Podcasts about ondes martenot

Episode 171 Chapter 30, EMS Analog Synthesizers. 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. Let's get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Delia Derbyshire, “Dance From ‘Noah' " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2.     Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3.     Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4.     Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5.     Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973).  Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6.     The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7.     Peter Zinovieff, “A Lollipop For Papa” (1974).  Realized with the EMS Synthi AKS. 06:26 48:04 8.     Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9.     J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10.   J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11.   Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12.   Henry Sweitzer, “Open Windows” (1979) from Te Deum.  Realized with the EMS Synthi AKS. 11:11 01:09:02 13.   Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14.   Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15.   Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40   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.  

The story of French electronic music over the last hundred years is one of artistic and technical innovations that changed the course of contemporary music. The late 19th century stylistic inventions of GABRIEL FAURÉ, MAURICE RAVEL, and CLAUDE DEBUSSY led to the emergence of Impressionism and Minimalism in the 20th century—while the revolutionary innovations of ERIK SATIE laid the foundation for ambient background music and personal music for solo piano. At the same time, the invention of playable French electronic instruments like the “Ondes Martenot” in 1928, accelerated the arrival of live electronic performance, and the French brilliance in style and design produced exceptionally refined sonic and textural quality in recordings after mid-century. On this transmission of HEARTS of SPACE, a look at French ambient and electronic music from the 1970's to now, on a program called "AMBIANCE FRANÇAIS." Music is by DEBUSSY via TOMITA, JEAN MICHEL JARRE, THIERRY DAVID, CHRISTIAN WITTMAN, PAUL SAUVANET, and AIR. https://bit.ly/HOS-1394. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

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.

The Outrun (VK 2024) is een drama van regisseur Nora Fingscheidt, met o.a. Saoirse Ronan, Stephen Dillane, Saskia Reeves en Naomi Wirthner. Fraaie verfilming van het gelijknamige boek van de op de afgelegen Schotse Orkney-eilanden geboren Amy Liptrot, die in The Outrun beschreef hoe ze na jaren van wild feesten in Londen een alcoholist was geworden. Als laatste redding keerde ze terug naar de rust van haar geboortegrond om daar, ver weg van de drukte van Londen te werken aan herstel. Ronan is fantastisch als de gebroken Amy (in de film heet ze Rona), die wanhopig probeert zichzelf weer in elkaar te zetten. Het verhaal wordt niet chronologisch verteld, maar in schijnbaar losse fragmenten die heen en weer springen door de tijd en tussen Londen en de Orkney-eilanden. De muziek bij The Outrun is van John Gürtler, Jan Miserre, een duo dat elektronische elementen en orkestklanken mixt. En net zoals de film gefragmenteerd het verhaal blootlegt achter de hoofdpersoon, springen we ook in de muziek heen en weer tussen de beukende club-dance-muziek en de aanzwellende soundscapes die de klanken van de golven op de kliffenkusten van de Schotse eilanden, oproepen. Twee bijzondere instrumenten die voor de score gebruikt zijn zijn de Ondes Martenot, een vroeg elektronisch instrument uit de jaren '20 van de 20e eeuw; en de Cristal Baschet, een instrument van glas en metaal, ontwikkeld in de jaren '50, verwant aan de glasharmonica. De ijle klanken van dat instrument klinken bijvoorbeeld als de hoofdpersoon een glas wijn ziet en onweerstaanbaar in de verleiding komt er een slok van te nemen. Voor de scenes waarin de natuur van de Orkney-eilanden het beeld beheerst, wordt de muziek gekenmerkt door de klanken van strijkers, houtblazers, en fluiten.

Stéphan geht mit uns nach vorne in die Vergangenheit und stellt uns einige der skurrilsten elektronischen Instrumente ever vor. Wieder mal eines dieser Kapitel, das nur unser Podcast schreibt und sonst keiner. Ohren auf! SPOTIFY Playlist 2024 (mit den Songs aus unserem Podcast) Achtung: Die Liste enthält natürlich leider nur die auf Spotify verfügbaren Titel. Wie wir aber alle wissen, gibt es noch ein Musikuniversum jenseits von Streaming. YouTube (der ganze Rest) Facebook (mit News aus der Rockmusik und allem, was glücklich macht) Anregungen, Ideen? Dann schreibt uns doch mal - wmruv2021@gmail.com Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. Gern unterstützen wir dich bei deiner Podcast-Produktion.

Natalie Forget is a virtuoso of the pioneering 1920s electrical instrument, the Ondes Martenot, created for—among other things—communication with angels.

Episode 5Embark on a sonic exploration with Dr. Tom Rhea, a luminary in the field of electronic music, as we navigate the rich tapestry of musical innovation. From his formative years mastering the flutophone to revolutionizing synthesizer manuals, Dr. Rhea's insights are a treasure trove for enthusiasts and professionals alike. His storied career, including a tenure at Berklee College of Music and contributions to Keyboard Magazine, sets the stage for a profound dialogue on the evolution of electronic instruments.This episode delves into the subtleties of sound, as Dr. Rhea delves into the complex world of formants and their pivotal role in shaping the timbre of instruments. Prepare to be captivated by the Electronic Valve Instrument's (EVI) analog warmth and versatility, and learn how formants ensure each instrument in an orchestra can sing its unique song without discord. The human voice as the ultimate formant generator is also a fascinating topic we unravel, shedding light on how this knowledge enhances both synthesis and mixing techniques.We round off with a panorama of historical and modern electronic instruments that have left indelible marks on the fabric of music. From the Ondes Martenot's emotive capabilities to the expressive potential of the Haken Continuum, we trace the lineage and influence of these groundbreaking creations. Dr. Rhea's anecdotes of innovation, marketability, and the interplay between musician ingenuity and instrument design are not only enlightening but also serve as a testament to the ever-evolving narrative of music technology. Join us for this enthralling journey through the past, present, and future of electronic soundscapes.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. 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 a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

2024's first episode of Vortex Temporum podcast features Nigerian born composer, based in Switzerland since 1968, Charles Uzor  (Udo Mbaise, 1961). Charles guides us along the episode with his voice, thoughts and sounds in order to offer us his manifesto. If you do not know his work yet, you might be very well surprised by clicking play.credits:qui ainsi me refait…. veoir seulement et oïr [2003], for guitar quartet | guitar ensemble 'quasi fantasia' (Christian Bissig > standard ten-string guitar; Karin Rüdt > octavine guitar; Susanne Ott > terz guitar; Gudrun Bachmann > quinte-basse guitar) // Jaray's journey to the Ba-Benzélé [2022], for Ondes Martenot and hybrid electronics | Caroline Ether > ondes martenot; Charles Uzor > sound bawls, piano reverb, electronicstexts (also by Charles Uzor)Manifesto. Nach der Natur // 10 Bamboos // Snowvortextemporum.com

Cordes, vents, Ondes Martenot .... des quatuors originaux ou transcrits de Ravel, Debussy, Philip GLASS, Pierre-Max DUBOIS etc...Bonne découverte

Cordes, vents, Ondes Martenot .... des quatuors originaux ou transcrits de Ravel, Debussy, Philip GLASS, Pierre-Max DUBOIS etc...Bonne découverte

