The Holmes Archive of Electronic Music

Before and After Ambient, Part 1

Episode 110
Before and After Ambient, Part 1
Playlist
Erik Satie, “Vexations” (1893-94), First, we will hear two piano versions (1 and 4) of this short work that was intended to be played repeatedly in one sitting 840 times in succession. The piano version was performed by Jeroen van Veen on the album Satie, Complete Piano Music (2016 Brilliant Classics). Then, we will hear an electronic version by Bhutan from Vexations (2016 Venado). Argentinean group Bhutan realized this electronic version of the Erik Satie piece in 2016. I thought it would be fitting to open the program with this because Satie’s was one of the first works to be recognized in recent times as a kind of proto ambient composition. Satie preferred the term “furniture music” and thought that it would be suitable for background sound during a dinner party. The Bhutan version, realized in electronic instrumentation, is a fitting bridge of the old and the new when it comes to ambient compositions.
John Cage, “In A Landscape” (1948) from In A Landscape played by Victoria Jordanova (2007 Arpaviva Recordings). This early Cage work was originally arranged either for piano or harp. It is very much the interpretation that makes this akin to ambient music. I selected this version for electric harp because it maintains the original’s sense of suspended time and energy. I also like William Orbit’s version but he took the orchestration to greater lengths and transforming it into something not so ambient. There is also a really quiet piano version by Stephen Drury which remains true to Cage’s original intent of being “soft and meditative” with “resonances” being sustained by depressing both pedals throughout the performance. But I included this version for electric harp by Jordanova because it is more in tune with the electronic nature of the music we feature in this program.
Morton Feldman, “Projection 1” (1950) from Arne Deforce, Yutaka Oya, Patterns In A Chromatic Field (2009 Aeon). Cello, Arne Deforce; Piano, Yutaka Oya; composed by, Morton Feldman. This is an acoustic work by Feldman (I couldn’t find any electronic renditions) but I include it to draw similarities to the work of Harold Budd, also a pianist. In fact, Feldman was a long-standing favorite of Budd.
Raymond Scott, “Sleepy Time” from Soothing Sounds for Baby, Volume 1 (1964 Epic). This legendary work is from a set of electronic and ambient records that Scott produced in the early 1960s as background music to help babies go to sleep. The electronic music was produced with his own creation, the Electronium, a from-scratch built custom synthesizer that combines electronic sequencing with tone generation and various filters.
Eliane Radigue, “Vice - Versa, Etc. (Mix 1)” (1970) from (2013 Vice - Versa, Etc.). Processed tape reorder feedback. Realized at the composer's studio in Paris. Premiered in 1970 at Galerie Lara Vincy in Paris, on the occasion of a group exhibition. The stereo synthesis presented here was made in Lyon at Studio Fluorescent between 2010 and 2011 by Emmanuel Holterbach. Produced, composed, recorded using feedback by Eliane Radigue. Originally conceived as a sound installation, using several reel-to-reel tape players controlled through a mixing desk. The tapes could be played at different speeds, either forward or backward, right channel only, left channel only or simultaneously. The audience could create their own mix.
Teresa Rampazzi (N.P.S.), “Environ” (1970) from Musica Endoscopica (2008 Die Schachtel). Created in 1970, this work represents a kind of reproduction in electronic sound of an ambient environment, peppered with noise and even voice. Rampazzi was a pioneering female composer of electronic music who founded the N.P.S. (Nuove Proposte Sonore) group and studio, where this was realized.
Harmonia, “Hausmusik” from Harmonia (1974 Brain). Recorded and produced June - November '73 in the Harmonia home studio. Guitar, Piano, Organ, electronic percussion, Michael Rother; Organ, Keyboards, Guitar, electronic percussion, J. Roedelius; Synthesizer, Guitar, electronic percussion, D. Moebius.
Brian Eno, “Discreet Music” (excerpt) from Discreet Music (1976 Obscure). Synthesizer with Digital Recall System, Graphic Equalizer, Echo Unit, Delay, Tape, Brian Eno. Brian Eno (b. 1948) worked with tape delay much in the manner defined by Oliveros for I of However, he expressed a somewhat indifferent attitude toward the outcome. He described the realization of Discreet Music (1975): “Since I have always preferred making plans to executing them, I have gravitated toward situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend toward the roles of planner and programmer, and then become an audience to the results.” Eno’s composition consisted of a diagram of the devices used to generate the music. His approach was identical to that of Oliveros except that the sound material was specifically melodic and he did not modify or interact with the sound once the process was set in motion. The result in Discreet Music is the gradual transformation of a recognizable musical phrase. These 10 minutes are excerpted from the beginning of the extended work lasting 31 minutes.
Brian Eno, “Through Hollow Lands (For Harold Budd)” from Before and After Science (1977 Island). Bass, Paul Rudolph; Vocals, Bell, Mini-Moog, CS80, AKS synthesizers, piano, guitar, Brian Eno. This is one of the only tracks that I would consider to be ambient from this album.
Robert Ashley, “Automatic Writing” (excerpt) (1974–79) from Automatic Writing (1979 Lovely Music). This work was much talked about when it was released on record by Lovely Music Ltd. in 1979. Ashley wrote it over a five-year period after having just come back from his self-imposed exile from composing in the early 1970s. He performed it many times in various formative stages with the Sonic Arts Union before finally committing it to disc. It does indeed have a vocal, but it is also imbued with quiet, ASMR kinds of sounds that mesmerize. The basic musical material of Automatic Writing was the spoken voice, closely miked, uttering what Ashley characterized as “involuntary speech”: random, seemingly rational comments that might not make sense at all, depending on the context in which they were heard. These 10 minutes are excerpted from the beginning of the extended work lasting 46 minutes.
Sri Dinesh, “Le Chant Des Étoiles” from Para Symphonie (1978 Alain Grima). French album of music to accompany meditation. It consists largely of short, repeated organ patterns and falls within the frame of mind for which ambient music was intended.
Brian Eno, “2/2” from Ambient 1: Music for Airports (1978). Engineer, Conny Plank (yes, the producer of Kraftwerk). Composed, conceptualized, produced and engineered by Brian Eno.
Theresa Rampazzi, “Atmen Noch” (1980) from from Musica Endoscopica (2008 Die Schachtel).
Conrad Schnitzler, “Control B” from Control (1981 Dys). Edition of 1000 copies. An electronic work by Schnitzler, who played the devices, produced, and recorded the music.
Opening background music: Brian Eno and Peter Chilvers, Bloom 3.2 (10) (2014 Opal Ltd.). Bloom is a generative music application that composes ambient music. This recording was made using Bloom running in “Classic” mode on a Macbook Pro running Ventura 13.5.2.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
 

