François Baschet And Bernard Baschet ‎– Structures For Sound

BAM ‎– LD 087
Vinyl, LP, 10", Trifold

Tracklist Hide Credits

A1 Pièces Nouvelles
Composed By – J. Lasry*
A2 Marche
Composed By – D. Ouzounoff*
A3 Suite
Composed By – J. Lasry*
B1 Sonatine (3 Mouvements)
Composed By – J. Lasry*
B2 Valse
Composed By – Daniel Ouzounoff
B3 Spontaneité
Composed By – Jacques Lasry

Companies, etc.



The exhibition 'Structures For Sound-Musical Instruments' by François and Bernard Baschet was shown at The Museum of Modern Art, New York, from October 4 to December 5, 1965.

Issued in a three-panel black and white folder. The record is BAM LD 087, made in France, and released there as Les Structures Sonores Lasry-Baschet. However, this edition features a different cover from the French edition and was made for sale in the US where it was credited only to the brothers Baschet.

Barcode and Other Identifiers

  • Rights Society: B.I.E.M.
  • Matrix / Runout (A-Side): B A M ERA LD087A LPR 1313
  • Matrix / Runout (B-Side): BAM ERA LD87B LPR 1314 D1



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February 8, 2013

The cover of this 10″ from 1965 pretty well sums up the material within – elegant, mechanical, capricious, modern. The mobiles of Tinguely brought to aural life. The good people at Continuo have done the legwork for me, so for a bit of history on Structures Sonores Lasry-Baschet (as well as more releases) you can head to their site.

This particular release documents the exhibition Structures For Sound-Musical Instruments by François and Bernard Baschet which was on display at The Museum of Modern Art, New York, from October 4 to December 5, 1965 and was released by the museum itself and the French label BAM – responsible for releasing a good deal of material by Bernard Baschet and Jacques Lasry.

Their designs generally consist of four elements: vibrating elements (strings), energizing agents (bows), modulating arrangements (series of strings tuned to produce a beat frequency or modulating effect) and amplifying devices (violin bodies or even filled balloons, which François Baschet had previously used in the place of a guitar body to make it more transportable). There is a similar diversity of musical styles on the record, including a variety of interpretations of classical modes (such as danses and marches), and ending with a sort of improvised tone poem, Spontaneité – a piece which stylistically leads directly into the aeolian and resonating structures built by Mario Bertoncini and Michel Deneuve in the early 1970s.