Episode 96 Crosscurrents of Musique Concrète Playlist Pierre Henry, “Final Du Concerto Des Ambiguités (Final Of The Ambiguities Concerto)” (1950) from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, tape editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 3:15 Pierre Henry, “Expressionisme (1951) Musique Sans Titre – 5e et 6e Mouvements (Untitled Music – 5th and 6th Movements)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Early piece of musique concrete during a time of transition at the RTF, when the composers were moving from using turntables and disc lathes to magnetic tape as a composition medium. This work has evidence of both. Composition, sound editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:59 Philippe Arthuys, “Boîte À Musique (Musical Box)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, sound editing, and audio production by Philippe Arthuys. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:53 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Composition, sound editing, and audio production by Mireille Kyrou. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française", directed by Pierre Schaeffer. Kyrou is the rare example of a woman composer using the French studio. This is her only work released on record. However, according to Hugh Davies' International Electronic Music Catalog, I find several other compositions dating from this period that, hopefully, will one day be released by the GRM. There were three additional works from 1960-61, all done for film, totaling in time to about 31 minutes. 5:09 Henri Pousseur, “Trois Visages De Liège” (1961) from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). This is a reissued version of Pousseur's work from 1961 and originally released on a Columbia disc in 1967. But this version is several minutes longer than that release. This album also features a bonus track of sound elements used for the work before being fully composed. Composition, tape editing, and audio production by Henri Pousseur. Pousseur was Belgian and worked in the Studio de Musique Electronique de Bruxelles in a musique concrète style. 20:32 Bernard Parmegiani, “Danse” (1961) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Bernard Parmegiani. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. Parmegiani was one of the GRM's most prolific composers, working on individual works but also numerous pieces for stage, dance, and, most importantly film and commercials, producing early music videos, soundtracks, and commercials for companies like Renault. His music was inventive and imaginative, and he became a chief craftsman of electronic music for decades. Until 1992, he produced most of his music at GRM, but was frequently on commission to work at institutions in other countries. In 1992, Parmegiani left the GRM and set up his own studio in Saint-Rémy-de-Provence. 4:08 Luc Ferrari, “Tautologos I” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings realized in the studios of Gravesano (directed by Hermann Scherchen). Reissue of 1964 release. Composition, tape editing, and audio production by Luc Ferrari. 4:19 Philippe Carson, “Turmac” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by Philippe Carson. 9:43 Luc Ferrari, “Tête Et Queue Du Dragon” (Second Version) (1962) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Luc Ferrari. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 9:07 François-Bernard Mâche, “Terre De Feu (Second Version)” (1963) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by François-Bernard Mâche. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 6:52 François Bayle, “Vapeur” (1964) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by François Bayle. 4:44 Bernard Parmegiani, “Récession” (1966) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for theatre. 2:25 Bernard Parmegiani, “La Ville En Haut De La Colline II” (1968) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 1:30 Bernard Parmegiani, “Outremer” (1968) and “Trois Canons En Hommage À Galilée”(1969) from Arlette Sibon-Simonovitch Avec Le Concours De Sylvio Gualda Œuvres De: Parmegiani, Mestres-Quadreny – Espaces Sonores N°1 (1975 La Voix De Son Maître). Ondes Martenot, Arlette Sibon-Simonovitch. Composition, tape editing, and audio production by Bernard Parmegiani. Work for Ondes Martenot and four tracks of magnetic tape. 21:02 Bernard Parmegiani, “Je Tu Elles” (1969) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 2:59 Roger Roger, “Le Type Beurré” from Musique Idiote (1970 Neuilly). Another experiment with the Moog Synthesizer by composer Roger Roger, maker of broadcast library music. 1:38 Roger Roger, “La Nana Siphonée” from Musique Idiote (1970 Neuilly). Enter the Moog Synthesizer. Here are some early works for Moog by composer Roger Roger, maker of broadcast library music. 1:39 Opening background music: Henri Pousseur, “Éléments De Trois Visages De Liège” from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). Composition, tape editing, and audio production by Henry Pousseur. 3:10   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.

Synopsis On today's date in 1928, a French musician and inventor named Maurice Martenot gave the first public demonstration of a new electronic instrument he had created which produced eerie-sounding tones reminiscent of the human voice, but without the human limitations of voice range or lung power. Martenot was also a savvy promoter of his new instrument, which he took on a world tour, with his sister serving as its first virtuoso performer. The instrument came to be called the “Ondes Martenot”—which translates into English as “Martenot Waves.” A number of 20th century composers were quite enthusiastic. Arthur Honegger suggested the Ondes Martenot might replace the contra-bassoon in symphony orchestras, writing: “The Ondes Martenot has power and a speed of utterance which is not to be compared with those gloomy stove-pipes looming up in orchestras.” Well, contra-bassoonists needn't worry: their stove-pipes still provide the low blows in most modern orchestras, but the Ondes Martenot does figure prominently in several major 20th century scores, including the monumental Turangalila Symphony of the French composer, Oliver Messiaen.And, following Martenot's death in 1981, the French even formed an official society with the grand title of “L'Association pour la Diffusion et le Développement des Ondes Martenot.” Music Played in Today's Program Olivier Messiaen (1908 – 1992) Turangalila Symphony Tristan Murail, Ondes Martenot; Philharmonia Orchestra; Esa-Pekka Salonen, conductor. Sony 53473

Today we are in Singapore; we talk with Benjamin Pelzer, Assistant Professor of the Wee Kim Wee School of Communication and Information at Nanyang Technological University.  Ben is trained in Music Theory and Psychology. He works as an assistant professor and scientist with expertise in the methods of cognitive neuroscience, machine learning, computational social science, and empirical psychology. And Ben is teaching a one-of-its-kind course in the world of research on music as a sort of socio-cultural phenomenon and is using techniques from the field of communication and applying them to the field of music. Our Conversation We talk about how music and sounds can drive a particular scene of a film in two opposite ways, using a positive or negative valence soundtrack. And that music is almost uniquely powerful in its deeply emotional impact and ability to evoke complex or more profound, lasting emotions. Ben shares with us that there are some universal features of music, like low tones are connected with sinister or aggressive emotions that are part of the evolution when big animals were a severe threat.  A little survey And he conveys insights from a little survey he did with the multicultural students of his music course for The Power of Music Thinking podcast about how they listen to music in the context of Asia.  In his music course, Ben also reflects with his students questions like If you were alive 1000 years ago, what role would music have played in your life? And the realisation that for people outside of wealth and royalty, it would be folk instruments or just the human voice.  Ben shares with us some strategies of music; for example, if you use happy lyrics with happy music, you get less happiness than if you have happy lyrics with neutral music.    Good to know For some themes we talk about, I have put links in the show notes, and if you have a look at them, please consider subscribing, make a comment and give us a rating. This will help a lot to get the show going. We had some connection issues, so please excuse the little dropouts near the end.   Show notes  Connect with Ben Pelzer on LinkedIn: https://www.linkedin.com/in/benjamin-pelzer/ More about Olivier Messiaen and his Turangalîla-Symphonie : https://www.youtube.com/watch?v=9r4eeMZBInY And the Ondes Martenot: https://www.youtube.com/watch?v=Zp4mBmsV6Xk later also used extensively by Radiohead. Mentioned episode: Glenn McDonald (Spotify) and his Every noise at once website Mentioned episode: Steve Keller (audio alchemist) and his research on Sonic Discrimination Like this show? Subscribe to the podcast. Leave us a review — even one sentence helps! I appreciate your support; it helps the show!   There is more about Music Thinking: a book, a blog and many more podcast episodes The Power of Music Thinking is brought to you by CREATIVE COMPANION specialised in facilitating leaders, teams and organisations in customer experience, change and innovation. Do you like books?  Check out the new book: The Power of Music Thinking    