Part 2 of The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium

 
Episode 109
Part 2 of The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium
Playlist
Oskar Sala, “Elektronische Tanzsuite (Für Mixturtrautonium Solo Und Mixturorchester (Tonband) In Fünf Sätzen)” (1955) from My Fascinating Instrument (1990 Erdenklang). 24:28
Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” (1988-89)from My Fascinating Instrument (1990 Erdenklang). Composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 21:47
Oskar Sala, “Subharmonische Mixturen III”(1995) from Subharmonic Mixtures (1997 Erdenklang). 8:57
Oskar Sala, “Nr. 2” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 3:27
Oskar Sala, “Nr. 3” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 6:45
Oskar Sala, “Nr. 4” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 2:30
Oskar Sala, “Nr. 7” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 4:28
Oskar Sala, “Nr. 9” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 3:21
Caprice With Variations (1992-95) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 12:35
Oskar Sala, “Chaconne Electronique” (1995-96) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 7:42
Oskar Sala, “Glissando-Caprice” (1992-95) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 4:35
Oskar Sala, “The Box,” a score for a short film 2001 (2001 Red Cat Films). This Canadian film production hired Oskar Sala to contribute to the score using the Mixtur-Trautonium. Any electronic sounds that you hear were created by Sala. This may have been his last completed film work before his death at age 92 the following year. 9:05
Surf Riders, “The Birds” from Blues For The Birds / The Birds (1963 Decca). What better way to promote a movie than by issuing a 45 rpm single by a surf group from California? "Inspired by the Alfred Hitchcock Production 'The Birds' A Universal Release and featuring sound effects from the original soundtrack." 1:49
Surf Riders, “Blues For The Birds” from Blues For The Birds / The Birds (1963 Decca). "Inspired by the Alfred Hitchcock Production 'The Birds' A Universal Release and featuring sound effects from the original soundtrack." 2:38
Opening background music: Oskar Sala, “Der Würger Von Schloß Blackmoor” (1963 Soundtrack)” from Subharmonic Mixtures (1997 Erdenklang). This was a full-length feature with electronic music and sound effects by Sala. The track included here is a version containing essential electronic elements from the motion picture. The German film was a murder mystery with horror undertones, a perfect platform for Sala’s spooky sounds and incidental music. Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 12.31.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, Part 1

