Recording of György Kurtág's Sch No. 2. The title applies to a series of works written for the electronic guitar. Second in the series, this piece uses very simple technical means: fuzz, wah-wah, feedback on the bass guitar. Kurtag's intention is to exploit the acoustic possibilities of the bass guitar. Recording made in the electronic studios of Radio Hungarian (1977).
Recording of John Chowning's Stria. The work uses the processes of computer synthesis to precisely control the spectral components - the partials - of sound. A non-tonal division of the frequency space is based on the golden ratio which is also used to determine relationships between inharmonic spectral components. Chowning received one of the Institute for Research and Coordination in Acoustics/Music's (IRCAM) first commissions to compose a piece for the first series of concerts of the Institute (which was presented by Pierre Boulez in Paris of 1977) at the initiative of Luciano Berio. Stria was composed between the summer and autumn of 1977 at the Center for Computer Research in Music an Acoustics of Stanford University.
Recording of Iván Patachich's Ludus Sinteticus. This composition includes synthetic sounds and contains nine part of form that contrast in atmosphere and construction to each other. Two fundamental structures characterize the composition: a successively built block of clusters and a kind of percussion-rhythmic structure.
Recording of Samuel Headrick's Concertante for Violoncello and Magnetic Tape. It is aggressive and decisive in nature with sections that emerge from and evolve into one another, giving the piece a feeling of inevitability. The title describes the concert-piece in which both instruments are used in virtuosic solo capacities. It was inspired by Brahms's Symphony Number One, First Movement and Alfred Lord Tennyson's "Ulysses."
Recording of Mark Schubert's Merchants. This piece is a progression from single isolated events to total unification of all sounds. The method of doing so involved simple mixings of the different sounds (first individually presented), extending the events with loops, rapidly splicing different timbres together, and finally using tape echo, blending all the sounds into a climactic ending.
Recording of James Needles's Lyric Density I. This piece is the first in a series of three works which explore the development of density from a steady-state sound into a more defined lyric and linear statement. In this initial movement, short and abrupt crescendos promote areas of high attack density often veiled by a continuous foreground or background sound.
Recording of Raoul de Smet's GAM 77. It is a work based on concrete sound material, specifically a cookware set on which the composer improvised. In the studio, the sounds were kneaded and transformed until it reached a sound comparable to gamelan. The title refers to it and when one reads the English title ("game"), it refers at the same time to the composer's activity. As soon as the material was fixed, it was organized in canon three voices. GAM 77 was realized at the Institute for Systematic Musicology (IPEM) in Ghent in 1977.
Recording of Vladan Radovanović's Recorded. The attention in this piece is focused on the interaction of sound and semantic aspects of the word "recorded" and the sounds that accompany it. At times reversible elements oppose the irreversibility of the flow of the word.
Recording of Neil Rolnick's "Ever-Livin' Rhythm." All of the sound material comes from fragments of African music taken mostly from field recordings of music of the BaBenzele pygmies of Central Africa, which was then transcribed by Rolnick. The rhythmic drive of the piece is similar to the kind of infectious music which has come out of the African diaspora. The computer part was realized on a mainframe computer which would calculate the batch files, which is an aspect that endures in Rolnick's later works as well.
Recording of Richard Zvonar's Windows for two-channel tape. The piece is described by Zvonar as being "an animated film for the ears." The sonic images are meant to invoke glimpses of alien landscapes, unknown and yet strangely familiar. Sound materials were taken from choral sound masses, filtered and gated through a Buchla 200 Series synthesizer. No electronic sound materials were used.
Recording of Martin Schwarzenlander's Unter dem Pflasterstein liegt der Strand. The music is interspersed with text about demonstrations in East Germany during the 1970s.
Recording of Henri Pousseur's Liège à Paris for tape. The preposition "à" refers to several possible verbs: first, Liège thinks of Paris, and his first way of expressing it is to go there in a fictitious way, to play to visit it, to be there. So one can perceive that this is not just an illusion, that Liege (just like Geneva or Montreal) is in Paris, in every sense of the word, including that of 'to belong'. All these cities are part of a vast linguistic and cultural fabric, of which Paris is undoubtedly the heart. Finally, he dreams of a Paris really deserving its title of "City-light", to which Liège would strive to answer (even if its blast furnaces are extinguished one after the other) by that of "Cité ardente". Apart from the spontaneous, daily, improvised words gleaned from here and there by more or less indiscreet tape recorders, apart from four groups of brief quotations from Arcane 17 by André Breton, and apart from a promulgation of a rather official, easy to identify (and that our author has already incorporated into one of his prose), the texts used are all extracts of works by Michel Butor ("I hate Paris", main text, included in "Where" and "The island at the end of the world", in "Repertoire III"). Voice of Frédéric Bosseur, Jean-Yves Bosseur, Jean Drèze, René Hainaux, Isabelle Pousseur, a group of pupils of declamation classes of the Conservatoire de Liège, a group of collaborators of the Center for Musical Research of Wallonia and the children of the collaborators.