Maurice Martenot with his invention   Last year in my Halloween mix I included a track that used an instrument called the Ondes Martenot. I new a little bit about it - that it was an old instrument played with a ring on a wire. But that was all I really knew. Then a listener pointed me in the direction of a piece for the Ondes Martenot written in 1937. Yikes, 1937?! I had no idea that "Oraison" by Olivier Messiaen was one of the first electronic pieces of music ever written. Of course this lead me down a Ondes Martenot rabbit hole and this mix is the result. The Ondes Martenot was invented in 1928 by the French inventor Maurice Martenot. It sounds very much like a Theremin with it's wavering tones produced by oscillators. The Ondes Martenot can be played with a metal ring worn on the right index finger. Sliding the ring along a wire produces "theremin-like" tones. The music definitely can have a spooky, other-worldly sound. But it can also be quite expressive in the right hands.   Current players of the Ondes Martenot include Jonny Greenwood of Radiohead. He uses it on "Kid A" and it appears in Radiohead songs including "The Natinal Anthem", "How to Disappear Completely" and "Where I End and You Begin".   The other artist that is most well known for her use of the unusual instrument is Christine Ott, both in her solo work and with the band Snowdrops. The mix uses four of her tracks and two from Snowdrops. All of her work is excellent and worth checking out. https://christineott.bandcamp.com/     Cheers!     T R A C K L I S T : 00:00    Olivier Messiaen - Oraison (1937) 02:50    Tomas Bloch - Mare Teno(Michel Redolfi) (Music for Odnes Martenot 2004) 07:31    Christine Ott - Burning (Chimères (pour Ondes Martenot) 2020) 13:44    Snowdrops - Ultraviolet (Volutes 2020) 20:00    Sylvette Allart - Elegie(Darius Milhaud ) (Magie Des Ondes Martenot 1970) 22:46    Tindersticks - Percy's Theme (Minute Bodies: The Intimate World of F. Percy Smith 2017) 24:40    Peter Kohlmetz Moller - Song for AJ 26:08    Christine Ott - Comma (Chimères (pour ondes Martenot) 2020) 31:42    Thomas Bloch - Sweet Suite 1 (Music for Odnes Martenot 2004) 36:00    Snowdrops - Firebirds (Missing Island 2022) 41:18    Jeanne Loriod & S. Laurent & P. Duclos - Ondes Spatiales (Ondes Martenot) 42:40    Christine Ott - Sexy Moon (Only Silence Remains 2016) 47:25    Christine Ott - Tempête / the Tabu (Tabu 2016) 53:30    Sylvette Allart ­- Nana(Falla) (Magie Des Ondes Martenot 1970) 55:22    Olivier Messiaen - Oraison (1937) 57:22    end

Episode 90 The Electronic Music of Ryuichi Sakamoto Playlist Ryuichi Sakamoto and Alva Noto, “Second Dream” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Alva Noto, Ryuichi Sakamoto. 1:13 Ryuichi Sakamoto and Taylor Deupree, “Jyaku” from Disappearance (2013 Commons). Piano, Electronics, Ryuichi Sakamoto; Synthesizer, Tapes, Loops, Acoustic Guitar, Mixer, Taylor Deupree. 9:59 Alva Noto and Ryuichi Sakamoto, “Avaol” from Insen (2005 Raster-Noton). German release featuring Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 2:50 Alva Noto and Ryuichi Sakamoto, “ax Mr. L.” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 4:20 Alva Noto and Ryuichi Sakamoto, “mur” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 8:14 Ryuichi Sakamoto, “Solari” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:52 Fennesz and Sakamoto “0322” from Flumina (2011 Touch). Guitar, Laptop, Christian Fennesz; Piano, Laptop, Ryuichi Sakamoto. Recorded at Amann Studios, Vienna and KA+B Studios, NY and Japan. 5:35 Ryuichi Sakamoto, “Sunset” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. This album is listed as one of his special projects consisting of diary sketches in sound. Described as “an ambient oriented compilation of Sakamoto's music journal from 2001 after eye-witnessing 9/11 from his home NYC.” This one of his most moving essays in sound, consisting of his piano sketches treated with electronics. The progression of the album is presented in the order of the day and concludes with “Radical Fashion.” 8:47 Ryuichi Sakamoto, “Night” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 7:37 Ryuichi Sakamoto, “Radical Fashion” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 5:07 Ryuichi Sakamoto, “Zure” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:12 Ryuichi Sakamoto, “Out of Horse” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Ryuichi Sakamoto; Ondes Martenot, Motoko Oya. 3:57 Ryuichi Sakamoto, “Borom Gal” from Heartbeat (1991 Virgin). Concertmaster, strings, David Nadien; Lead vocal and words, Youssou N'Dour; Music by Ryuichi Sakamoto, Youssou N'Dour; Programmed, Performed, and mixed by Ryuichi Sakamoto. This is one of those star-studded albums that had pop appeal. Still, the electronics and digital editing of this track, especially in 1991, make this track stand out. 3:57 Ryuichi Sakamoto, “Fullmoon” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:13 Ryuichi Sakamoto, “Nuages” from Heartbeat (1991 Virgin). Lead Vocals, Houria Aichi; traditional song; Programmed, Performed, and mixed by Ryuichi Sakamoto. This little work from Heartbeat always reminded me of something you would have expected to hear in the movie Blade Runner. 2:15 Ryuichi Sakamoto, “Island of Woods” from Thousand Knives Of (1978 Better Days). On this album, not necessarily this track, Sakamoto plays Ryuichi Sakamoto plays: Moog III-C w. Roland MC-8 Micro Composer; Polymoog; Minimoog; Micro Moog; Oberheim Eight Voice Polyphonic w. Digital Programmer; ARP Odyssey; KORG PS-3100 Polyphonic; KORG VC-10 Vocoder; KORG SQ-10 Analog Sequencer; Syn-Drums; Acoustic Piano;Marimba. Recorded from 4/10 to 7/27, 1978 at Columbia Studio No.1, No.2, & No.4, Tokyo. 9:51 Ryuichi Sakamoto, “Stakra” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:41 Ryuichi Sakamoto, “Tokyo Story” from Sweet Revenge (1994 Elektra). Produced, composed, keyboards, computer programming, Ryuichi Sakamoto. Recorded at 11-K Studios, NYC, Clindton Studios, NYC, Paradise Studios, Tokyo, Unique Studios, NYC, Sedic Studios, Tokyo, Metropolis Studios, London, Westside Studios, London, Skyline Studios, NYC, Right Track Studios, NYC. 1:17 Ryuichi Sakamoto, “Plankton” (excerpt) from Plankton (Music For An Installation By Christian Sardet And Shiro Takatani) (2016 Milan). French recording of an installation piece by Sakamoto. The entire work is nearly an hour long; this is an excerpt from the beginning of that work. Mixed, produced, composed by Ryuichi Sakamoto; Producer, Lucille Reyboz, Yusuke Nakanishi; Sound programming, Satoshi Hama; Video programming, Ken Furudate, Ryo Shiraki. 7:47 Ryuichi Sakamoto, “Undercooled (Alva Noto Remodel)” from Bricolages (2006 Warner Music Japan). Rap, MC Sniper; Remix, Alva Noto. This is an interesting album of Sakamoto remixes with a rap track reimagined by the mixing of Carsten Nicolai. 4:44 Ryuichi Sakamoto, “A Wongga Dance Song” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. This is one of Sakamoto's early explorations of the power of the digital sampler and editing. Music created for a dance performance by the company Molissa Fenley and Dancers. 10:06 Ryuichi Sakamoto, “20220214” from 12 (2023 Commons). Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.” More answers to questions by Sakamoto are found here. 9:10 Ryuichi Sakamoto, “20220304” from 12 (2023 Commons). Composed, produced, performedby Ryuichi Sakamoto using sounding objects such as stones, chimes, and fragments of pottery. 1:09 Ryuichi Sakamoto, “Life, Life” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. Sho, Ko Ishikawa; Vocals, Luca; Spoken Word, David Sylvian; Words by, Arseny Tarkovsky. 4:24   Opening background tracks: Ryuichi Sakamoto, “Before Long” from Neo Geo (1987 CBS). Piano, Ryuichi Sakamoto. 1:20 Ryuichi Sakamoto, “Ulu Watu” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. Music created for a dance performance by the company Molissa Fenley and Dancers. 3:57 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. SiteSakamoto can be found here. The recent story about Ryuichi Sakamoto on NPR can be found here.