Episode 108
The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, part 1
Playlist
Oskar Sala, “Demonstration” from My Fascinating Instrument (1990 Erdenklang). Demonstration of the Mixtur-Trautonium by Sala, providing a sampling of the many various effects that he could create in real-time without magnetic tape tricks. In addition to the audio track, here is a terrific video from 1993 showing Sala playing the newer, fully transistorized version of the Mixtur-Trautonium in his home studio. Note the dexterity needed to press the little “tongues” of the instrument and press them from side to side to enable note expression. If you were only listening, you would assume that he was playing a keyboard. This view reveals why playing the instrument was quite different than any other. There are, of course, many other videos available showing Sala and his instrument over the years. But I thought this one illustrated the performance aspects of the Mixtur-Trautonium that make it a remarkable, and unique, electronic music instrument. 7:14.
Paul Hindemith, Oskar Sala, “7 Triostücke Für 3 Trautonien (1930) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Oskar Sala of one of the very first concert pieces composed for the original Trautonium. This later performance from 1977 used the Mixtur-Trautonium and multi-tracking of Sala as he performed all three parts of this trio. In 1930, the other two players on the three Trautoniums were Paul Hindemith and Rudolph Schmidt. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 1:21.
Paul Hindemith, Oskar Sala, “Konzertstück Für Trautonium Mit Begleitung Des Streichorchesters (1931) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Sala at the Mixtur-Trautonium. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 3:02.
Harald Genzmer with Oskar Sala, “Konzert Für Trautonium Und Orchester” (1938-39) (excerpt) (1942 DGG). Early performance of this work for the Concert Trautonium, performed by Sala and composed by Genzmer. Performed by the Städtisches Orchester Berlin under the direction Helmuth Thierfelder. The complete work was in the vicinity of 30 minutes long. 7:00.
Paul Hindemith, Oskar Sala, “Langsames Stück Und Rondo Für Trautonium” (1935) from Subharmonic Mixtures (1997 Erdenklang). A newer performance by Sala of this early work by Hindemith. Originally written for the Radio Trautonium, this version was performed on the Mixtur-Trautonium. This was recorded in 1985. 5:29.
Oskar Sala, Großes Tanzorchester, Frank Fux, “Bezaubernde Melodien” (1941 Telefunken). This German popular music disc features an early solo by Sala using the Concert Trautonium. You can hear its distinctive melodies, reminiscent of a flute or clarinet, but clearly different. 2:56.
Oskar Sala, “Poor Hansi” (1943). This animated short film included a singing canary, the voice of which was provided by Oskar Sala using the Concert Trautonium. The instrument also provided some miscellaneous sound effects such as the squeaking cage door. 3:04.
Fritz Kreisler, Oskar Sala, “Scherzo im Stile von Carl Ditters von Dittersdorf” (1946) from Das Konzertrautonium Wandlungen (2011 Der Trautonist). Concert Trautonium, Oskar Sala; piano, Gerhard Schael. This recent recording (not Sala) was made in 2011 using the third incarnation of the Trautonium, the Concert Trautonium (1938). 3:29.
Oskar Sala, “A Fleur D´eau ( In wechselndem Gefälle)” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:22.
Oskar Sala, “Der Fluch Der Gelben Schlange” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:39.
Oskar Sala, “Intro, The Birds” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). This UK collection features the electronic sounds created for the film by Oskar Sala on the Mixtur-Trautonium. Occationally, you may hear some ambient bird sounds in the soundtrack mix, but the truly eerie, intimidating bird sounds are those produced by Sala. An original “soundtrack” was never released at the time primarily because, despite the popularity of the movie, no music was orchestrated for the movie other than the eerie electronic music sounds of birds created by Oskar Sala. 1:33.
Oskar Sala, “Bird's Attack/After Explosion” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 2:01.
Oskar Sala, “The Crows Again/Annie Is Dead” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 0:35.
Oskar Sala, “The End” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 4:26.
Henrich Heine, Oskar Sala, excerpts from “Denk Ich An Deutschland - Eine Politische Reportage Über "Deutschland - Ein Wintermärchen" (1966 Electrola). Sala contributed music and sound effects made on the Mixtur-Trautonium for this drama production. 4:41.
Oskar Sala, “Rede Des Toten Christus Vom Weltgebäude Herab, Dass Kein Gott Sei” (1986) from My Fascinating Instrument (1990 Erdenklang). Mixtur-Trautonium, Oskar Sala; narrator, Friedrich Schönfelder; words, Jean Paul (1797). 12:52.
Opening background music: Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” from My Fascinating Instrument (1990 Erdenklang). Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 10:38.
Timeline of the Trautonium
This timeline shows the evolution of the Trautonium and Mixtur-Trautonium, all played by Oskar Sala (1910-2002).
1929-30: Trautonium (Friedriech Trautwein). One manual.
1935: Radio-Trautonium. Two manuals, two pedals.
1938: Konzerttrautonium (Concert Trautonium, a portable model. Two manuals, two pedals.
1952: Mixturtrautonium (Mixtur-Trautonium). Two manuals, two pedals.
1988: Micro-Electronic Mixtur-Trautonium (transistorized model). Two manuals, two pedals.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
 

