The Holmes Archive of Electronic Music

Chapter 18, The Columbia– Princeton Electronic Music Center, New York

Episode 157
Chapter 18, The Columbia– Princeton Electronic Music Center, New York. Works Recommended from my book, Electronic and Experimental Music 
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE COLUMBIA–PRINCETON ELECTRONIC MUSIC CENTER, NEW YORK
Time
Track Time
Start
Introduction –Thom Holmes
01:31
00:00
1.     Vladimir Ussachevsky, “Sonic Contours” (1952). Tape composition produced at the Columbia-Princeton Electronic Music Center.
07:24
01:36
2.     Otto Luening and Vladimir Ussachevsky, “Incantation For Tape” (1953). Tape composition produced at the Columbia-Princeton Electronic Music Center.
02:36
08:56
3.     Vladimir Ussachevsky, “Linear Contrasts” (1958). Tape composition produced at the Columbia-Princeton Electronic Music Center.
03:46
11:28
4.     Halim El Dabh, “Electronics And The Word” (1959). Tape composition produced at the Columbia-Princeton Electronic Music Center.
02:47
15:14
5.     Mario Davidovsky, “Electronic Study No. 1” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
05:44
17:56
6.     Otto Luening, “Gargoyles” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:27
23:42
7.     Vladimir Ussachevsky, “Wireless Fantasy” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
04:37
33:08
8.     Ihan Mimaroglu, “Prelude No. 8 (To the memory of Edgard Varèse)” (1966). Tape composition produced at the Columbia-Princeton Electronic Music Center.
04:00
37:44
9.     Pril Smiley, “Eclipse” (1967). Tape composition produced at the Columbia-Princeton Electronic Music Center.
07:56
41:38
10.   Milton Babbitt, “Occasional Variations” (1968-71).  Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:56
49:46
11.   Bülent Arel, “Stereo Electronic Music No. 2 (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
14:24
59:41
12.   Charles Dodge, “Changes” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
14:44
01:14:00
13.   Alice Shields, “The Transformation Of Ani” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:05
01:28:44
14.   Daria Semegen, “Electronic Composition No.1” (1971). Tape composition produced at the Columbia-Princeton Electronic Music Center.
05:53
01:37:48
15.   Bülent Arel and Daria Semegen, “Out Of Into” (1972). Tape composition produced at the Columbia-Princeton Electronic Music Center.
16:39
01:43:34
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.

Chapter 17, John Cage in the United States

Episode 156
Chapter 17, John Cage in the United States. Works Recommended from my book, Electronic and Experimental Music 
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: EARLY ELECTRONIC MUSIC IN THE UNITED STATES
Time
Track Time
Start
Introduction –Thom Holmes
01:25
00:00
1.     Louis and Bebe Barron, “The Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin (who’s voice you will hear). Tape composition produced at the Barron’s studio (New York).
09:01
01:38
2.     Williams Mix (1952) by John Cage. Tape composition produced at the Barrons’ studio (New York).
05:42
10:40
3.     Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) Tape composition produced at the composer’s Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center.
02:54
16:20
4.     Henry Jacobs, “Sonata for Loudspeakers” (1953-54). Tape composition produced at radio station KPFA-FM in Berkeley.
09:29
19:12
5.     Jim Fassett, track “B2” (Untitled) (1955). From the album, Strange To Your Ears. Tape composition produced at CBS radio.
08:15
28:38
6.     Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach), “Nola” (Arndt) and “Home, Sweet Home” (1955). Disc composition created on RCA Mark I Music Synthesizer at Princeton University.
05:26
36:54
7.     John Cage, “Fontana Mix” (1958). Tape composition produced by Cage at Studio di Fonologia of the Italian Radio (Milan).
11:33
42:33
8.     Tod Dockstader, “Drone” (1962). Tape composition produced privately by the composer (Los Angeles).
13:24
54:06
9.     Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965). Tape composition produced at the studio for Experimental Music of the University of Illinois.
02:52
01:07:30
10.   Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Tape composition produced at the Electronic Music Studio of Brandeis University.
06:12
01:10:20
11.   Pauline Oliveros, “Bye Bye Butterfly” (1965). Tape composition produced at the San Francisco Tape Music Center.
08:05
01:16:32
12.   Olly W. Wilson, “Cetus” (1967). Tape composition produced at the studio for Experimental Music of the University of Illinois.
09:18
01:24:36
 
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.

