Technically Classical
Traditionally classical music would appear to be grounded in rigid and long-established methods of writing. More and more new composers are breaking the mould and using technology to introduce new sounds and styles. They are not fundamentally changing classical music but embracing the invention inherent in creativity. This series takes an informal, jocund look at the evolution and influence of electronic music on the genre, from the 1920s to the present day.
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News
- New show due out this month!This time we turn to a young composer, René Mogensen and his new recording, The New Arpeggione: Walls of Nicosia. It features three works for the arpeggione, together with a fortepiano of the 1820s and modern computer music. Musical references are made to Schubert sonatas, Cypriot folk music as well as the electroacoustic music tradition.
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Episodes
EPISODE 4: KARLHEINZ STOCKHAUSEN
Few composers of the 20th century can lay claim to the fame of Karlheinz Stockhausen. A fame which precedes the man and his music. Stockhausen is remembered as a seminal composer of contemporary classical music, an avant-garde madman, or just simply as one of the faces on Sgt. Peppers Lonely Hearts Club Band LP – a famous figure though we are not sure why. When Stockhausen’s Helicopter String Quartet was first broadcast on the radio, the audience were warned not to adjust their sets. Many people switched off regardless, disturbed by the sheer noise and racket. The piece has no melody and breaks every rule of the traditional string quartet. Like much of Stockhausen’s work, it is not intended to be taken too seriously. The loud, brash sound masks a playful and often comical composer who produced original works in every sense. Stockhausen also led to significant advancements in electronic music. He produced the first published score of electronic music, Studie II; and Gesang der Jünglinge is considered by many to be the most influential piece of electronic music in the 20th century.
In this episode we ask, how did Stockhausen come to have such resonance despite the challenging nature of his work? And how should a new listener approach his music? We spoke with James Ingram, his long-time copyist and an expert in notation; as well as Robin Maconie who studied under Stockhausen and has published extensively on the enigmatic composer. We invite listeners to play his works in full after and come to their own conclusions.
For Stockhausen Music Online
EPISODE 3: RAYMOND SCOTTThis episode takes a brief departure from classical music to look at the composer and inventor, Raymond Scott. Although his background lay with jazz and swing, Raymond Scott was a prolific sound engineer who invented countless devices and electronic instruments that are used by all genres today. He was a pioneer of contemporary electronic music with influence on key figures such as Robert Moog. In fact, many of his scores, jingles and sound effects have subliminally found their way into popular culture; although few know his name today. Here we team up with Houdini’s Picnic to present a podcast focusing on Scott's instruments and recording process.For more information please see The Raymond Scott Archives and check out the documentary Deconstructing Dad.Edgard Varèse was a classical composer of few pieces but high ambition. Born in France in 1883, he had a turbulent relationship with the musical establishment. In truth, Varèse did not fashion himself a composer but a worker in frequencies, rhythms, and intensities; and as such, he drew inspiration from many sources. His few completed works utilised electronic instruments such as the theremin and ondes Martenot to introduce new sounds and a novel approach to composition. In addition, Varèse established the International Composers’ Guild alongside Carlos Salzedo.
The music of Edgard Varèse may be challenging but his influence is indelible, and can be seen in the works of Karlheinz Stockhausen, Olivier Messiaen, John Cage, and Frank Zappa. Let us know what you think.This show explores the Theremin - widely regarded as the first electronic musical instrument. Cited as “where it all began”, the Theremin burst onto the scene after its near-accidental invention; originally conceived in 1920 as a household alarm system. Curious musicians attracted to its novel sound picked up the Theremin; although it received scathing reviews amongst the established music community. Indeed it was more often viewed as a magical toy than musical instrument. Eventually the Theremin found a niche outside the concert halls and in the cinema house; featured in film scores, notably the sci-fi genre, and ultimately out-living it critical debut.
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Posts
- Nov 17, 11
A 1-hour show with Jeff Winner and Stan Warnow.
Live interview topics will include celebration announcements for the 75th anniversary of The RS Quintette, and the new award-winning documentary film “DECONSTRUCTING DAD.” The radio program, hosted by Marty Moss-Coane, will also feature rare music, and vintage audio clips.
- Aug 21, 11
The Reactable is an award-winning electronic musical instrument that uses a so called tangible interface, where the musician controls the system by manipulating tangible objects. The instrument is based on a translucent and luminous round table, and by putting these pucks on the Reactable surface, by turning them and connecting them to each other, performers can combine different elements like synthesizers, effects, sample loops or control elements in order to create a unique and flexible composition. Even working in concert as the Reactable technology is also “multi-touch”. Check it out!