Crosscurrents in Early Electronic Music of Norway

Episode 107
Crosscurrents in Early Electronic Music of Norway
Playlist
Arne Nordheim, “Epitaffio” (1963) for orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic sound material on the tape are taken from the end of the performance, but played during the opening section. It fuses the acoustic instruments and voices with electronics, filtering and speed changes. This recording is 10:15
Alfred Janson, “Canon” (1964) for chamber orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. In this piece, two tape recorders were used in performance. The first records for about four minutes and the, half a minute later, begins to play back what was recorded. The second tape recorder begins to record after the first tape machine ends, and then plays back what was recorded after another half minute, creating, in a sense, the structure of a canon. 12:27
Arne Nordheim, “Response I” (1966) for 2 percussion groups and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. Two percussionists respond to electronic sounds such as filtered white noise, sine waves and the filtered sounds of organ and metallic clanging distributed throughout the score. 18:09
Björn Fongaard, “Homo Sapiens” (1966) for magnetic tape from Poul Rovsing Olsen • Thorkell Sigurbjörnsson • Arne Mellnäs • Björn Fongaard – Nordiska Musikdagar 1968 Nordic Music Days Vol.3 (1969 His Master's Voice). Realized at the Norsk Riksringkastings studio, Oslo. 9:20
Bjørn Fongaard, “Galaxy” for 3 electric guitars in quarter-tones from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic part makes use of audio filtering, changing tape speed, and editing to treat some unorthodoxed playing on the guitar. 12:05
Kåre Kolberg, “Keiserens Nye Slips - Electronic Music” from Kåre Kolberg – Contemporary Music From Norway (1980 Philips). A foray in computer composed music synthesis realized in the Electronic Music Studios in Stockholm using a PDP 15/40 computer; it was programmed in the EMS-1 computer language developed in the same studio. 9:54
Jan Bang, “Artificial Reeves” from from Narrative From The Subtropics (2013 Jazzland). Norwegian release of the Norweigian electronic musician and composer Jan Bang. Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang. 3:05
Jan Bang, “Funeral Voyage” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Bass, Eivind Aarset; Guitar, Eivind Aarset; Synthesizer, Erik Honoré; Trumpet, Nils Petter Molvær. 5:26
Jan Bang, “Melee of Suitcases” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Piano, Electronics, Dai Fujikura; Vocals, Sidsel Endresen. 4:03
Safariari, “Fetsild” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic music project of Jon Furuheim. 2:16
Remington Super 60, “RS60 And Milano In Space (Remix)” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic pop rock group, from Fredrikstad, Norway, founded late 1998. 6:07
Opening background music: Arne Nordheim, “Caliban's Warning” (excerpt) from The Tempest (Suite From The Ballet) (1980 Philips). An abrupt moment of electronic sound blended into the instrumentation. The electronic realization was done in the Studio Eksperymentalne, Warsaw, Poland. The Tempest was commissioned by the Schwetzinger Festival and first performed by Ballet Rambert at the Rokokotheater, Schwetzingen on 3. May 1979. 7:35
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