Chapter 16, Other European Electronic Music Studios

Episode 155
Chapter 16, Other European Electronic Music Studios. Works Recommended from my book, Electronic and Experimental Music 
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: OTHER EUROPEAN ELECTRONIC MUSIC STUDIOS
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1.     Luciano Berio, “Mutazioni” (1955). Tape composition produced at the RAI studio (Milan).
03:36
01:38
2.     Luciano Berio and Bruno Maderna, “Ritatto di Città (poema radiofonico)” (1955). Tape composition produced at the RAI studio (Milan).
06:05
05:14
3.     Bruno Maderna, “Notturno” (1956). Magnetic tape composition, RAI studio (Milan).
03:24
11:16
4.     Dick Raajimakers, “Song of the Second Moon” (1957). Tape composition produced at the Philips Research Laboratories (Eindhoven).
03:08
14:40
5.     Luciano Berio, “Thema–Omaggio a Joyce” (1958). Early text-sound composition using magnetic tape. RAI studio (Milan).
06:24
17:48
6.     Tom Dissevelt, “Whirling” (1958). Tape composition produced at the Philips Research Laboratories (Eindhoven).
02:37
23:56
7.     Luigi Nono, “Omaggio A Vedova” (1960). Tape composition produced at the R.A.I. (Rome).
04:52
26:32
8.     Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961). Tape composition produced at the Studio Di Fonologia Musicale Di Firenze (S 2F M) (Florence).
02:56
31:24
9.     Ake Karlung, “Antihappening” (1962). Tape composition produced at the studio of ABF, Stockholm (Norway).
03:51
34:20
10.   Alfred Janson, “Canon” (1964). Tape composition produced in his private studio (Norway).
12:27
38:08
11.   Lars-Gunnar Bodin, “Den heter ingenting, den heter nog ‘Seans 2’” (1965. Tape composition produced in the studios of Swedish Radio (Stockholm).
16:00
50:46
12.   Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965). Gruppo Nuove Proposte Sonore (NPS) (Padua).
05:46
01:06:46
13.   Arne Nordheim, “Response I” (1966) for 2 percussion groups and magnetic tape. Tape composition produced at NRK radio (Oslo).
18:09
01:12:32
14.   Enore Zaffiri, “Musica Per Un Anno” (1968, excerpt).  Tape composition produced at the Studio di Musica Elettronica di Torino (SMET) (Torino).
13:41
01:30:41
15.   Teresa Rampazzi, “Duodeno normale” (1972). Tape composition produced at the Gruppo Nuove Proposte Sonore (NPS) (Padua).
01:27
01:44:24
 
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.

Chapter 15, Elektronische Musik in Germany

Episode 154
Chapter 15, Elektronische Musik in Germany. Works Recommended from my book, Electronic and Experimental Music 
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: ELEKTRONISCHE MUSIK IN GERMANY
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1.     Heinz Schutz, “Morgenröte” (1952). Elektronische musik using magnetic tape (Cologne).
03:42
01:36
2.     Karel Goeyvaerts, “Compositie Nr 5 met zuivere tonen” (1953). Elektronische musik using magnetic tape (Cologne).
02:44
05:12
3.     Karlheinz Stockhausen, “Studie I” (1953). Elektronische musik using only processed sine waves (Cologne).
09:25
07:50
4.     Giselher Klebe, “Interferenzen” (1955). Elektronische musik using magnetic tape (Cologne).
04:52
17:16
5.     Gottfried Michael Koenig, “Klangfiguren I” (1955). Elektronische musikusing magnetic tape (Cologne).
04:18
22:00
6.     Franco Evangelisti, “Incontri di fasce sonore” (1957). Elektronische musikusing magnetic tape (Cologne).
03:30
26:08
7.     Mauricio Kagel, “Transición” (1958). Elektronische musik using magnetic tape (Cologne).
13:22
29:30
8.     Györgi Ligeti, “Artikulation” (1958). Elektronische musik using magnetic tape (Cologne).
03:58
42:44
9.     Herbert Eimert, “Epitaph für Aikichi Kuboyama” (1960). Elektronische musik using magnetic tape (Cologne).
22:26
46:44
10.   Michael von Biel, “Fassung” (1964). Elektronische musik using magnetic tape (Cologne).
13:47
01:09:06
11.   Karlheinz Stockhausen, “Hymnen Region III (opening)” (1953). Elektronische musik using only processed sine waves (Cologne).
02:30
01:22:40
12.   Peter Eötvös, “Mese” (1968). Elektronische musik using magnetic tape (Cologne).
12:42
01:25:10
 