Quand on s'intéresse à la musique, on finit toujours à un moment ou à un autre par s'intéresser à l'œuvre de Jean-Sébastien Bach. Alors certes le compositeur a en quelque sorte posé, notamment avec les Variations Goldberg, les bases de l'harmonie moderne, mais plus de 4 siècles après sa mort de nombreux artistes se sont plongés dans son œuvre, de Glenn Gould à Wendy Carlos. Le dernier en date est français, et on le connait bien sur Tsugi Radio car c'est une des figures du label parisien InFiné. Hiver 2020, Arandel se retrouve au Musée de la Musique à Paris pour enregistrer tout un tas d'instruments anciens, parfois oubliés comme la viole de gambe, le piano carré, le luth, la vielle à roue, le clavecin, le Cristal Baschet, les Ondes Martenot, qu'il va ensuite mêler à ses synthés et ses effets pour faire naître InBach. Mais sa soif d'exploration du répertoire de Bach était loin d'être étanchée, alors en juillet 2021, il publie InBach Vol. 2 et continue à entraîner Bach sur le dancefloor et parfois même jusqu'à la pop. Aujourd'hui sur tsugiradio.fr on parle de Passacaille, de sonate et de concerto en compagnie d'Arandel. Arandel qui sera sur la scène de Petit Bain le 14 décembre en compagnie d'Heron Cendré et d'Emmanuelle Parrenin. Arandel nous a fait un joli cadeau puisqu'à la suite de l'entretien, vous allez pouvoir découvrir en exclusivité quelques extraits d'un concert donné il y a quelques semaines à l'Opéra Underground de Lyon.

    I wasn't planning on making a Halloween themed mix but a couple of days ago I heard a new album called "Xiuxiuejar" by Hekla and I knew I had to use some tracks in a mix. Hekla is an Icelandic musician who use the theremin to create haunting, other-worldly soundscapes. Perfect for a Halloween mix. Some of the other tracks follow a similar vibe I have used for creepy mixes in the past, sort of a dark jazz feel. Then I mix in some noisy stuff, some ambient & some other oddities. I don't want these mixes to be ultra dark doom ambient but this is more off-kilter than most Low Light Mixes. After finding the theremin tracks from Hekla I was reminded of a very theremin-like instrument - the Ondes Martenot. It looks like a piano or organ but sounds like a theremin and it's played by sliding a ring attached to wires up and down the keyboard. Check out this video for an idea of how it's played and what it sounds like:      There are two tracks in the mix that use the Ondes Martenot. They are Tindersticks - The Strangler & Christine Ott - Pluie. I believe Christine Ott plays the instrument on the Tindersticks track as well as her own. Radiohead is famous for using the Odnes Martenot in a few songs. Maybe I'll make an entire mix featuring the instrument someday. Here are the links to all the music used in this mix: https://phantomlimblabel.bandcamp.com/album/xiuxiuejar https://buenaureliomalazar.bandcamp.com/album/pre-pro-post https://theodoreshapiro.bandcamp.com/album/severance-season-1-apple-tv-original-series-soundtrack https://elikeszler.bandcamp.com/album/empire https://tindersticks.bandcamp.com/album/minute-bodies-the-intimate-world-of-f-percy-smith https://facture.bandcamp.com/album/unstill https://williamselman.bandcamp.com/album/pavaka-group https://thephonometrician.bandcamp.com/album/c-iste-bodharhttps://johnbutcher1.bandcamp.com/album/resonant-spaces https://tgeruis.bandcamp.com/album/bain-d-toiles https://christineott.bandcamp.com/album/time-to-die https://astrangelyisolatedplace.bandcamp.com/album/a-state-of-decrepitude https://dekorder.bandcamp.com/album/sentimental-favourites https://bloxhamtapes.bandcamp.com/album/magnetism https://whitelabrecs.bandcamp.com/album/a-is-for-autumn https://grails.bandcamp.com/album/black-tar-prophecies-vols-4-5-6 https://whitelabrecs.bandcamp.com/album/the-last-sense-to-fade https://williamryanfritch.bandcamp.com/album/built-upon-a-fearful-void https://aaronmartin.bandcamp.com/album/the-end-of-medicine-original-score Cheers!   T R A C K L I S T : 00:00    Hekla - Hrakföll (Xiuxiuejar 2022) 03:18    Buen Aurelio Malazar - pre.sagio (pre pro post 2020) 04:49    Theodore Shapiro - After Hours (Severance Soundtrack 2022) 06:45    Eli Keszler - The Tenth Part Of A Featured World (Empire 2019) 09:15    Tindersticks - The Strangler (Minute Bodies: The Intimate World of F. Percy Smith 2017) 12:20    Andy Cartwright - Seeker (Unstill 2021) 14:00    Pavaka Group - I Am Void (Pavaka Group 2022) 15:43    The Phonometrician - Death is a Woman (Cóiste Bodhar 2022) 18:00    John Butcher - Wind Piece (Resonant Spaces 2006) 18:49    't Geruis - L'Appel (Bain D'Étoiles 2022) 21:35    Christine Ott - Pluie (Time to Die 2021) 26:30    Wanderwelle - Decay (A State of Decrepitude 2020) 30:25    Andrew Pekler - Close to Strangers (Sentimental Favourites 2011) 32:17    Lars Rynning & Suren Seneviratne - Solar Wind (Magnetism 2020) 33:35    Andrew Heath & Simon McCorry - From Darkness (A is for Autumn 2022) 37:02    Hekla - Sólin Gekk (Xiuxiuejar 2022) 42:53    The Phonometrician - I See Youy (Cóiste Bodhar 2022) 47:55    Grails - Bad Bhang Recipe (Black Tar Prophecies Vols 1, 2, 3 2006) 49:50    Darkroom - The Shadowy Side of the Hill ( The Last Sense to Fade 2021) 54:50    William Ryan Fritch - Lay Hands Upon Us (Built Upon a Fearful Void 2021) 57:39    Aarom Martin - Buried in Waves (The End of Medicine 2022) 59:09    Hekla - Tangarhald (Xiuxiuejar 2022) 60:20    end  

HAPPY BIRTHDAY! We're starting off Year Two with a different kind of album. It's the ephemeral, genre-fluid, medium-challenging fourth studio album from British innovators Radiohead: Kid A! From weird instruments (like the Ondes Martenot and the EBow) to snippets of lyrics pulled from a hat, we kind of figure this album is like listening to a painting. Some favorite facts return, and The Mixtaper teaches us how to ruin a Goldfish Christmas. Could Kid A be a record-breaker for both James and Connor? Only one way to find out.PLUS! We have some Big Birthday Announcements this week! Starting tomorrow, you can find special Spin It Merchandise on our new Etsy store, and to celebrate we'll be hosting a giveaway later on in the week (keep an eye on socials @Spinitpod and @Spinitpodofficial for more details)! One of our favorite fibbing felons has made his way onto Twitter as well, and we've got even more to announce in this episode.Thanks so much to each and every one of you for making this first year of podcasts such a fun ride. We're looking forward to many more albums, spins, and memories with you by our side! Keep Spinning into Year Two with us!Keep Spinning at www.SpinItPod.com!  Hosted on Acast. See acast.com/privacy for more information.

Ondes Martenot: la musique de chambre de Tristan Murail, Olivier Messiaen,Jacques  Charpentier, Gilles Gobeil, Bohuslav Martinu et pour finir Christine OTT.... à découvrir.

Ondes Martenot: la musique de chambre de Tristan Murail, Olivier Messiaen,Jacques  Charpentier, Gilles Gobeil, Bohuslav Martinu et pour finir Christine OTT.... à découvrir.