Electronic Music of Dune

Episode 106
Electronic Music of Dune
Playlist
Toto, “Main Title,” “Robot Fight,” and “Dune (Desert Theme)” from Main Title / Robot Fight / Dune (Desert Theme) (1984 Polydor). A single produced from the soundtrack of the David Lynch film version of Dune (1984). Toto, with its big synthesizers, created most of the soundtrack, although Brian Eno, Roger Eno and Daniel Lanois had one track (included later in this podcast). Bass, David Hungate; Drums, Percussion, Jeff Porcaro; Guitar, Steve Lukather; Keyboards, David Paich, Steve Porcaro. 6:36
David Matthews, “Part I: Arrakis,” “Part II: Sandworms,” “Part III: Song Of The Bene Gesserit,” “Part IV: Muad'Dib” from Dune (1977 CTI Records). Arranged by David Matthews and produced by Creed Taylor for his CTI jazz label, this was an extended work inspired by the novel by Frank Herbert. Cliff Carter plays the solo synth (mini-Moog?) on the first track and other places. The work is jazz with bits of electronic music blended into the instrumentation. It remains an interesting artifact partly because of the legal problems CTI faced once they released the album. Because CTI had not secured writer Frank Herbert’s authorization to use his novel Dune as the thematic center piece for the album, Herbert filed a law suit against CTI and won, forcing the label to delete it from catalog. For this reason, that interesting album was never reissued in the USA. Enjoy. Alto Saxophone, David Sanborn; Bass, Mark Egan; Bass Trombone, Dave Taylor; Concertmaster, Sanford Allen; Drums, Andy Newmark, Steve Gadd; Flute, Piccolo Flute, Dave Tofani; Guitar, Eric Gale, Hiram Bullock; Keyboards, Cliff Carter; Oboe, Clarinet, Lew Del Gatto; Percussion, Gordon Gottlieb, Sue Evans; Tenor Saxophone, Soprano Saxophone, Grover Washington, Jr.; Trombone, Jerry Chamberlain*, Sam Burtis, Tom Malone, Wayne Andre; Trumpet, Flugelhorn, Burt Collins, Jim Bossy, Joe Shepley, John Gatchell, Jon Faddis, Lew Soloff, Randy Brecker; Vocals, Googie Coppola. Recorded at Electric Lady Studios, June 1977. The first side is the Dune suite, the second side features interpretations of other sci fi film themes (Silent Running, Star Wars, etc.). 20:29
Frank Herbert reading Dune from Dune, The Banquet Scene (1977 Caedmon Records) combined with a track by Alan R. Splet, “Space Travel W/ Changing Choral Textures” (2003 Sub Rosa) from An Anthology Of Noise & Electronic Music / Second A-Chronology 1936-2003. The recording of Herbert was made at the height of the Dune craze, the late 1970s. When David Lynch made his film for release in 1984, he was working with Splet who is not credited by whom may have contributed some electronic and ambient sounds. This track appears to confirm that and I’ve combined it with the Herbert reading. 5:07
Brian Eno, Roger Eno and Daniel Lanois, “Prophecy Theme” from Dune (Original Soundtrack Recording) (1984 Polydor). This little track was the only one that remained of Eno’s contributions to the Dune soundtrack, although he reportedly composed an entire movie’s worth of music for the film. Some was used as incidental music. 4:21
Zheani, “The Litany Against Fear” from Eight (2018 Sleepcvlt). Cassette release from this Australian rapper, electronic musician, model and actress.This is a famous quote from Herbert’s Dune and seemed fitting to have it represented by a musician for the podcast. 0:36
Klaus Schulze, “Dune” from Dune (1979 Brain). Yes, Schulze, too, was infected with the Dune craze and created this ambitious 30-minute work to acknowledge it. This is a truly lovely electronic work from those days when Schulze was largely still working analog synthesis, and synthesize voices and orchestral sounds, much like his earlier album X. The cello is played by Wolfgang Tiepold, produced by and all keyboards by Klaus Schulze. The first side comprises the piece called Dune and the second side features an unrelated work with vocals by Arthur Brown. An intriguing album all around! 30:05