13.   Karlheinz Stockhausen, “Studie II” (1953). Elektronische musik using only processed sine waves (Cologne).
03:10
 
 
 
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
 

Chapter 14, Musique Concrète in France

Episode 153
Chapter 14, Musique Concrète in France. Works Recommended from my book, Electronic and Experimental Music 
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: MUSIQUE CONCRÈTE IN FRANCE
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1.     Pierre Schaeffer, “Étude Aux Chemins De Fer ” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris).
02:53
01:36
2.     Pierre Schaeffer, “Étude Violette” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris).
03:25
04:28
3.     Pierre Schaeffer and Pierre Henry, “Prosopopée I” from Symphonie pour un homme seul (1949– 50). Early use of magnetic tape for musique concrète GRM studio (Paris).
02:57
07:48
4.     Iannis Xenakis, “Diamorphoses” (1957). Magnetic tape composition. GRM studio (Paris).
06:57
10:42
5.     Luc Ferrari, “Visage V” (1958-59). Magnetic tape composition. GRM studio (Paris).
10:37
17:38
6.     Mireille Kyrou, “Etude I” (1960). Magnetic tape composition. GRM studio (Paris).
05:09
28:12
7.     Philippe Carson, “Turmac” (1961). Magnetic tape composition. GRM studio (Paris).
09:43
33:20
8.     Bernard Parmegiani, “Danse” (1961). Magnetic tape composition. GRM studio (Paris).
04:08
43:04
9.     Henri Pousseur, “Trois Visages De Liège” (1961). Magnetic tape composition. Composed at the Centre de recherches et de formation musicales de Wallonie (CRFMW) (Belgium).
20:40
47:22
10.   Luc Ferrari, “Hétérozygote” (1963-64). Magnetic tape composition. GRM studio (Paris).
26:20
01:08:00
11.   François Bayle, “Vapeur” (1964). Magnetic tape composition. GRM studio (Paris).
04:44
01:34:16
12.   Beatriz Ferreyra, “Demeures aquatiques” (1967). Magnetic tape composition. GRM studio (Paris).
07:20
01:39:00
                 
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.

Chapter 13, Edgard Varèse and The Listener’s Experiment

Episode 152
Chapter 13, Edgard Varèse and The Listener’s Experiment. Works Recommended from my book, Electronic and Experimental Music 
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: CLASSICAL MUSIC WITH ELECTRONICS
Time
Track Time
Start
Introduction –Thom Holmes
01:28
00:00
1.     Edgard Varèse, “Déserts” (1954). Early combination of live orchestra with magnetic tape.
24:49
01:36
2.     Maurice Blackburn and Norman McClaren, “Blinkity Blank” (1955). Film score for five instrumentalists and sounds created by etching directly onto the soundtrack.
05:07
26:28
3.     Morton Subotnick, “Laminations” (1966). Live orchestra with electronic sounds on tape.
10:29
31:24
4.     Mario Davidovsky, “Synchronisms No. 5” (1969). For percussion quintet and electronic sounds on tape. 
08:39
41:50
5.     Wendy Carlos, “A Clockwork Orange” (1971). Early analog synthesis of orchestral and choir sounds.
07:03
50:36
6.     Jacob Druckman, “Animus III” (1971). For clarinet and tape.
15:44
57:34
7.     Isao Tomita, opening four tracks from The Bermuda Triangle (1979) including themes by Prokofiev and Sibelius.  Analog electronic orchestration.
12:52
01:13:18
8.     Wendy Carlos, “Genesis” from Digital Moonscapes (1984). Completely digital orchestration.
07:10
01:25:58
9.     Robert Ashley, “Superior Seven” (1988). Live instruments with MIDI instrument accompaniment.
30:15
01:33:10
10.   William Orbit, “Adagio for Strings” (2000). Electronic realization of Samuel Barber orchestral work.
09:34
02:03:26
 
 
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.

