Catalogue number BCGBCG06
released in Europe 2006

Gavin Bryars: A Listening Room (Chateau d’Oiron 1993)
 
I was asked to suggest a project for the Chateau d’Oiron by Jean-Hubert Martin when we were both jurors at the Akademie Schloss Solitude. I visited the chateau with him, and later with my sound designer Chris Ekers, and proposed the idea of a “Listening Room”: an installation that takes the form of an acoustic map of the chateau.
 
Specific music was written – or in two cases existing music was used – in order to establish the architectural acoustic of each space that was chosen. The music was not designed to be interesting itself but rather to animate the spaces in which the music was played. In all cases the rooms were selected primarily because of the character of their acoustic, though other factors were taken into account such as historical status, or the nature of the artworks already installed. The recordings were made with a Calrec soundfield microphone programmed for the recordings to be replayed through an ambisonic sound system. For this eight loudspeakers are located at quite precise points within the listening room so that the listener hears in 360º the natural acoustic of each source room. The listening room has comfortable armchairs and was planned to be similar to the interior of an English “gentleman’s club”. This room, originally room 014, is, therefore, both a map of the space and a space in itself. Subsequent to the installation, the room was moved to 021 – the former kitchen and the source of track 6.
 
Four of the spaces that were chosen effectively define the whole architectural layout of the chateau in 3 dimensions. The 55 meter long Galerie des peintures (room 114) runs the whole length of one side of the courtyard. The Salle de bal (room 101) covers the entire width of the main central building. The Cage du grand escalier goes up the full height of the central building. The Salle Haute – Tour des Ondes (room 116) is the whole circle of on of the towers that give the chateau its external character.
 
I used three musicians - my closest colleagues from my ensemble (Roger Heaton and Dave Smith) plus myself (sound engineer Chris Ekers plays on one track too). There were also meetings with the village ‘fanfare’ about their possible involvement. However, it was clear from attending one of its regular rehearsals that it would be unlikely that the whole fanfare could learn new pieces in time for the project. So instead I decided to take something from their existing repertoire for two spaces, and add three of their players to my ensemble for two other rooms.
 
From June 14-17 the recordings were made in Oiron. They had to be made between midnight and 5 AM due to the presence of uncontrollable external sounds outside these times (workmen renovating the stonework during the day; birdsong up to sunset and from dawn; frogs in the moat from sunset to midnight). A routine was established of having dinner with those artists working there at that time some of whom, Georg Ettl, Charles Ross and his assistant Natalie Moore, would come to listen as we recorded through the night. One other listener who followed us from room to room one night was a bat, whom we christened “Barry” - and who we realised was probably quite ill or disorientated given that it was attracted to such low frequencies…
 
Programme
 
(Each piece has the name of the room in which it was recorded. The track numbers are identified on the plan of the chateau.)
 
1. (Outside) Espace de la cour: La fanfare d’Oiron: Le defilé (trad.)
The external ambience of the chateau approached by the village fanfare.
 
2. (Next to 001 vestibule) Cage du grand escalier: Sextet: RH bass clarinet, DS tenor horn, GB double bass  (+ from Oiron: Albert Chansault clarinet, Joël Becot, baritone, Michel Morin, bass)
An acoustic space that passes up the full height of the building. Musicians were located at different levels on the staircase and recorded at a point halfway up.
 
3. (Room 107) Salon d’Arlequin (Salon des Emigrés – André Raffray): Sextet: RH bass clarinet, DS tenor horn, GB tubular bells (+ from Oiron: Albert Chansault clarinet, Joël Becot, baritone, Michel Morin, bass)
Although the music was recorded in one large room, three other rooms interconnect and the acoustic of each space helps the others.
 
4. (Room 114) Galerie des peintures: Quartet: RH clarinet, GB Korg M1, DS tam-tam, CE French horn
A magnificent room 55 meters long – the length of the outside courtyard - not used for any new work. Music was played at one end of the room and recorded at the other end.
 
5. (Room 116) Salle Haute – Tour des Ondes (Salle de la levitation – Tom Shannon): Duo: RH bass clarinet, GB bass
A circular room containing a terrific circular sculpture. The two musicians played on opposite sides of the room, facing the wall and the recording was made at a point halfway between the musicians (all on the perimeter of the circle)
 
6. (Room 021) Cuisine (Salle des anamorphoses – Piotr Kowalski/ Markus Raetz): Trio: GB bowed vibes, DS marimba, RH bass drum/tam-tam
A stone arched room, one of the oldest in the chateau. The two tuned percussion instruments were placed on either side of the room, with the untuned instruments in the former fireplace. The recording was made from the other end of the room.
 
7. (Room 001) Vestibule: La fanfare d’Oiron: “Le Calme” - an arrangement of Schubert’s Piano Impromptu no. 2 Op. 142
The original entrance hall - not used for any new work (later Christian Boltanski). The village fanfare played in a semi-circle to the right-hand side.
 
8. (Room 101) Salle de bal (Salle de guerriers – Daniel Spoerri): Trio: RH clarinet, GB Korg M1, DS vibes
The musicians were located on three sides of the large ballroom with the recording being made from the fourth side.
 
9. (Room 002/3) Salle des Faïences / Salon Gris (Salon de la peinture ultime – 8 artists): Duo: RH bass clarinet, GB tubular bells
The bass clarinet played in room 002 and the bells were in 003, with the microphone being placed at the junction of the two rooms.
 
Sound designer Chris Ekers
Sound engineers Chris Ekers and Bob Burnell
Post-production Dave Hunt Studio, London