Welcome to episode 31 of Source Of Uncertainty. In this episode we got the opportunity to talk with David Kean about his time working, and being friends with Don Buchla. He commissioned a few modules (255, 297, 299) that eventually led to Don developing the 200e system. We then dig into the byproduct module that came from these commissions, the Duophonic Pitch Class Generator Model 260e.   Show notes:  Hello: 0:00 David Kean Interview: 22:00 260e Exploration: 1:31:00 Goodbye: 2:18:00 For more information about David Kean's Ondes Martenot recreation, the Ondea. Visit: https://www.ondesmartenot.com/  Purchase Robert's music at: https://robstand.com/  Purchase Kyle's music at: https://darksparkler.bandcamp.com/  Listen and subscribe to Podular Modcast: https://podularmodcast.fireside.fm/ Listen and subscribe to The Deerhorn podcast:  https://thedeerhorn.podbean.com/  Listen and subscribe to Cosmic Tape Music Club podcast: https://podcasts.apple.com/us/podcast/cosmic-tape-music-club-hosted-by-the-galaxy-electric/id1550827261  Subscribe to Waveform Magazine: https://www.waveformmagazine.com/ Get your source of uncertainty t-shirts at http://sourceofuncertainty.threadless.com/  Support the show and get access to exclusive videos and audio content through Patreon: https://www.patreon.com/sourceofuncertainty Our YouTube channel: https://www.youtube.com/c/SourceOfUncertainty  Find us on Instagram @sourceofuncertainty  Contact us at sourceofuncertainty.audio

Difficile d'être imperméable aux Ondes Martenot de Christine Ott, que la compositrice a promenées sur la musique de Yann Tiersen ou de Radiohead.

Les Ondes Martenot par le duo Micro Waves, tête à tête improvisé entre l'ondiste Nathalie Forget et le compositeur et musicien ErikM. C'est un grand écart sous tension entre deux lutheries électroniques que pratiquement un siècle sépare : D'un côté, les ondes Martenot, premier instrument de musique électronique au monde créé en France par Maurice Martenot en 1928 et de l'autre, plus modestement, Idiosyncrasie, dispositif conceptualisé par ErikM et achevé par Charles Bascou au GMEM-CNCM de Marseille en 2013. Spécialiste de cet instrument, Nathalie Forget interagit avec son partenaire ErikM qui transforme en temps réel les échantillons originaires des ondes et les agence avec des sons granulaires ou phonographiques personnels. Un documentaire radiophonique d'anthropologie musicale et sonore par François BERCHENKO. Avec la participation de Nathalie FORGET aux Ondes Martenot, ainsi que celle de ErikM à l'ordinateur, et pour finir de celle de Pierr-Olivier BOULANT, régisseur son, à la captation et sonorisation. - Enregistrements et entretiens menés par François BERCHENKO à la salle "Le Vent des Signes", à Toulouse, durant l'après-midi du samedi 11 septembre 2021 durant les balances du duo Micro-Waves. Une production Campus FM Toulouse https://www.campusfm.net

Les Ondes Martenot par le duo Micro Waves, tête à tête improvisé entre l'ondiste Nathalie Forget et le compositeur et musicien ErikM. C'est un grand écart sous tension entre deux lutheries électroniques que pratiquement un siècle sépare : D'un côté, les ondes Martenot, premier instrument de musique électronique au monde créé en France par Maurice Martenot en 1928 et de l'autre, plus modestement, Idiosyncrasie, dispositif conceptualisé par ErikM et achevé par Charles Bascou au GMEM-CNCM de Marseille en 2013. Spécialiste de cet instrument, Nathalie Forget interagit avec son partenaire ErikM qui transforme en temps réel les échantillons originaires des ondes et les agence avec des sons granulaires ou phonographiques personnels. Un documentaire radiophonique d'anthropologie musicale et sonore par François BERCHENKO. Avec la participation de Nathalie FORGET aux Ondes Martenot, ainsi que celle de ErikM à l'ordinateur, et pour finir de celle de Pierr-Olivier BOULANT, régisseur son, à la captation et sonorisation. - Enregistrements et entretiens menés par François BERCHENKO à la salle "Le Vent des Signes", à Toulouse, durant l'après-midi du samedi 11 septembre 2021 durant les balances du duo Micro-Waves. Une production Campus FM Toulouse https://www.campusfm.net

Les Ondes Martenot par le duo Micro Waves, tête à tête improvisé entre l'ondiste Nathalie Forget et le compositeur et musicien ErikM. C'est un grand écart sous tension entre deux lutheries électroniques que pratiquement un siècle sépare : D'un côté, les ondes Martenot, premier instrument de musique électronique au monde créé en France par Maurice Martenot en 1928 et de l'autre, plus modestement, Idiosyncrasie, dispositif conceptualisé par ErikM et achevé par Charles Bascou au GMEM-CNCM de Marseille en 2013. Spécialiste de cet instrument, Nathalie Forget interagit avec son partenaire ErikM qui transforme en temps réel les échantillons originaires des ondes et les agence avec des sons granulaires ou phonographiques personnels. Un documentaire radiophonique d'anthropologie musicale et sonore par François BERCHENKO. Avec la participation de Nathalie FORGET aux Ondes Martenot, ainsi que celle de ErikM à l'ordinateur, et pour finir de celle de Pierr-Olivier BOULANT, régisseur son, à la captation et sonorisation. - Enregistrements et entretiens menés par François BERCHENKO à la salle "Le Vent des Signes", à Toulouse, durant l'après-midi du samedi 11 septembre 2021 durant les balances du duo Micro-Waves. Une production Campus FM Toulouse https://www.campusfm.net crédit photo : Micro Waves - © photo P.Chinellato

Zum 500. Todesjahr des Renaissance-Komponisten Josquin Desprez veröffentlichte das Schweizer Vokalensemble eine CD mit weltlichen Chansons unter dem Titel "Baisiez moy". In manchen Stücken wird der reine Vokalsatz ergänzt durch Sounds eines Fender Rhodes Pianos, eines Buchla Synthesizers und von Ondes Martenot.