Chapter 12, The History of Audio Recording Technology

Episode 151
Chapter 12, The History of Audio Recording Technology. Works Recommended from my book, Electronic and Experimental Music 
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
 
Playlist: THE HISTORY OF AUDIO RECORDING TECHNOLOGY
 
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1.     Leon Scott “Au Clair de la Lune” (1860). Phonautograph. One of about 50 recordings made around 1860 by Édouard-Léon Scott de Martinville's on his invention, the Phonautograph that were digitally restored in 2008 by the First Sounds collaborative. These were created using the Lawrence Berkeley National Laboratory's virtual stylus technology, which sought to track the wavy lines scratched on soot-covered paper as though they were standard record grooves.
00:20
01:38
2.     Alice J. Shaw, an improvised whistling performance (1888) from an Edison Records cylinder recording.
02:13
01:58
3.     George J. Gaskin, “Drill Ye Terriers Drill” (1896) from an E. Berliner's Gramophone shellac disc.
01:24
04:10
4.     Sousa's Band, “Happy Days In Dixie” (1897) from an E. Berliner's Gramophone shellac disc.
01:43
05:36
5.     Emperor Franz Joseph, short message recorded on Valdemar Poulsen’s Telegraphone (1900). Early magnetic wire recording. Recording made without microphone.
00:09
07:18
6.     Sousa's Band, “The Mosquito Parade” (1904) from Columbia Records shellac disc. Note the higher fidelity of the instruments compared to earlier recordings on disc, recorded without electrical microphones but optimizing the use of acoustic horns for sound intake.
02:54
07:28
7.     Noble Sissle (vocals) and Eubie Blake (piano), medley of popular songs (1923). Recording using onto an early sound film using the Phonofilm process invented by Lee de Forest.
06:51
10:22
8.     Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1924) from an RCA Victor shellac disc. This is an acoustically recorded version of this piece, without the benefit of vacuum tube amplification or electrical microphones. Compare to the 1927 version (next), also by Whiteman, produced using electrical recording.
09:06
17:12
9.     Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1927) from RCA Victor, His Master's Voice shellac disc. An electrical recording using vacuum tube amplification and electrical microphones.
08:59
26:30
10.   Paul Hindemith, “Trickaufnahme” (excerpt) (1930), an experiment in turntablism using turntable discs to both record, mix, and playback the result.
00:58
35:28
11.   BBC, “Pieces of Tape” excerpt of a program (1933) produced by editing together segments recorded previously using the Blattnerphonesteel tape recorded that used a magnetic process. This was the first audio recording assembled using tape editing. A dozen years prior to the available of magnetic tape, edits made to steel tape had to be made by spot welding.
05:29
36:28
12.   Sidney Bechet, “Blues of Bechet” (1941) from an RCA Victor shellac disc. An early example of overdubbing/multitracking. Bechet played every instrument on this track, including the piano, clarinet and soprano saxophone. Each instrument was recorded onto a new master disc and mixed on another disc to create the final recording.
01:57
41:56
 
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.

Chapter 11 Electronic Music Performance Instruments (1920– 40).

Episode 150
Chapter 11 Electronic Music Performance Instruments (1920– 40). Works Recommended from my book, Electronic and Experimental Music 
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
 
Playlist: ELECTRONIC MUSIC PERFORMANCE INSTRUMENTS (1920– 1950)
 
Time
Track Time
Start
Introduction –Thom Holmes
01:35
00:00
1.     Luigi Russolo, “Serenata” (1924). Mechanical noise-intoners and orchestra.
02:01
01:38
2.     Leon Theremin, “Deep Night” (1930). The inventor playing his own instrument.
01:48
04:16
3.     Orchestra Raymonde, “Romantique” (1934). Song featuring the Electronde, an instrument based on the Theremin made by Martin Taubman.
02:55
06:06
4.     Edgard Varèse, “Ecuatorial” (1934). Scored for chorus, small orchestra, organ, and two Ondes Martenots. Performance under the direction of Pierre Boulez in 1983.
12:11
09:00
5.     Paul Hindemith, “Langsames Stück und Rondo für Trautonium” (1935). Oskar Sala played the Trautonium.
05:29
21:02
6.     Olivier Messaien, “Oraison” (1937) for Ondes Martenot and orchestra.
07:43
26:34
7.     John Cage, “Imaginary Landscape No. 1” (1939). Radios and turntables playing test signals.
08:37
34:14
8.     Slim Galliard Quartet, “Novachord Boogie” (1946). Featured the Hammond Novachord organ/synthesizer.
02:57
42:50
9.     Lucie Bigelow Rosen, “That Old Refrain” (1948) for Theremin and piano.
03:25
45:48
10.   Miklós Rózsa. “Subconscious” from Spellbound (1948). Musical score for the Alfred Hitchcock film featuring Dr. Samuel J. Hoffman on Theremin.
02:07
49:14
11.   Clara Rockmore, “Valse Sentimentale” (Tchaikovsky) (1977) for Theremin. Later performance of the famous Thereminist from the 1930s-1940s.
02:07
51:22
 
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.