- Jul 18, 11
Björk originally envisaged her Biophilia album as a house she’d take over with a room for each song, which would then tour the world. Not surprisingly that proved impractical, but the launch of the iPad allowed her to recreate her vision in app form. What would have been the house is now a “mother” app, which has just been made available for free on iTunes, and which will eventually enclose the rest of the apps – one for each song. READ MORE
- Jun 28, 11
- Jun 27, 11
While Coldplay and U2 may provide big moments at next weekend’s Glastonbury festival, its spirit is better represented by lesser-known outfits such as Brandt Brauer Frick. The German trio, who perform with a small orchestral ensemble on one of the leftfield stages next Saturday, perfectly encapsulate Glastonbury’s annual meeting of art and off-the-wall entertainment.
They demonstrated as much at a show in West London last month. Replete with extra brass, strings and a harpist, Brandt Brauer Frick’s combination of techno throb, carefully crafted jazz-classical instrumentation and the smart-suited sternness of Kraftwerk, had their audience gripped.
“Steve Reich is seen as a godfather in the German techno scene,” says Paul Frick, 31, when I speak to him later, “so using classical instruments to make this kind of music is not something unique to us.”
What is unique to Brandt Brauer Frick, however, is applying classical interpretive techniques to a techno template. Frick studied in Berlin with the late composer and Stockhausen associate Friedrich Goldmann. His band-mates Daniel Brandt, 26, and Jan Brauer, 25, grew up in Wiesbaden and were releasing jazz-flavoured dance singles together when Frick made contact. The trio began in 2008 but started making waves with a video for their tune Bop, which featured multiple Brandts, Brauers and Fricks performing on what appeared to be a prime time German television show.
“We just made it look like it had a lot of money put into it,” laughs Brandt, who actually made the video as part of a university film-making course.
The video hinted at their future. Creating sampled orchestration on their laptops was a starting point but they wanted to bring ideas borrowed from John Cage, Reich et al to a truly live environment. Notably they’re keen on prepared pianos and ad hoc percussion such as slapped trombone mouthpieces or tapped violin bodies. It has been a lot of work making the leap into this truly live arena.
“With the three-piece we don’t prepare at all, we just arrive and play [on laptops],” explains Frick, “With the ten-piece it’s the exact opposite – we rehearse a lot and the arrangements are 50-80 pages, all written out…”
Alongside modern classical they readily acknowledge the influence of original Detroit techno, especially its jazziest exponent, Theo Parrish, but they have no interest in creating a full orchestral experience as the techno DJ Jeff Mills did a few years ago.
“It’s all about reduction,” says Frick, “Experiments with full orchestras are not our style. It sounds too thick, whereas using less musicians lets you sound crisp.”
Their debut album You Make Me Real is a flavourful integration of classical instrumentation with laptop sonic power, but they’re recording their next album – due in September – with the full live ensemble, and featuring the British singer Emika. They’re a band as comfortable at culturally sophisticated events, such as a reverentially silent seated audience in Oslo’s Museum of Modern Art, broadcast on the country’s classical radio station, as they are in scuzzy rave dens.
“A club in Berlin was one of the worst,” recalls Frick, “We played at 5.00am and the dressing room was unbelievably tiny. On the stairs to the stage there was a guy passed out, who we couldn’t wake. We had to push him out of the way.”
It’s doubtful John Cage had to undergo such ordeals but Brandt Brauer Frick enjoy straddling these worlds, deconstructing and reinventing electronic dance music, as ready for Cadogan Hall as for Glastonbury.
By Thomas H Green, Telegraph
- May 29, 11
A short video discussing the restoration of Raymond Scott’s Electronium: the first self-composing synthesizer. Raymond Scott began working on the Electronium in the 1960s when Berry Gordy of Motown visited Scott’s laboratory in 1969. He instantly brought Scott on board and made him Head of Operations and Chief Engineer at Motown Records to develop the machine along with others. In the end, millions were spent on the Electronium though it was never technically completed. Raymond Scott was unable to walk away from the instrument and it was eventually lost amongst his other machines and electric parts at his home.
In 1996, Mark Mothersbaugh purchased the non-functioning Electronium through his company Mutato Muzika, with the intention of restoring it to working order. Let us know what you think. To us it most resembles an enormous wardrobe or organ except for the hundreds of buttons and switches. When sat in front of it you certainly have the impression of being behind a console of an early spaceship. The Electronium is an impressive piece of kit, albeit a touch intimidating. We will be keeping an eye on the restoration project.
- May 28, 11
Ruth Donegan and Ezra Elia are pan-dimensional beings who live alone for music….or so says their podcast, Houdini’s Picnic. We know them as two rather fine people with a rare appreciation of music. They feature recordings from this Earth and beyond. Imagine, if you will, you had a date with David Bowie and nervously decided to introduce him to swing dance only to discover that Le Tigre were the cover band and Raymond Scott was giving out the Kool Aid. That sort of random joy.
We’ve also teamed up with Ruth for a short podcast on Raymond Scott. Have a listen and also check out their other shows.
- May 20, 11
Noteput – Interactive music table from Jonas Heuer on Vimeo.
“Noteput” is an interactive music table with tangible notes, that combines all three senses of hearing, sight and touch to make learning the classical notation of music for children and pupils more easy and interesting.