Episode 44 Vintage Dutch Electronic Music Playlist Hans Kox, “Three Pieces For Electronic Organ” from Anthology Of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Tape piece from 1955 recorded at the Studio of The Netherlands Radio Union. An early demonstration of tape editing techniques created in a makeshift studio, using an electronic organ as the main audio signal. 3:56 Ton De Leeuw, “Study” from Anthology Of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Tape piece from 1957 recorded at the Studio of The Netherlands Radio Union. Composed using serial techniques and a 31-interval scale. 6:57 Henk Badings, “Genese” from Electronic Music (1960 Philips). Tape piece from 1958 for five audio-frequency oscillators. From the Philips Studios (Eindhoven, The Netherlands). 9:55 Dick Raaijmakers, “Contrasts” from Electronic Music (1960 Philips). Tape piece from 1959 for Ondes Martenot, Pulse-generator with resonance circuits, Noise-generator, Octave- and Half Octave-filters. From the Philips Studios (Eindhoven, The Netherlands). 4:49 Frits C. Weiland, “Studie In Lagen En Impulsen” from Anthology Of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Tape piece from 1961 and the Studio of Utrecht University. A purely work with time suspended in layers of sound. 4:54 Tom Dissevelt, “Gamelan” from Anthology Of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Tape music from 1963-64 created at the Studio of Utrecht University. An electronic simulation of the rhythmic effects of gamelan music. 3:12 Gorter, “K 45” from Anthology Of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Tape piece from 1964-65 created at the CEM Studio, Bilthoven. Created in class taught by Gottfried Michael Koenig. “Starting from basic material of ten chords each, consisting of four sine-wave tones, an end product was achieved in twenty-nine phases by means of transposition, synchronization, rhythm, “chopping up,' reverberation, reversal, filtering, ring modulation, dynamics, etc. used individually or in combination.” (Klaus Gorter). 5:46 Dick Raaijmakers, “Canons 1-2” from Ballad 'Erlkönig'/5 Canons (1981 Composers' Voice). Tape piece from 1967. Realized in the studio of the Royal Conservatory of The Hague. 10:32 Gottfried Michael Koenig, “Funktion Grün” from Terminus II/Funktion Grün/Phonothese/Chants De Maldoror (1970 DGG). Tape piece from 1967. Realized at the Studio for Electronic Music at the Utrecht State University. Construction and the order of the sounds was “calculated by a computer.” 8:13 Ekseption, “Epilogue” and “Finale: Music for Mind/Theme Julia” from Beggar Julia's Time Trip (1970 Philips). Piano, Spinet, Xylophone, Hammond], Pipe Organ, Mellotron, Percussion, Rick Van Der Linden; Guest, Alto Saxophone, Soprano Saxophone, Tonytone, Percussion, Electronic Effects, Tony Vos; Bass, Cor Dekker; Drums, Kettle drums, Dennis Whitebread; Tenor Saxophone, Soprano Saxophone, Flute – Dick Remelink; Trumpet, Pocket Trumpet, Flugelhorn, Rein Van Den Broek; Vocals, Percussion – Michel Van Dijk; Engineer, Electronic Effects, Jan Schuurman; Recording, Mixing Engineer, Electronic effects, Gerard Beckers. Made in Holland. I'm not sure what the “Tonytone” instrument is. Perhaps the Theremin-like sound heard on this track? Or was that a sliding note on a synthesizer? 4:56 Jurriaan Andriessen, opening four-track sequence, “She Walks In Beauty,” “Overtones,” “Beyond the Veil” and “Roundelay” from The Awakening Dream (1977 Park). Dreamy progressive rock solo album recorded in 1977 at Dream-Studio, The Hague. Moog, Minimoog, Fender Rhodes, Hohner Clavinet, Organ, Acoustic Grand Piano, Jurriaan Andriessen. “A trance symphony composed by Jurriaan Andriessen.” 12:23 Ton Bruynèl, “Translucent II” from Ton Bruynèl (1981 Composers' Voice). “Translucent II” for orchestra & tape (1977-78) recorded on in 1978 by the Netherlands broadcasting organization (NOS). Electronic realizations created at Bruynèl's private studio. Symphony parts performed by the Utrecht Symphony Orchestra. 9:44 André De Koning, “Nieuws In Het Kort” from Contactdisc 1 (1983 Stichting Stopcontact). This track is from a compilation of mostly Dutch artists. Voice, noise, and rock. 2:02 Doxa Sinistra, “Portable Electronics” from Contactdisc 1 (1983 Stichting Stopcontact). This track is from a compilation of mostly Dutch artists. Electronic rock in the style of Cabaret Voltaire. 3:04 Background music used during this episode: Tom Dissevelt, “Whirwinds (Torbellinos)” from The Fascinating World Of Electronic Music (1959 Philips). Tape music realized at the Philips Studios (Eindhoven, The Netherlands). Also known as “Whirling” and “Sonik Re-entry” on some English pressings. 2:33 Link to the Institute of Sonology, Royal Conservatoire The Hague. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

durée : 00:30:09 - « Five Phases for Ondes » pour ondes Martenot, clarinette basse et percussion de Michelle Lou - par : Anne Montaron - Dans Création mondiale cette semaine un suite instrumentale de la compositrice américaine Michelle Lou pensée comme un mini concerto pour Ondes Martenot. Les interprètes de cette nouvelle page sont les musiciens de l’ensemble l’Itinéraire. - réalisé par : Françoise Cordey

Synopsis Deadlines are a fact of life for many of us—and composer are no exception. In 1875, Peter Tchaikovsky agreed to write 12, short solo pieces, one a month, for a St. Petersburg music magazine, beginning with their January 1876 issue. Tchaikovsky dashed the first piece off, but, fearing that he might forget his monthly deadline, took the wise precaution of instructing his servant to remind him: before each month’s deadline, Tchaikovsky’s dutiful servant would say: “Peter Ilytich, isn’t it about time to send something off to St. Petersburg?” Tchaikovksy would drop whatever he was working on and finish the next installment. So, it’s not too far-fetched to imagine Tchaikovsky on this date back in 1876 putting the finishing touches to this little piano piece for the May issue of the St. Petersburg magazine, a sketch he titled “Starlight Nights.” More recently, the contemporary American composer, Judith Lang Zaimont, also composed a set of 12 short piano pieces, one for each month, a suite she titled “Calendar Collection.” An accomplish pianist and composer, Zaimont taught for many years at the University of Minnesota in Minneapolis. This music–which we again offer ahead of schedule–is titled: “The May-fly.” Music Played in Today's Program Peter Tchaikovsky (1840 - 1893) May, fr The Seasons, Op. 37b Lang Lang, piano Sony 11758 Judith Lang Zaimont (b. 1945) The May Fly, fr Calendar Collection Nanette Kaplan Solomon, piano Leonarda 334 On This Day Births 1464 - English composer Robert Fayrfax, in Deeping Gate, Lincolnshire; 1857 - Italian opera composer Ruggiero Leoncavallo, in Naples; 1869 - German composer and conductor Hans Pfitzner (see May 5); 1872 - American composer and music educator Arthur Farwell, in St. Paul, Minn.; 1891 - Russian composer Sergei Prokofiev, in Sontsovka (Bakhmutsk region, Yekaterinoslav district), Ukraine (Julian date: April 11); Deaths 1691 - French composer, harpsichordist and organist Jean Henri d'Angelbert, age 62, in Paris; Premieres 1627 - Heinrich Schütz: opera "Dafne" (now lost), at Hartenfels Castle for the wedding of Princess Sophia of Saxony; This work is supposedly the first German opera; 1776 - Gluck: Alceste (2nd version), in Paris at the Académie Royale; 1881 - Gilbert Sullivan: operetta "Patience," at the Opera-Comique Theatre oinLondon; 1904 - Chadwick: "Euterpe" Overture, by the Boston Symphony; 1911 - Berg: String Quartet, Op.3, in Vienna, by the ad hoc quartet Brunner-Holzer-Buchbinder-Hasa Quartet; A later performance in Salzburg on August 2, 1923, by the Havemann Quartet at the First International Festival for Chamber Music , however, attracted wider attention and established Berg's worldwide reputation in musical circles; 1920 - Janácek: opera "The Excursions of Mr. Broucek," in Prague at the National Theater; 1922 - Varèse: "Offrandes" for voice and small orchestra, in New York City, with Carlos Salzedo conducting; 1948 - Jolivet: Concerto for Ondes Martenot and Orchestra, in Vienna; 1958 - Robert Kurka: opera "The Good Soldier Schweik" (posthumously) at the New York City Opera; 1979 - Rochberg: "The Slow Fires of Autumn," for flute and harp, at Tully Hall in New York, with flutist Carol Wincenc; 1981 - Ezra Laderman: String Quartet No. 6 ("The Audubon"), in New York City, by the Audubon Quartet; 1993 - Morten Lauridsen: "Les Chanson des Roses"(five French poems by Rilke) for mixed chorus and piano, by the Choral Cross-Ties ensemble of Portland, Ore., Bruce Brown conducting; 1994 - Broadway premiere of Sondheim: musical "Passion"; 1998 - James MacMillan: "Why is this night different?" for string quartet, at London's Wigmore Hall by the Maggini Quartet; Others 1738 - Handel is a founding subscriber to the "Fund for the Support of Decayed Musicians" (now the Royal Society of Musicians) at its first meeting at the Crown and Anchor Tavern in London; The fund was started after the widow and children of Handel's oboe soloist, John Kitch, were found impoverished on the streets of London; Other subscribers to the fund included the British composers Boyce, Arne, Green, and Pepusch (Gregorian date: May 4).

