Re: on Brussels (an excerpt) ... (FYI) [buildings for sound]


Subject: Re: on Brussels (an excerpt) ... (FYI) [buildings for sound]
From: Katharine Norman (katharine@novamara.com)
Date: Mon Jun 07 2004 - 01:48:25 EDT


yes, the whole Le Corbuser / Xenakis interaction over the Pavilion is
fascinating -as you say, the letters Xenakis wrote at the time are most
revealing of his altercation with Le C over credits - as you say, most
unusual to credit an individual - although grudgingly given. They
actually commissioned Tomasi to write a son et lumiere score because
Varese was so behind with production, just think! Xenakis reveals some
interesting views (that change remarkable over the years....) on Le
Corbusier.

I've read a lot of the correspondence you mention - I actually wrote a
book chapter recently entirely centred on a lot of the Xenakis/Le C.
thing, hence my interest. What's also interesting to me is the role of
Concret Ph in this - which to me is much more 'successful' in being
about the space and in the space than the rather ponderous Varese Poeme.

The contemporaneous brochues, like the one I mention, are fascinating
in themselves as design - some of the essays have to be read with
'blurb-mode' on, especially some of the very differing facts and
figures regarding the gear, number of speakers etc.

Katharine

On Sunday, June 6, 2004, at 01:13 AM, Jim Harley wrote:

> Katharine,
> Thanks for that pointer. Interesting presentation, even if not
> completely accurate (LeC never offered X money to keep his name off,
> for example--he actually gave him credit for his part, soon after the
> request, highly unusual for an architecture studio).
> Just think, instead of Varese's Poeme Electronique, we could have had
> something nice by Britten! The suits at Philips imagined a
> surround-sound sort of thing, with nice orchestral music sweeping
> through the pavilion.
> There is some fascinating correspondence on this struggle re: Varese.
> LeC made it a condition of his participation, repeatedly, that V be
> the composer, point final. Xenakis, too, did his share of defending
> Varese.
>
> Jim
>
> On Sunday, June 6, 2004, at 01:39 AM, Katharine Norman wrote:
>
>> I'd second that -and, in case it's not too late on this
>> buildings/sound thread - here's a wonderful page by page scan of the
>> brochure (or one of them) brought out on the Pavilion at the time.
>> Can't remember where the person originally requesting this info was,
>> but in the UK they have another similar brochure in the British
>> Library, containing a long essay on the sound design etc by one I.
>> Xenakis.
>>
>> http://home.hccnet.nl/a.meyer/philipspavilion58/toc.html
>>
>> Katharine
>>
>>
>>
>> On Thursday, June 3, 2004, at 09:18 PM, Jim Harley wrote:
>>
>>> This book by Marc Treib (with an interesting analysis of the Varese
>>> piece by Richard Felciano) is extremely well researched and written.
>>> I can recommend it highly.
>>>
>>> Jim Harley
>>>
>>>
>>> On Thursday, June 3, 2004, at 08:00 PM, Kevin Austin wrote:
>>>
>>>> For those interested in the Philips Pavilion.
>>>>
>>>>
>>>>> Date: Thu, 03 Jun 2004 10:26:19 +0200
>>>>> From: Richard Felciano <felciano@cnmat.berkeley.edu>
>>>>> Subject: architectural transitions
>>>>
>>>>> I am a Professor of Music & composer at UC Berkeley, and founder
>>>>> of UC's Center for New Music and Audio Technologies. Architecture
>>>>> has been a very strong auxiliary interest (not really a secondary
>>>>> one) in my life and, with my architect colleague, Marc Treib, I
>>>>> team-taught in UCB's School of Architecture for several years.
>>>>
>>>>> The result of that collaboration was writing of the musical
>>>>> portions of a large tome dealing with what is perhaps the first
>>>>> collaborative attempt between an architect and composer: the 1958
>>>>> Philips Pavilion in Brussels. The book is titled Space Calculated
>>>>> in Seconds: The Philips Pavilion, Le Corbusier, Varèse, published
>>>>> by the Princeton University Press.
>>>>
>>>>
>>>>> Le Corbusier's name for the pavilion, for which he designed
>>>>> projections on purposely curved walls (before pre-stressed
>>>>> concrete!) was Le Poème Eléctronique, which remained as the name
>>>>> of Varèse' electronic score (which played over 40 carefully
>>>>> located speakers in the building's curved walls). It is the first
>>>>> major work of electronic music and remains a masterpiece today.
>>>>>
>>>>> ...
>>>>> Richard Felciano
>>>>> Founder, Center for New Music & Audio Technologies (CNMAT)
>>>>> UC Berkeley
>>>>
>>>>
>>>>
>>>>>> Date: Thu, 27 May 2004 19:23:33 +1000
>>>>>> From: Derek Thompson
>>>>>> Subject: Compositions / Sound Designs and entranceways
>>>>>> Sender: owner-cec-conference@concordia.ca
>>>>>> To: acma-l@list.waikato.ac.nz, cec-conference@concordia.ca,
>>>>>> WFAE@sfu.edu.ca
>>>>>>
>>>>>>
>>>>>> All, (with apologies for cross-postings)
>>>>>>
>>>>>> As part of a Master's research, I'm looking for existing works -
>>>>>> either historical or recent (current?) - that explicitly explore
>>>>>> architectural space, especially transitional space (i.e. foyers /
>>>>>> stairwells / entranceways / atriums...).
>>>>>>
>>>>>> I'm wanting to identify and document significant sound designs,
>>>>>> compositions or installations that have exploited, expressed, or
>>>>>> transformed space normally passed through with little regard for
>>>>>> the
>>>>>> acoustic or sonic properties.
>>>>>>
>>>>>> Alongside this I am recording, documenting and analysing a number
>>>>>> of
>>>>>> public spaces with the aim to return to a select few with
>>>>>> spatially
>>>>>> diffuse sound designs that integrate (or intentionally intervene)
>>>>>> with the visual and physical architecural environment.
>>>>>>
>>>>>> Any thoughts - or suggestions of works - welcome!
>>>>>> Please feel free to mail me off-list if you wish, and I will
>>>>>> collate
>>>>>> responses for a single posting.
>>>>>>
>>>>>> Many thanks,
>>>>>>
>>>>>> Derek
>>>>>> SIAL Sound Studios
>>>> www.sial.rmit.edu.au
>>>>
>>>>
>>> ***************************************************
>>> James Harley, Assistant Professor
>>> Coordinator, Music Industry Program
>>> 138, Center for the Arts
>>> Minnesota State University Moorhead
>>> 1104 7th Ave. S., Moorhead, MN 56563 (USA)
>>> tel: (218) 477-2001; fax: (218) 477-4097
>>> email: harleyja@mnstate.edu
>>> URL: www.mnstate.edu/harley
>>> ***************************************************
>>>
>>
>>
> ***************************************************
> James Harley, Assistant Professor
> Coordinator, Music Industry Program
> 138, Center for the Arts
> Minnesota State University Moorhead
> 1104 7th Ave. S., Moorhead, MN 56563 (USA)
> tel: (218) 477-2001; fax: (218) 477-4097
> email: harleyja@mnstate.edu
> URL: www.mnstate.edu/harley
> ***************************************************
>



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