bWMSaG3-Nkw/mqdefault.jpg)
![Francis Dhomont - Chroniques de la lumière - Artifices (1989, 2005)
stereo tape
Commission: SMCQ, with support from the CCA
To Annette Vande Gorne
These “Chronicles” are an impressionistic sonic version of visual elements — an undoubtedly metaphorical act -, a personal daydream of light based on a concept by Montréal visual artist Luc Courchesne. An evocation of luminous phenomena, natural rays or multiple artifacts, Chroniques de la lumière (Chronicles of Light) is comprised of three movements: Miroitements (Shimmers), Artifices, Météores (Meteors) or adagio, allegro and presto-finale.
An evolution from slow to fast, calm to agitated, piano to forte, static to mobile, simple to complex.
Chroniques de la lumière [Chronicles of Light] was realized at the composer’s studio and premiered on April 26, 1989 at the Doppler Concert of the Société de musique contemporaine du Québec (SMCQ), at the Spectrum in Montréal. The proportions of Météores went through slight modifications in 2005; that particular movement is thus a new version. Chroniques de la lumière was first released on the Halogènes compact disc produced by the Université de Montréal on the UMMUS-Actuelles label (UMM C 101). Météores (1989) was released by empreintes DIGITALes in 1991 on Mouvances~Métaphores (IMED 9107/08), and in 1996 on Les dérives du signe (IMED 9608). Miroitements was selected by the 1995 International Computer Music Conference (ICMC95) in Banff (Canada); Artifices was selected by the 1994 International Computer Music Conference (ICMC94) in Aarhus (Denmark); Météores (1989) was selected by the International Society for Contemporary Music (ISCM) for the 1990 World Music Days in Oslo (Norway), and by the 1993 International Computer Music Conference (ICMC ’93) in Tokyo (Japan). Many of the sounds were realized at Studio 123 and with the SYTER real-time sound synthesis system of the Ina-GRM (Paris, France). Special thanks to Yann Geslin, Daniel Teruggi and the late Bénédict Mailliard for their invaluable advice. Chroniques de la lumière was commissioned by the SMCQ and realized with support from the Canada Council for the Arts (CCA).
Video created with sonic visualizer, OpenShot and vokoscreen on an openSUSE 13.2. Linux system. Francis Dhomont - Chroniques de la lumière - Artifices (1989, 2005)](https://i.ytimg.com/vi/biOdz5TEbdE/mqdefault.jpg)

![Anton Webern: Konzert für neun Instrumente, op. 24 - II. Sehr schwungvoll (1934)
Anton Weberns Concerto for Nine Instruments, Op. 24 (German, Konzert für neun Instrumente, op. 24, 1934) is a twelve-tone concerto for nine instruments: flute, oboe, clarinet, horn, trumpet, trombone, violin, viola, and piano; containing three movements: I. Etwas lebhaft, II. Sehr langsam, and III. Sehr rasch; and composed with a derived row, often cited [such as by Milton Babbitt (1972)] as a paragon of symmetrical construction.
In the words of Luigi Dallapiccola: a work of incredible conciseness . . . and of unique concentration . . . . Although I did not understand the work completely, I had the feeling of finding an aesthetic and stylistic unity as great as I could wish for. [Prague, September 5, 1935].
The second movement limits quite severely the values of many domains, for example featuring only two durational values (quarter and half note[s]), and, partly as a result, features great uniformity in texture and gesture.
The opening displays [the Concertos] distinctive trichordal structuring, four of which comprise an aggregate, or partition. The six combinations of [the partitions] trichords generate three pairs of complementary hexachords. Webern takes full advantage of this property [its fourfold degree of symmetry] in the Concerto, that under four appropriate transformations (T0T6I5IB), the tone row maintains its unordered trichords (j=019,091,etc., k=2te, l=367, and m=458). The hexachord featured is sometimes called the Ode-to-Napoleon hexachord (014589).
Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System. Anton Webern: Konzert für neun Instrumente, op. 24 - II. Sehr schwungvoll (1934)](https://i.ytimg.com/vi/cmoLMpWgbsk/mqdefault.jpg)


