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Bernard Parmegiani
«L’Œil écoute / Dedans-Dehors»
«Dedans-Dehors» 22’22
En phase / hors phase
Jeux 1
Jeux 2
Jeux 3
Retour de la forêt
Dedans – dehors
Métamorphose 1
Métamorphose 2
Lointain proche 1
Lointain proche 2
Lointain proche 3
Rappel du silence
«Dès le premier instant, happés par la sonorité musicale perçue à l’intérieur d’un train, le
voyage que propose cette pièce tissée de différentes matières, suscite en nous des climats
propres à redonner à notre imagination un pouvoir sur les sons : celui de les guider dans nos
labyrinthes secrets plutôt que de les suivre en Panurge. Cette forme de contemplation
(auditive) tente de nous rendre ainsi disponibles pour nous égarer hors des limites de nos
habituels territoires par trop reconnus. Peut-être qu’à trop regarder, l’homme finit par ne plus
écouter. Et l’œil, devenu le «promeneur solitaire» n’a d’oreilles que pour ce qui l’agresse,
disais-je lors de la création de la pièce en 1970.» (B. P.)
«Dedans-Dehors» (1977)
«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.)
«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.)
There are two famous trains in the musical history of the GRM, the one in
Pierre Schaeffer’s «Étude aux chemins de fer» which, in 1948, showed the
possibilities of concrete music and the absolutely striking one that opens
Bernard Parmegiani’s «L’Œil écoute». These two works are more than twenty
years apart. A generation. A complete learning process, a development
process is revealed in this transition. Parmegiani, a major artist of the «2nd
Generation» of concrete and electroacoustic music has become a true
tutelary figure for a new generation of musicians who view in him the perfect
association of musical expertise and sound immediacy.