The composition Mountains for Bass Clarinet and Magnetic Stripe, written in 1977, is in all likelihood in a new stylistic development of the composer. It is especially the conception of musical duration that has changed. Thus I was surprised to find that the duration of this work - estimated at a few minutes during the work - finally turned out to extend to almost twenty minutes. This can be explained in part by the long haul of most musical events, and by a large number of multilevel rehearsals. Be that as it may, the long wavy and sinuous lines, rising and descending slowly, the high plateaus where the music seems to be gathering, have, after the fact, called the title of Mountains. What remains of my earlier music is the fascination of musical traditions in the world. Without wanting to, and without being able to locate them, distant echoes of some popular music seem to touch the music, through the western idiom of today and the technological means used. The tape was developed at the composer's electronic studio in Hilversum. The technical process consists in generating variations at several levels from a basic program.
Recording of Tommy Zwedberg's Face the Music. This piece is made for solo trumpet and tape. The trumpet plays without any electronic manipulation. The trumpet has also been used as material to make the tape part. In the piece there is also a piano as a concrete material to the tape part.
Recording of Lucien Goethals' Tres momentos musicales. This work was composed for the Belgian violinist Walter Lievens. A violin is meant to play counterpoint to each of the three pieces within the work. The electroacoustic track was created with the Synthi 100 and synthesized violin sounds.
Recording of Lars Gunnar Bodin's For Jon - Fragments of a time to come. The work is a dramatic cantata, with vocal sections for both chorus and soloists alternating with recitatives and instrumental interludes. It is based on a series of texts characterized by a kind of "surrealistic science fiction" testimony and reports about experience in other worlds, real or imaginary. The texts are never sung but are often melodically "coloured", "composed" with the aid of electronic means. The composition also includes a mixed chamber chorus of twelve singers and a soprano soloist.
Recording of Peter Beyls's Rothko. "The most important tool that the artist shapes through his constant practice is the belief in the ability to produce miracles when they are needed.” – Mark Rothko, “Possibilities” 1947 The 3 parts that constitute the work have a different macro-structure. They have a fundamental common interest in the color of sound. The work evolves from an extra-musical point of view: my interest for painters of colorful American plans, in particular Newman and Rothko. Both emancipate and materialize the color factor as the essential object of their work. In the work of Rothko, the hand that paints can always be felt through an acute logic of austerity, in the long run. The evolution of character of Rothko's work: his early works are based on a concrete starting point and his "transcendental rectangles" make up the central period of this work, the remarkable crystallization between content and form gives his work a preponderant place in post-war abstract painting. The electronic work "Rothko" confronts us with the form and certainly not the content of the work of Mark Rothko. I want to emphasize, however, that I did not pursue the idea of translating the image into sound. The relationship between the sound work "Rothko" and the paintings is at a rather subjective, mental, and interpretive level.
Recording of Reynold Weidenaar's Twilight Flight. Too solemn for day, too sweet for night, come not in darkness; but come in some twilight interim, when the gloom is soft, and the light is dim.
Recording of Francis Dhomont's À cordes perdues. This work was premiered on August 11, 1977 at the Saint Rémy de Provence Festival by bassist Henri Texier; it is, in fact, at the origin of a mixed music. Inspired by the album "AMIR" by Henri Texier (Eurodisc 913002), it borrows materials, groups, and objects, and proposes to send back an "electroacoustic reflection". During the concert, H. Texier improvised on the tape: reception and/or incentive for the instrumentalist; three-dimensional game between disc, tape and live audio; confrontation of a fixed form and a moving course. Apart from borrowings or quotations, all the sound materials come from the processing of some piano strings. The long final sequence, announced from the beginning, is obtained by coincidence of chains, themselves the result of a "gestural" work inside the piano. Another improvisation of Texier was proposed the next day. The version presented here is specially designed for tape alone.
Recording of Alfredo Marcano Adrianza's Dencias. “Dencias” was realized at the Laboratory of Electronic Music (CICMAT) of Buenos Aires. The work is conceived as a large surface of electronic sounds that appear and disappear in different harmonic combinations, on a resonant background of delicate character, formed by percussion sounds of instrumental origin. The slow, somewhat hypnotic unfolding of the work is sometimes interrupted by the violent appearance of fortissimo attacks.