Graeme Revell & The City Of Prague Philharmonic, “Seduction” from Frank Herbert's Dune (Original Soundtrack From The Sci-Fi Channel Mini Series) (2001 GNP Cresendo). Composed by Graeme Revell; executive producer, Neil Norman; orchestra, chorus, The City Of Prague Philharmonic. This is the soundtrack for a Sci Fi channel mini-series back in 2001. The music is primarily orchestral, being performed in the Czech Republic and arranged by Neil Norman, Hollywood veteran of science fiction films. But Revell did compose it and there are a few tracks, such as the one featured here, that have clearly electronic elements that stand out. 1:51
Grimes, “Caladan” from Geidi Primes (2011 No Pain in Pop). Grimes’ first album was a concept album based on Frank Herbert's novel Dune and David Lynch's 1984 film adaptation of the book. This track is about the fictional home planet of the Atreides, the protagonist clan in the novel. Produced by, written by, played by Grimes. She used relatively simple sounds, overdubs, and interesting vocal mixes to tell these tales. 2:23
Kurt Stenzel, “Parallel World” (1:42), “Parallel World (Outro)” (1:04), “Leap Of Faith” (0:43), “Time And Space” (2:04), “Optical World” (2:56), “Nebula” (2:26), and “Invitation” (excerpt) from Jodorowsky's Dune (Original Motion Picture Soundtrack) (2014 Cinewax). This is a bit of a side-hustle because Alejandro Jodorowsky’s much hyped film version of Dune, which he sought to make in the 1970s, does not exist. It is one of the most famous movies that never existed. Still, the Chilean-French film director, producer, composer, actor stuck with the idea for quite some time until the David Lynch movie was produced in the 1980s and sucked all of the available Dune oxygen out of the room. But Jodorowsky’s passion for the project inspired others, including guitarist and synthesist Stenzel who produced this soundtrack to a 2014 documentary about Jodorowsky and the ill-fated project. Stenzel composed music inspired by the book. This double LP has 33 tracks and I focused on a selection of connected synth tracks from the first album. Moog Source, CZ-101s, Roland Juno 6, toy Concertmate organ, Ninendo DS, voice, Kurt Stenzel. 11:56
Klause Schulze, “Side E—"Der Hauch Des Lebens (The Breath of Life) Pt #1” from Deus Arrakis (2022 SPV Recordings). Dune remained a lifelong source of fascination for Schulze. This, his final album, was also inspired by the novel he loved so well. This is a three-LP set, but the first LP is single-sided. Because of his ill health, Schulze knew that this might be his final project. In the liner notes he wrote directly to his fans, saying, “Thank you for your great support over all these years. This is for you! May the spice be with you. Always.” Recorded and written by Klaus Schulze; Cello, Wolfgang Tiepold; Voice, Eva-Maria Kagermann. 16:24
Han Zimmer, “Arrakis” from The Art And Soul Of Dune (Companion Book Music) (2021 WaterTower Music). Zimmer composed the soundtrack for the Denis Villeneuve released in 2021. Villeneuve has praised Zimmer’s work on the film and that he had spent,"months and months creating new instruments, defining, creating, and seeking new sounds, pushing the envelope." In addition to a soundtrack for the film itself, Zimmer released two companion releases that provide an extended listen to the sounds and experiments that were created for the project. Three albums were released for the film by WaterTower Music, including The Dune Sketchbook (Music from the Soundtrack), Dune (Original Motion Picture Soundtrack), and The Art and Soul of Dune on September 3, September 17, and October 22, 2021, respectively. This work is from the reading companion to the film. 13:28
Opening background music: Hans Zimmer, “The Shortening Of The Way” from The Dune Sketchbook (Music from the Soundtrack) (2021 WaterTower Music). This track is from a companion 2-CD set that accompanied the actual soundtrack. Zimmer called these sketches and they represent his sound experiments as he formulated the music for the film. This grand combination of acoustic instruments and synth sounds from Zimmer’s private studio is stunning in its scope and virtuosity and highly recommended. Synth programming by Hans Zimmer. 11:14
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