Synopsis Deadlines are a fact of life for many of us—and composer are no exception. In 1875, Peter Tchaikovsky agreed to write 12, short solo pieces, one a month, for a St. Petersburg music magazine, beginning with their January 1876 issue. Tchaikovsky dashed the first piece off, but, fearing that he might forget his monthly deadline, took the wise precaution of instructing his servant to remind him: before each month’s deadline, Tchaikovsky’s dutiful servant would say: “Peter Ilytich, isn’t it about time to send something off to St. Petersburg?” Tchaikovksy would drop whatever he was working on and finish the next installment. So, it’s not too far-fetched to imagine Tchaikovsky on this date back in 1876 putting the finishing touches to this little piano piece for the May issue of the St. Petersburg magazine, a sketch he titled “Starlight Nights.” More recently, the contemporary American composer, Judith Lang Zaimont, also composed a set of 12 short piano pieces, one for each month, a suite she titled “Calendar Collection.” An accomplish pianist and composer, Zaimont taught for many years at the University of Minnesota in Minneapolis. This music–which we again offer ahead of schedule–is titled: “The May-fly.” Music Played in Today's Program Peter Tchaikovsky (1840 - 1893) May, fr The Seasons, Op. 37b Lang Lang, piano Sony 11758 Judith Lang Zaimont (b. 1945) The May Fly, fr Calendar Collection Nanette Kaplan Solomon, piano Leonarda 334 On This Day Births 1464 - English composer Robert Fayrfax, in Deeping Gate, Lincolnshire; 1857 - Italian opera composer Ruggiero Leoncavallo, in Naples; 1869 - German composer and conductor Hans Pfitzner (see May 5); 1872 - American composer and music educator Arthur Farwell, in St. Paul, Minn.; 1891 - Russian composer Sergei Prokofiev, in Sontsovka (Bakhmutsk region, Yekaterinoslav district), Ukraine (Julian date: April 11); Deaths 1691 - French composer, harpsichordist and organist Jean Henri d'Angelbert, age 62, in Paris; Premieres 1627 - Heinrich Schütz: opera "Dafne" (now lost), at Hartenfels Castle for the wedding of Princess Sophia of Saxony; This work is supposedly the first German opera; 1776 - Gluck: Alceste (2nd version), in Paris at the Académie Royale; 1881 - Gilbert Sullivan: operetta "Patience," at the Opera-Comique Theatre oinLondon; 1904 - Chadwick: "Euterpe" Overture, by the Boston Symphony; 1911 - Berg: String Quartet, Op.3, in Vienna, by the ad hoc quartet Brunner-Holzer-Buchbinder-Hasa Quartet; A later performance in Salzburg on August 2, 1923, by the Havemann Quartet at the First International Festival for Chamber Music , however, attracted wider attention and established Berg's worldwide reputation in musical circles; 1920 - Janácek: opera "The Excursions of Mr. Broucek," in Prague at the National Theater; 1922 - Varèse: "Offrandes" for voice and small orchestra, in New York City, with Carlos Salzedo conducting; 1948 - Jolivet: Concerto for Ondes Martenot and Orchestra, in Vienna; 1958 - Robert Kurka: opera "The Good Soldier Schweik" (posthumously) at the New York City Opera; 1979 - Rochberg: "The Slow Fires of Autumn," for flute and harp, at Tully Hall in New York, with flutist Carol Wincenc; 1981 - Ezra Laderman: String Quartet No. 6 ("The Audubon"), in New York City, by the Audubon Quartet; 1993 - Morten Lauridsen: "Les Chanson des Roses"(five French poems by Rilke) for mixed chorus and piano, by the Choral Cross-Ties ensemble of Portland, Ore., Bruce Brown conducting; 1994 - Broadway premiere of Sondheim: musical "Passion"; 1998 - James MacMillan: "Why is this night different?" for string quartet, at London's Wigmore Hall by the Maggini Quartet; Others 1738 - Handel is a founding subscriber to the "Fund for the Support of Decayed Musicians" (now the Royal Society of Musicians) at its first meeting at the Crown and Anchor Tavern in London; The fund was started after the widow and children of Handel's oboe soloist, John Kitch, were found impoverished on the streets of London; Other subscribers to the fund included the British composers Boyce, Arne, Green, and Pepusch (Gregorian date: May 4).

Synopsis On today’s date in 1862, an 18-year-old Russian named Nicolai Andreyevich Rimsky-Korsakov graduated as midshipman from the Russian Naval Academy and prepared for a two-year’s training cruise around the world. Nicolai’s uncle was an admiral and a close friend of the Czar, and in his autobiography Rimsky-Korsakov admits he, too, at first thought it might be a good idea—he loved reading travel books, after all. But then Rimsky-Korsakov was seduced by music. He'd made the acquaintance of the eminent Russian composers of his day, lost interest in a naval career, and dreamed of composing music himself. The young midshipman’s tour of duty did enable him to hear a lot of it and to sample opera performances in London and New York. But what made the biggest impression on the budding composer was the sky below the Equator. “Wonderful days and nights,” he wrote. “The marvelous dark-azure of the day would be replaced by a fantastic phosphorescent night. The tropical night sky over the ocean is the most amazing thing in the world.” It’s perhaps not too fanciful to believe that such impressions helped Rimsky-Korsakov develop into one of the most inventive and masterful painters of symphonic colors and instrumental effects. Music Played in Today's Program Olivier Messiaen (1908 – 1992) Turangalila Symphony Tristan Murail, Ondes Martenot; Philharmonia Orchestra; Esa-Pekka Salonen, cond. Sony 53473 On This Day Births 1881 - Russian composer Nikolai Miaskovsky, in the fortress of Novo-Georgiyevsk (now Modlin), Poland (Julian date: April 8); Deaths 1869 - German song composer Karl Loewe, age 72, in Kiel; Premieres 1910 - Ravel: "Ma Mère l'oye" (Mother Goose) for piano four-hands, in Paris, by two young female pianists, at the first concert of the newly-formed "Société musicale indépedante"; On the same program was the premiere of Gabriel Fauré's "Le Chanson d'Eve" with the composer at the piano; 1979 - George Perle: Concertino for Piano, Winds, and Timpani, by Morey Ritt and the Contemporary Chamber Players of the University of Chicago, Ralph Shapey conducting; 1983 - Thomas Oboe Lee: "Quartet on B-flat" for string quartet, at the Harvard Music Association in Beacon Hill, Mass., by the Manhattan String Quartet; 2001 - Danielpour: String Quartet, in Kansas City, Mo., by the American String Quartet; 2002 - Michael Torke: "Song of Isaiah"for voice and chamber ensemble, at the Milwaukee Art Museum by the Present Music Ensemble, with the composer conducting; Others 1759 - Burial of Handel in Westminster Abbey, London; 1928 - In Paris, the first public demonstration of an electronic instrument invented by Maurice Martenot called the "Ondes musicales"; The instrument later came to be called the "Ondes Martenot," and was included in scores by Milhaud, Messiaen, Jolivet, Ibert, Honegger, Florent Schmitt and other 20th century composers. Links and Resources On the "Ondes Martenot"

