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was synchronized to a film of black and white photographs selected by Le
Corbusier which touched on vague themes of human existence. Le Corbusier's original concept called for a pause in the film while his voice was heard, speaking directly to the audience. However, Varèse objected to the idea that
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style of sound projection, hundreds of speakers were controlled by sound projectionists with a series of rotary telephone dials. Each dial could turn on five speakers at a time out of a bank of 12. Estimates of the pavilion's sound system go as high as 450 speakers, but based on the limitations of
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tapes, two of which were in turn recorded onto a stereo tape with panning effects. The stereo tape and the remaining monaural tape were finally combined onto 35-mm perforated tape in order to synchronize the tape with the film and lighting changes.
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The images in Le
Corbusier's film are all black and white still photographs and willfully abstract. The first image is a bull's head in a spotlight. The final image is a woman holding an infant. Le Corbusier assigned thematic sections to the film:
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The spatialization scheme exploited the unique physical layout of the pavilion. The speakers stretched up to the apex of Le
Corbusier's points, and Varèse made great use of the possibilities, sending the sound up and down the walls.
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The interior of the pavilion was lit by a constantly changing pattern of colored lights, and in addition to the film, three separate projectors showed still photos on the walls.
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347:"Female voice. Male chorus. Electronic noises, organ. High taps. Swooping organ sound. Three-note group stated twice. Rumble, sirens, crescendo (8 minutes and 5 seconds)."
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Sustained electronic tones, crescendo and decrecendo. Rhythmic percussive sounds. Higher sustained electronic tones, crescendo. "Airplane rumble," "chimes," jangling.
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Suddenly loud. Rhythmic percussive sounds joined by voice. Low "animal noises," scraping, shuffling, hollow vocal sounds. Decrescendo into 7-second pause.
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Low bell tolls. Sustained electronic tones. Repeated "bongo" tones. High and sustained electronic tones. Low tone, crescendo. Rhythmic noises lead to
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to design the pavilion, which was intended as a showcase of their engineering progress. Le
Corbusier came up with the title
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255:"Bongo" tones and higher grating noises. Sirens. Short "squawks." Three-tone group stated three times.
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Short "squawks." High "chirps." Variety of "shots," "honks," "machine noises." Sirens. Taps lead to
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Low sustained tones with grating noises. Sirens. Short "squawks." Three-tone group. 2-second pause.
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Low bell tolls. "Wood blocks." Sirens. Fast taps lead to high, piercing sounds. 2-second pause.
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The speakers were affixed to the interior walls of the pavilion, which were then coated in
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389:"A Virtual-Reality Reconstruction of Poème Électronique Based on Philological Research"
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Le
Corbusier's voice would be played over his composition, and the idea was abandoned.
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the switching system and the number of projectionists, 350 is more reasonable.
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53:(English Translation: "Electronic Poem") is an 8-minute piece of
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411:. page 528. Copyright © 1988, 1984, 1980, 1976 by McGraw-Hill.
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Vincenzo
Lombardo, Andrea Valle, John Fitch, Kees Tazelaar,
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scheme which was synchronized to the film. Prefiguring the
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Voice, "Oh-gah." 4-second pause. Voice continues softly.
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Virtual
Electronic Poem project documentary on YouTube
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United States
National Recording Registry recordings
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The piece was originally recorded on three separate
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227:The sequence of sounds in Varèse's composition:
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967:Studio for Electronic Music (WDR, Cologne)
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40:during the 1958 Brussels World's Fair (
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368:"Reconstructing the Philips Pavilion"
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947:Philips Natuurkundig Laboratorium
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957:San Francisco Tape Music Center
122:Varèse designed a very complex
92:The pavilion was shaped like a
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680:International Composers' Guild
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998:Compositions by Edgard Varèse
205:How Time Moulds Civilization
993:20th-century classical music
872:Electronic Music Foundation
436:Space Calculated in Seconds
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1008:Modernist compositions
675:Indeterminacy in music
447:monaural rendering of
409:Music: An Appreciation
393:Computer Music Journal
189:From Darkness to Dawn
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27:Electronic music piece
882:Institute of Sonology
867:Computer Music Center
755:electroacoustic music
649:Karlheinz Stockhausen
500:Un grand sommeil noir
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639:Krzysztof Penderecki
387:, Wojciech Borczyk,
88:Original performance
644:William Grant Still
1023:World's fair music
779:Experimental music
601:Poème électronique
449:Poème électronique
181:Spirit and Matter
159:Sequence of events
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82:Poème électronique
64:, written for the
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809:Noise music
604:(1957–1958)
596:(1950–1954)
556:(1929–1931)
548:(1925–1927)
540:(1924–1925)
524:(1922–1923)
510:(1918–1921)
218:361 – 480"
210:301 – 360"
202:241 – 300"
194:205 – 240"
186:121 – 204"
128:acousmonium
987:Categories
832:By country
799:Microsound
762:Techniques
751:Electronic
695:Sound mass
560:Ecuatorial
553:Ionisation
537:Intégrales
521:Hyperprism
514:Offrandes
366:Joe Drew,
178:61 – 120"
99:Concret PH
794:Tape loop
634:John Cage
609:Nocturnal
574:Tuning Up
507:Amériques
146:Recording
933:Inactive
917:Toonzaal
711:Category
529:Octandre
213:Harmony
173:Genesis
170:0 – 60"
152:monaural
136:asbestos
59:composer
1033:Philips
1018:Expo 58
849:Germany
663:Related
593:Déserts
372:ANABlog
94:stomach
74:Philips
68:at the
42:Expo 58
925:studio
919:Studio
907:SEAMUS
858:Active
844:France
612:(1961)
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545:Arcana
532:(1923)
516:(1921)
502:(1906)
339:6'47"
326:5'47"
313:4'17"
300:3'41"
286:2'36"
273:1'40"
260:1'11"
72:. The
912:STEIM
897:IRCAM
839:Chile
586:Dance
923:WORM
902:NIME
892:ICMA
887:ICEM
789:Loop
753:and
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102:by
36:The
952:NHK
344:e.
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