The 2023 US Open Tennis Soundscape

Episode 105
The 2023 US Open Tennis Soundscape
Playlist
This podcast comprises an amorphous blend of sounds of the US Open tennis championships, vintage recordings of tennis instructions, a little electronic music, and lots of audio processing. All the sounds of the US Open grounds were made by me and include crowds, the fountain in front of Arthur Ashe stadium (the largest tennis venue in the world), rain, grounds equipment, jet airplane flyovers, chair umpires delivering scores, and many tennis players hitting, playing, and practicing.
Sounds of the tennis facility and players: Novak Djokovic, Varvara Lepchenko, Alexander Zverev, Andy Murray, Dan Evans, Kwiatkowski, Thai-Son, Stan Wawrinka, Matteo Berrettini, Taylor Fritz, Vasek Pospisil, Ilya Ivashka plus many other unidentified male and female players captured during my walks around the grounds. The ambience of various courts is also present, including Louis Armstrong stadium, the Grandstand, and a variety of outer courts. These all differ in the kind of containing structures, and range from the enclosed (Armstrong) to the wide open (outside courts).
Vintage Instructional recordings used:
Arthur Ashe, Learn Tennis (For Beginners & Advanced Players) (1974 Manhattan Recording Company). Vinyl, 12 ." Arthur Ashe teaches you Tennis. Comes with 8-page black/white instructional booklet.
John Newcombe, Tennis With John Newcombe (1974 K-Tel). Limited Collectors Edition. Vinyl, 12 ." Narrator, unidentified. 12-Page Tennis tips Booklet Enclosed. Promotional item for Rawlings tennis products.
Evonne Goolagong, Tennis Tips By Evonne Goolagong (1975 Fleetwood Records). Vinyl, 7", 33 ⅓ RPM. Narrated with questions by Bud Collins.
Audio processing. I love repetition. Loops are kind of my happy place. I have created many textures around the loops from the vintage recordings, some more dense than others, some with added beats and electronically generated sound. I also did several treatments of audio tracks using MetaSynth CTX 1.2, the Effects Room, particularly the inertia and shuffler features. I also processed some sections of the soundscape in real-time using Virtual DJ and added it to the final mix.
I have developed a technique for processing natural sounds and transforming them into drones. For this soundscape, I did this using the sounds of tennis balls being hit, which accounts for the loud pings that color the drone. There are two sections. They begin around 26:00 and 47:00 of the soundscape. The first is a single drone, the second comprises multiple drones created with different tonal centers and played simultaneously.
While I curate the individual sounds and apply treatments separately, overall the mix is largely based on the chance encounters of different sounds across the soundscape. I generally decide on techniques to apply to given sections and then let the pieces fall where they may to see what happens. I auditioned numerous mixes for the podcast before deciding on this one. This is a mixdown of 33 tracks with over 131 individual sounds included in the mix, which also includes a composite track from Virtual DJ including manipulation of a half dozen tracks recorded in real-time.
Opening background music: Sounds of tennis. Unidentified rally hitters, Stan Wawrinka drone sequence, Vasek Pospisil and Ilya Ivashka gameplay.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

Experimental Music for Pipe Organ, The Original Synthesizer

Episode 104
Experimental Music for Pipe Organ
Playlist
Bengt Hambraeus, “Doppelrohr II” (1956) from Cologne - WDR: Early Electronic Music (1992 BV Haast Records). All compositions are productions of the 'Studio für elektronische Musik des Westdeutschen Rundfunks Köln.’ The earliest work I can find that combines electronic music on tape with sounds created using a pipe organ. 3:54
Bengt Hambraeus, “Constellations II For Organ Sounds” (1959) from Constellations & Interferences (1968 Limelight). Composed and played on the pipe organ by Bengt Hambraeus. 16:02
Bengt Hambraeus, “Responsorier For Two Organs, Solo Voice, Mixed Choir And Church Bells” (1964, final section) from Max Reger Och Bengt Hambræus (1970 SR Records). Swedish release conducted by Eric Erickson. Composed by, Organ, Bengt Hambræus; Choir, Kammarkören, Radiokören; Organ, Karl-Erik Welin; Tenor Vocals, Christer Solén.11:14
Christian Wolff, “For 1, 2 or 3 People” (1964) from A Second Wind For Organ (1968 Odyssey). Baroque Organ by David Tudor, Liner Notes by Richard Teitelbaum; Produced by David Behrman. 9:37
Hans Otte, “Touches” (1965) from Gerd Zacher, Organ (1970 Heliodor). Composed by Hans Otte; pipe organ, Gerd Zacher. 12:46
Mauricio Kagel, “Improvisation Ajoutée” (1966) from A Second Wind For Organ (1968 Odyssey). Organ by David Tudor; Liner Notes by Richard Teitelbaum; Produced by David Behrman. 13:41
Juan Allende-Blin, “Sons Brisés - In Memoriam Lothar Schreyer” (1967) from Gerd Zacher, Organ (1970 Heliodor). Composed by Juan Allende-Blin; pipe organ, Gerd Zacher. 12:36
György Ligeti, “Etude No. 1 "Harmonies" (1967)” from Aventures - Nouvelles Aventures / Volumina / Etude No. 1 "Harmonies" (1969 Candide). Organ of The Kaiser-Wilhelm Gedächtniskirche, Berlin, Gerd Zacher. 6:51
Morton Feldman, “Intersection 3” (1953/1969) played by Gerd Zacher from Gerd Zacher, Orgel (1970 DGG). Zacher was an accomplished organist who had a reputation for interpreting contemporary works. This work is a realization for organ of a work from 1953, which Feldman offered to Zacher for this project. The work was originally intended for piano and written with David Tudor in mind. The original Intersection was written in 1952 and was created as part of John Cage’s project for works on magnetic tape. 2:36
Gerd Zacher, “Ré” (1969) from Gerd Zacher, Orgel (1970 DGG). Composed and performed by Gerd Zacher; vocals, Juan Allende-Blin. 8:35
Diane Bish, “Laudation” from Bish, Bach & Baroque (1978 Suncoast). Interesting, oddball combination of pipe organ and synthesizer. Ms. Bish was an accomplished American organist, composer, conductor, author, organ designer, television producer and television host. Written by Diane Bish and played on pipe organ (117-rank Ruffatti pipe organ made in Padua, Italy) and ARP Pro Soloist synthesizer mounted above the organ manuals. 5:25
Sarah Davachi, “For Organ” (2015) from All My Circles Run (2017 Students of Decay). Davachi is a Canadian electroacoustic musician based in Los Angeles, primarily working with organ, piano, synthesizer, strings, woodwinds. This work is for solo pipe organ and was recorded live at Knox United Church, Calgary, Alberta, Canada on June 14, 2017. 8:02
Jonas Olesen and Sandra Boss, Teaser (excerpt) from New Works for Organ (2016 private). Work for pneumatic church organ, MIDI controlled pipe organ and prepared pump organ. Premiere at Koncertkirken, Copenhagen DK. Friday May 27th, 2016. 1:43
Opening background music: György Ligeti, “Volumina (Original Version 1961/62)” from Aventures - Nouvelles Aventures / Volumina / Etude No. 1 "Harmonies" (1969 Candide). Organ of The Kaiser-Wilhelm Gedächtniskirche, Berlin, Gerd Zacher. 16:57
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