Recording of José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator. From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.
Recording of Arthur Kreiger's Theme and Variations. This piece was not only composed at the Columbia-Princeton Electronic Music Center, but also in its image. The timbral qualities are very thick and defined; the rhythms like an epileptic machine gunner and the pitches right out of another decade.
Recording of Fernando Lafferrière's Cercles vicieux. The title "Vicious Circles" is an allusion to the technical means used: the electronic feedback considered as a vicious circle in an amplifier. The piece, in its ternary section, is of a very simple formal conception; in the alternation of movements, moderate-slow-vivid, almost traditional. Brief introduction Intense fluctuating background, extended acute line, all punctuated by percussive elements. Sounding color serene, tender and fresh; Serious threatening darkness obscures this serenity. A great crescendo leads into the final dynamism. On an intense and hesitant background, aggressive, hammered, percussive accents until the final rhythmic culmination.
Recording of Emmanuel Van Weerst's Mimoïde. As written by the composer: "It is only rarely that I approach a theme music like "Mimoïde": an intelligent and gentle ocean seeks to please humans by imitating their thoughts, desires, situations, shapes... It lacks virility and misses its intentions. Its final dive becomes a human tragedy: spinning emotions become inexpressible, the artifice of "Mimoïde" becomes sobbing. Note: the intensification of low frequencies. Train the listener in a horizontal fall. Remove the usual notion of "piece of music." "Mimoïde" is dedicated to Stanislav Lem as well as to Andrej Tarkovsky."
Recording of Bruno d'Auzon's Par la fenêtre entrouverte, “After which I watched through the open window that the number of clouds does not come to exceed what I can grip in the loop of my arms.” This piece, of model variation articulation, draws its basic materials in the four types of sound sources generally used in the electroacoustic composition (concert sounds, electronic sounds, musical instruments, human voice). The initial sampling, however, remains voluntarily restricted within each of these categories (concrete: percussions maintained on a resonant body; electronic: three fixed frequencies, a glissando; instrument: string, isolated percussions and bow interview; voice: two sounds maintained, tonic and breath). The work of variation is essentially located at the level of the manipulations of studio. It consisted of a "transformation" of the basic materials in each of the sequences and even within them while maintaining a permanence of "timbre" and of causality. The articulation systems are provided by a permutation of forms and melodic profiles between two or more initial objects as well as between their developments The piece concludes, after a final isolated variation (very much reduced in time and dynamics), in the progressive superposition of the "hinge" variations in abrupt sequences more and more close together then in a crescendo tutti.
Recording of Reynold Weidenaar's The Tinsel Chicken Coop Wiener. This work explores the second-order maximized similarities between analogous tetrachords. Fluctuations involving only two interval-classes interact to control significant inclusions and exclusions. A vertical or diagonal cross-section of this work will yield prominent subsets of intersecting interval-vectors.
Recording of Joseph Dorfman's The Stones of Jerusalem. This piece is divided into three movements and each includes readings in Hebrew from Genesis and Exodus, the first two books of the Torah. The first movement, "Galeed," incorporates text from Genesis 31:44-46. The second movement, "Altar," reads from Exodus 20:25. The third and final movement, "Tables of Testimony," uses texts from Exodus 31:18 and Exodus 34:1.
Recording of John Elmsly's Diamant. This piece was composed in 1977, using a Flemish poem written and read by Chris Dries as text. Using a simple bank of tuned oscillators, a sequencer pattern to modulate an oscillator, and very simple tape manipulations to leave the words as intact as possible the work is intended as a meditative coloring of the poem.
Recording of Ross Harris's Shadow Music. In “Shadow Music” a single sound source (an orchestral chord) is used to generate all the materials and sonority of the piece. The work is in one movement in which the source undergoes continual transformation through speed changes, modulation, and filtering. Devices used to make the work: 1.) Variable speed tape playback. 2.) Filters: EMS SynthiA, universal filter, graphic equalizer 3.) Ring modulation 4.) Tape recorders: Ampex 2 track Nagra stereo, 2 Revox Teac 4 track
Recording of Reynold Weidenaar's Cicada. The male cicada has a pair of shelf-like drums with a complex series of resonators, located on the base of the abdomen. When the drums are vibrated, the resulting sounds are modified by the resonators.
