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LP
Bernard FORT
“Fractals / Brain Fever”
2022 repress
FRACTALS (1981), 21’26
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 centre is everywhere and circumference nowhere.
Brain Fever (2017), 18'00
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 I used to do in the first GMVL studios.
Brain Fever is dedicated to Sofia Jannok, a musician and sàmi singer.
26,00€
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CD
Bernard FORT
Lumière dans la nuit
by Alison Melville in The WholeNote (Canada), April 1, 2004
“Another in empreintes DIGITALes’s series of excellent electroacoustic CDs, this disc features three “essential” works by France’s Bernard Fort. The composer’s self-described modus operandi is “to fix time on media, then to penetrate it through slow motion, to experiment with duration, [and] to explore the depth of acoustic images.” The results of his work recorded here, written between 1992 and 2002, are striking and provocative.The program opens with L’impatience des limites, an electroacoustic reflection on the nature of time. It’s rather like a sonic answer to some Zen koan which asks, “what is the sound of life passing by?” - in fact all three pieces are Fort’s responses to this question - and its breadth and spaciousness is mesmerizing. La paix de l’entendre, for which the composer manipulated a recording made in a small boat as it sat for hours in the middle of an enormous lake, provides a different sort of aural meditation. Given the many ornithological contributions throughout the piece, it is perhaps worth mentioning that its premiere, most appropriately, took place in the Salle Olivier Messiaen in Paris. For the third work, Silence radieux, Fort’s original material was recorded on a winter’s walk and on the same route taken- in summer. Perhaps the most ethereal work on the disc, it explores an abstract sound world just underneath the surface of a “real” one; and again the results are philosophically provocative. While some readers might not consider this to be “music” as it is more strictly defined, Fort’s works are his own unique explorations of the “music of life”, and provide many terraced moments of wonderment.”
“Another in empreintes DIGITALes’s series of excellent electroacoustic CDs, this disc features three “essential” works by France’s Bernard Fort. The composer’s self-described modus operandi is “to fix time on media, then to penetrate it through slow motion, to experiment with duration, [and] to explore the depth of acoustic images.” The results of his work recorded here, written between 1992 and 2002, are striking and provocative.The program opens with L’impatience des limites, an electroacoustic reflection on the nature of time. It’s rather like a sonic answer to some Zen koan which asks, “what is the sound of life passing by?” - in fact all three pieces are Fort’s responses to this question - and its breadth and spaciousness is mesmerizing. La paix de l’entendre, for which the composer manipulated a recording made in a small boat as it sat for hours in the middle of an enormous lake, provides a different sort of aural meditation. Given the many ornithological contributions throughout the piece, it is perhaps worth mentioning that its premiere, most appropriately, took place in the Salle Olivier Messiaen in Paris. For the third work, Silence radieux, Fort’s original material was recorded on a winter’s walk and on the same route taken- in summer. Perhaps the most ethereal work on the disc, it explores an abstract sound world just underneath the surface of a “real” one; and again the results are philosophically provocative. While some readers might not consider this to be “music” as it is more strictly defined, Fort’s works are his own unique explorations of the “music of life”, and provide many terraced moments of wonderment.”
12,00€