Crosscurrents in Early Electronic Music of Japan

Episode 103
Crosscurrents in Early Electronic Music: Japan
Playlist
Experimental Music of Japan (1968 Victor)
Album produced and recorded at the NHK Electronic Studio and supervised by K. Akiyama and W. Uenami. The tracks have been slightly reordered to represent the correct chronology of the works.
Toshiro Mayuzumi and Makoto Moroi, “Variations Sur” (1956) from (1968 Victor). On this album, this piece was called the first work of electronic tape music produced in Japan. Not so. I know of five earlier works (by the NHK Studio engineers, Mayuzumi, and Shibata) dating back to 1954-1956. This work is also known as “Variations on the Numerical Principle of Seven” and actually dates to 1956, unlike what the liner notes tell us. I have two of those works in the archive and will feature them in a future episode. 14:54
Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958) from Experimental Music Of Japan (1968 Victor). 3:22
Joji Yuasa, “Projection Esemplastic (For White-Noise)” (1964) from Experimental Music Of Japan (1968 Victor). 7:40
Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965) from Experimental Music Of Japan (1968 Victor). 9:53
Toshi Ichiyanagi, “Situation (For Biwa, Koto, Violin, Double Bass, Piano and Multiplier)” (1966) from Experimental Music Of Japan (1968 Victor). 6:31
Toshiro Mayuzumi, “Campanology (For Multi-Piano)” (1967) from Experimental Music Of Japan (1968 Victor). 8:01
 
Group Ongaku (2011 Seer Sound Archive)
Remastered at Inoue Onkyo Kikaku by Kazuya Sakagami, Yukio Fujimoto.
Group Ongaku, “Automatism” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno’s house. This is the recording of a live performance for which the players used a piano, a pedal organ, a cello, alto saxophone and various everyday objects such as a vacuum cleaner, radio, an oil drum, dolls, and a set of dishes. The music was spontaneously created and recorded in real-time. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 26:20
Group Ongaku, “Object” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno’s house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 7:34
Group Ongaku, “Metaplasm 9-15” Parts 1 and 2 (1961) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on September 15, 1961, at Sogetsu Kaikan Hall, Tokyo. Performers: Cello, Mikio Tojima; Cello, Drums, Tape, Shukou Mizuno; Guitar, Genichi Tsuge; Piano, Chieko Shiomi; Saxophone, Tape, Yasunao Tone; Violin, Saxophone, Tape, Takehisa Kosugi. Part 1, 14:16; Part 2, 11:26.
Opening background music, Makoto Moroi, “Shōsanke” for electronic sounds and Japanese traditional instruments (1968) from Experimental Music Of Japan '69 (no. 2) (1969 Victor). Issued also as part of the Prospective 21e siècle series, both Electronic Panorama: Paris, Tokyo, Utrecht, Warszawa Box-Set and self-contained Japanese Electronic Music LP. 13:20.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.