![Jean-Claude Eloy – Le Minuit de la Foi - Morgendämmerung (2014) [Excerpt]
PLEASE SUPPORT THE ARTIST. If youre interested in this music, buy the cds. music piracy is hurting the artist who created the cds. Check out this site to recieve legal music:
http://www.metamkine.com (worldwide)
http://www.dronerecords.de (Germany)
Jean-Claude ELOY
Le minuit de la foi - Morgendämmerung (7020)
Le minuit de la foi (The midnight of the faith) (2014) for electronic and concrete sounds, around selected sentences by Edith Stein recorded by German actress Gisela Claudius. New work from Jean-Claude Eloy, a long piece under the power of expanded sounds and sacred words.
Le minuit de la foi is a double album, each CD of which forms a stand-alone entity. Each CD can therefore be listened to separetly. However, you do need to listen to the full album for it to become meaningful through its complementary balances, and to grasp its very essence.
video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on an openSUSE 13.2 Linux System. Jean-Claude Eloy – Le Minuit de la Foi - Morgendämmerung (2014) [Excerpt]](https://i.ytimg.com/vi/d6itgCvJiis/mqdefault.jpg)
![Annette Vande Gorne - Tao: Métal (1983)
Annette Vande Gorne - Tao: Métal (1983)
Composer: Annette Vande Gorne
Premiere: December 18, 1983, Café-théâtre Stalcker (Brussels, Belgium)
To Violette Beaujeant and André Van Belle
•• Abstraction: Perhaps it is here that we come closest to what is musical in the sense of an abstract writing (fourth step of knowledge), a voluntaristic writing, pre-existing to sound. Also abstract is the écoute réduite [Schaefferian term, in French, for sound object perception] of the allures [Schaefferian term, in French, for sound behaviour] or vibrato, their amplitudes, their speeds.
•• Energies/vibrations: Percussions/decreasing free resonances (allures).
Percussions/resonances kept constant (itérations [Schaefferian term, in French, for constant retriggering]).
Percussions/penetration of resonance (vibrations). Smooth rubbing.
Free bounces. Controlled bounces. Swaying. Rolling.
•• Form: Starting out in silence, contemplation of a still line on an asserted tonic axis — pipe 3: Chang —, the form moves towards the diversified and the complex. The first part of Métal deals with the sustain of resonances; the second deals with their spectral content, before gradually returning to the original line and ending with the same material already encountered in Eau (but transposed a fifth above the pipe 4: Yu).
•• Anecdote: As with fire, metal inverts the perceived object depending on whether sight or listening filters the stimuli. A solid matter, it becomes, after impact, pure vibration.
•• Spatialization: Ambiophonic spatialization: let the public settle in an atmosphere of meditation, of inner contemplation, by an almost still diffusion on a set of 12 or 16 loudspeakers placed in a circle. Tésseral blocks of gold and enamels radiate a light that bathes the darkness of Byzantine domes; similarly, the loudspeakers here are radiators — term taken from French composer François Bayle — of vibrations coming from all over and from nowhere.
Métal was produced at the Métamorphoses dOrphée studio (Ohain, Belgium) and premiered at the Café-théâtre Stalcker in Brussels (Belgium) on December 18, 1983. Under the title Énergie / Matière, Feu and Métal were awarded the 1985 SABAM Special Prize of the Year of Music. Many thanks to Violette Beaujeant, instigator and performer of the zheng version of Métal, and to André Van Belle who so generously allowed me to explore his vast collection of extra-European percussions. Annette Vande Gorne - Tao: Métal (1983)](https://i.ytimg.com/vi/dQK3ksB7Vgw/mqdefault.jpg)
![Ludger Brümmer - The Gates Of H [1993]
The Gates of H. is generated out of a 120 second sample containing a folk song sung by a female choir. Algorithmical structures are applied to the sound by changing pitch and time-position to portions of the source sample so that a granular-synthesis structure is generated. The idea of modifying a sound image in this way is to apply a new structure to an already existing image and place it like a mask above the sound, while this mask is in time and pitch instead of space and colour.
The result is a sound which exposes either the algorithmical structure while the sound image becomes unrecognisable or the sound image when the duration of the grains is long enough and the pitch is not extremly modified. I was especially interested into the transient states of the grain, where dependant of the lenght of the sounds timbre or voices become audible: The listener seem to hear events which create an association to a human voice but it does not really sound like a voice. This keeps the perceptive process of the listener toggling between the context and the content of the sound grains.
The tension between the source sample and the algorithms gives a lyrical or a dramatical effect to the resulting sound while the recognisable voice images seem to create surrealistic scenes with strong associative power. Since I passed the Rodin Sculpture la porte de l enfer the gates of hell nearly every day on my way to the studio in Stanford a connection between the bronce plastic and my piece was unconciously drawn.
The sound processing techniques are restricted to sampling-rate conversion and pointer operations. The piece was created exclusively digitaly on the NeXT-Net of the CCRMA using Bill Schottstaedts Common Lisp Music synthesis language, Rick Taubes Common Music score/composition language and Paul Lanskis RT mixing program. It won the Prix Ars Electronica 1994. The piece was made possible by a scholarship of the DAAD by the German Government.
Ludger Bruemmer lives in Essen, Germany and teaches currently at the electronic studio of the Folkwang Hochschule Essen and at the Studio of the Technical University of Berlin. He holds a masters in psychology/sociology and a masters in composition, which he studied with Nicolaus A. Huber and Dirk Reith in Essen. Mr Bruemmer worked with the Nederlands Danstheater in Den Haag and choreographer Susanne Linke and the Susanne Linke group for 2 internatiolly performed dance productions. He also worked with several solo dancers for solo productions. For his works he was awarded with the Busoni Award/Berlin, the Folkwang Award/Essen and the WDR broadcasting Award/Cologne, Prix Ars Electronica Austria and got a honorable mentioning at the Luigi Russolo Award/Italy and Stockholm Award 1995. His pieces are performed in South America, US, Europe, Asia and Mid East.
Video created with Sonic Visualizer and Vokoscreen on an OpenSUSE 12.3 Linux System. Ludger Brümmer - The Gates Of H [1993]](https://i.ytimg.com/vi/ea4USmvezl0/mqdefault.jpg)

![Ricardo Mandolini - Microrreflexiones [edited] (1987)
Microrreflexiones, version radioophonique – Groupe de Recherches Musicales (GRM) , Paris – SYTER – SYTER (1987)
the total length of this composition is 1804.
Video created with Audacity, vokoscreen and Sonic Visualizer on an Kubuntu 14.04 LTS Linux System. Ricardo Mandolini - Microrreflexiones [edited] (1987)](https://i.ytimg.com/vi/fMpGfSCwDJY/mqdefault.jpg)