Recording of Frank Royon Le Mée's Taksim. In the 16th century, European lutenists, heir to the technique of the “oud” (oriental lute ancestor), in which improvisation is dominant, wrote so-called "unmeasured preludes." In the 17th century, harpsichordists and organists imitated them; notes, initial materials, presented in the form of soft melodic lines, were proposed by the composer and thus appeared on the score, but without any rhythmic value. The interpreter could and should model, reshape, smooth, polish the moment, the proposed material: "Prelude as he pleases.” In the East, this custom persists, it is even systematized, in the sense that all vocal and instrumental hearing of the work is automatic, that is to say naturally introduced by an improvisation, in Turkish “taksim.” This taksim has a dual purpose: it permits a need for the musician to place fingers or to make the voice, and also prepares the ears of listeners to the type of melody that will follow: its scale, its theme, its melodic unfolding and especially its expressive content. In "Taksim" the very spirit of oriental music continues to live, a play of its melodic richness that the performer demonstrates, intensifies, and creates each time from the serious interior to the accomplished art of his improvisation. In this spirit: the original version is in 6 tracks that the performer interprets as he pleases. "Crunch an oriental pastry inhale strongly you think, listen to it already not differently but everything else. This completed prelude it will only remain for us to try the essential space is to be created the music is beyond this moment. It takes extraordinary times moments beyond exception moments of voluntary forgetfulness of a voluntary absence of real life." - excerpt from “To the Listener”
Recording of William Schottstaedt's Sinfonia for Computer. This piece has three movements entitled "An introduction to Forensic Toxicology", "Bucky Bug's Composure Corner", and "Death by Drowning.” It was first performed at the International Computer Music Conference at the Center for Music Experiment, UCSD in October 1977. It is dedicated to CCRMA project director John Chowning. Sinfonia was composed between June and October 1977 on the PDP-10 digital computer and all sounds were created using non-linear synthesis techniques.
Recording of Max E. Keller's Grundgesetze III. "Grundgesetze III" is the third part of a six-part work begun in 1975. Sections I and IV were realized as orchestral pieces. Lyrically, the work is based on the confrontation of ideology (for example, the constitution, that is, the "Basic Law" of the FRG [Federal Republic of Germany]) and the reality of bourgeois society. In "Grundgesetze III" the federal government processes a text about the so-called social market economy, while two other speakers present some information and a realistic dialogue. If the social market economy promises people paradise on earth, then the setting adjoins the dull reality: the colorful life has given way to a mechanical, absolutely regular beat, which was realized electronically, which thus lacks any inner life. This hammering also reflects what characterizes pop music and gives it an intoxicating effect, but occurs here naked and without drapery, no longer narcotic, but irritating. Like the rhythmic parameter, the pitch parameter also adjusts, with 19 different pitches distributed over the listening area at absolute regular intervals forming the basic chordalization of the chords. In other words, it is a 19-note chord built on a regular basis from which one single note is selected. It was composed primarily with parameters of color, density, change, dynamics and envelope for each single tone of the chord that are often neglected in European music. The piece works with two tempo signs, which correspond to the two channels. The first lasts until the middle; change, density, ambitus and others take part straightforward, toils woolly, until the structure turns into uncharacteristic gray. On the other hand, the second, slower tempo layer evolves, from complex to simple. Towards the end, even the rigid hammering on the move smiles: the tempo fluctuates a bit, the pitches slide to a new …
Recording of Kees Van Prooijen's De onbesuijsde steenhoop. "De onbesuijsde steenhoop" was completed on March 30, 1977. The overall structure of the piece can be described as an introduction followed by variations on a theme. The introduction that occupies more than half of the work is composed in a free style, my first subject of interest being how the computer manufactures the sound and how this sound is perceived. The variations are the result of an analysis-synthesis process executed by the computer. We approach the rhythmic and melodic characteristics of a melody from the statistical analysis of this melody. Parallel to this, the computer, starting from the principles put into practice in the introduction, is approached in a more and more instrumental way until we hear the theme "savagely.”
Recording of Rune Lindblad's Les inventeures. The composition is based upon a poem of the French writer Réné Chars (“Les Inventeures” from “Les Matinaux”). Especially the relationships between freedom and discipline, cognizance and action, and other items like solitariness and community, have been important when shaping the piece, which have resulted in the creation of voice fragments, solo or chorus, mixed with inarticulate screams and stifled exclamations.
Recording of Tommy Zwedberg's Face the Music. This piece is made for solo trumpet and tape. The trumpet plays towards the tape without electronic manipulation. The trumpet has also been used as material to make the tape-part which makes a closer connection between both parts. There is also a piano used as concrete material for the tape part. The character of the piece alternates with compactness in the beginning and a peaceful part in the middle. In the end, the piece returns to the character from the beginning of the piece, after having preceded a “tutti” in the tape part. The butch synthesizer and filter tape recorder allow for continuous possibility of transposing.
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