Synopsis On today’s date in 1862, an 18-year-old Russian named Nicolai Andreyevich Rimsky-Korsakov graduated as midshipman from the Russian Naval Academy and prepared for a two-year’s training cruise around the world. Nicolai’s uncle was an admiral and a close friend of the Czar, and in his autobiography Rimsky-Korsakov admits he, too, at first thought it might be a good idea—he loved reading travel books, after all. But then Rimsky-Korsakov was seduced by music. He'd made the acquaintance of the eminent Russian composers of his day, lost interest in a naval career, and dreamed of composing music himself. The young midshipman’s tour of duty did enable him to hear a lot of it and to sample opera performances in London and New York. But what made the biggest impression on the budding composer was the sky below the Equator. “Wonderful days and nights,” he wrote. “The marvelous dark-azure of the day would be replaced by a fantastic phosphorescent night. The tropical night sky over the ocean is the most amazing thing in the world.” It’s perhaps not too fanciful to believe that such impressions helped Rimsky-Korsakov develop into one of the most inventive and masterful painters of symphonic colors and instrumental effects. Music Played in Today's Program Olivier Messiaen (1908 – 1992) Turangalila Symphony Tristan Murail, Ondes Martenot; Philharmonia Orchestra; Esa-Pekka Salonen, cond. Sony 53473 On This Day Births 1881 - Russian composer Nikolai Miaskovsky, in the fortress of Novo-Georgiyevsk (now Modlin), Poland (Julian date: April 8); Deaths 1869 - German song composer Karl Loewe, age 72, in Kiel; Premieres 1910 - Ravel: "Ma Mère l'oye" (Mother Goose) for piano four-hands, in Paris, by two young female pianists, at the first concert of the newly-formed "Société musicale indépedante"; On the same program was the premiere of Gabriel Fauré's "Le Chanson d'Eve" with the composer at the piano; 1979 - George Perle: Concertino for Piano, Winds, and Timpani, by Morey Ritt and the Contemporary Chamber Players of the University of Chicago, Ralph Shapey conducting; 1983 - Thomas Oboe Lee: "Quartet on B-flat" for string quartet, at the Harvard Music Association in Beacon Hill, Mass., by the Manhattan String Quartet; 2001 - Danielpour: String Quartet, in Kansas City, Mo., by the American String Quartet; 2002 - Michael Torke: "Song of Isaiah"for voice and chamber ensemble, at the Milwaukee Art Museum by the Present Music Ensemble, with the composer conducting; Others 1759 - Burial of Handel in Westminster Abbey, London; 1928 - In Paris, the first public demonstration of an electronic instrument invented by Maurice Martenot called the "Ondes musicales"; The instrument later came to be called the "Ondes Martenot," and was included in scores by Milhaud, Messiaen, Jolivet, Ibert, Honegger, Florent Schmitt and other 20th century composers. Links and Resources On the "Ondes Martenot"

-H.P. Lovecraft connections! -Elmer Bernstein's score, including the Ondes Martenot and Yamaha DX7! -The soundtrack, including Ray Parker Jr.'s "Ghostbusters." -Promoting the movie! -Naming conventions! -Finance!   https://www.patreon.com/rossmaywriter   For 2020, patrons’ donations will be used to purchase toys for children at Victoria Hospital this Christmas.

Episode 7 Strange Sounds from the Movies 1931-1972     Title, Director, composer Country Year Track Instrument Story Alone (Odna), Grigori Kozintsev and Leonid Trauberg, music by Dmitry Shostakovich Russia 1931 “The Snowstorm” Theremin Perhaps the film sound film to incorporate a Theremin in its score. The audio for this part of the film has been lost but we have this reconstruction by Mark Fitz-Gerald based on Shostakovich's score. The work was recorded in 2006 and features Barbara Buchholz playing both tracks of Theremin. Le Roman D'un Tricheur (leh-ROH-mah deh TREE-shure)(The Story of a Cheater) by Sacha Guitry (GIE-tree), music by Adolphe Borchard France 1936 Short sequence while traveling on a train. Ondes Martenot Played by Ginette Martenot, sister of Maurice Martenot. Spellbound, Alfred Hitchcock, music by Miklós Rózsa (MICK-los ROSE-ah) US 1945 The dream sequence from the Spellbound suite. Theremin This recording was by Al Goodman and his orchestra and featured Hoffman, who was in the original soundtrack a year earlier. Note that there is a vocalist doubling the Theremin but at a higher octave. Spellbound, Alfred Hitchcock, Miklós Rózsa US 1945 The dream sequence from the Spellbound suite. Theremin For comparison, a recording from 1958 by Raymond John Heindorf and his orchestra. The fidelity is a little better on this track and the theremin is played without the added vocalist. The Day the Earth Stood Still, Robert Wise, music by Bernard Hermann US 1951 Gort / The Visor / The Telescope Theremin Samuel Hoffman again, on Theremin and a wonderful orchestral score by Hermann. The Day the Earth Stood Still, Robert Wise, music by Bernard Hermann US 1951 The Captive, Terror Theremin Here is Hermann again, with Hoffman on Theremin and a Hammond Novachord in the ending part. Forbidden Planet, Fred McLeod Wilcox, music by Louis and Bebe Barron US 1956 Main Title Handmade circuits The Barrons had their own private studio for making electronic sounds and music for television, commercials, and motion pictures. Forbidden Planet, Fred McLeod Wilcox, music by Louis and Bebe Barron US 1956 Battle with the Invisible Monster Handmade circuits See above Forbidden Planet, Fred McLeod Wilcox, music by Louis and Bebe Barron US 1956 Ancient Krell Music Handmade circuits See above Music from One Step Beyond, music by Harry Lubin US 1960 Fear Trautonium The instrument had ribbon controllers to make the gliding notes entirely possible and measure against notes of the scale so that the musician could hit his notes accurately. Raumpatrouille - Space Patrol – The Fantastic Adventures of the Spaceship Orion, Theo Mezger and Michael Braun, music by Peter Thomas Germany 1966 Outside Atmosphere Siemens "ThoWiephon" Thomas created a musical instrument called "ThoWiephon.” It was a small, upright device with 12 oscillators and a three-octave keyboard. Girl on a Motorcycle, Jack Cardiff, music by Les Reed UK 1968 Dream Tape composition Electronic music composition for this film starring Marianne Faithful was credited as being made at Shepperton and Putney. Girl on a Motorcycle, Jack Cardiff, music by Les Reed   UK 1968 Surrender to a Stranger Tape composition, oscillators As above. Sebastian, David Greene, music by Jerry Goldsmith and Tristram Cary. UK 1968 Sputnick Code Tape composition The only contribution to this soundtrack not credited to Jerry Goldsmith was this number by Tristram Cary, a British composer with his own electronic music studio.   Lawrence of Arabia, David Lead, music by Maurice Jarre UK 1962 That is the Desert Ondes Martenot Here we have two of Jarre's uses of the Ondes Martenot, the first to provide atmosphere for a desert scene and the second a rendering of the title theme on the electronic instrument. Lawrence of Arabia, David Lead, music by Maurice Jarre UK 1962 Lawrence and the Bodyguard Ondes Martenot As above. Billion Dollar Brain, Ken Russell, music by Richard Rodney Bennett US 1967 Anya 2 Ondes Martenot Richard Rodney Bennett composed the music that included passages played on the Ondes Martenot. The Heart is a Lonely Hunter, Robert Ellis Miller, music by Dave Grusin US 1968 Married People Ondioline Dave Grusin arranged this tune for the Ondioline, a monophonic electronic organ invented in 1948. The Name of the Game is Kill, Gunnar Hellström, music by Stu Phillips US 1968 Main Title Moog Modular Synthesizer Stu Phillips employed Paul Beaver to overdub tracks of the Moog Modular synthesizer onto music recorded with other instruments. On Her Majesty's Secret Service US 1969 James Bond Theme Moog Modular Synthesizer Working with composer John Barry, Phil Ramone produced this part for the Moog and played the synthesizer in real-time with the orchestra. Follow Me, Gene McCabe, music by Stu Phillips US 1969 Hawaii—Waimea-Straight Down Tape composition, multi-instrumental mix Another track by Stu Phillips for this surfing movie. Andromeda Strain, The, Robert Wise, music by Gil Melle., US 1971 The Piedmont Elegy Percussotron and tape composition Gil Melle and his Percussotron. There is a delightful promotional video of him demonstrating the Percussotron on YouTube. Andromeda Strain, The, Robert Wise, music by Gil Melle. US 1971 Strobe Crystal Green Percussotron and tape composition As above. Sacco and Vanzetti, Giuliano Montaldo, music by Ennio Morricone Italy 1971 La Sedia Elettrica Synket Music by Ennio Morricone using the Synket, a small tabletop synthesizer.   Solaris, Andrey Tarkovsky, music by Eduard Artemiev US 1972 Movement 2 ANS photoelectronic synthesizer Eduard Artemiev used the ANS synthesizer, a photoelectronic musical instrument created by Russian engineer Evgeny Murzin from 1937 to 1957. Solaris, Andrey Tarkovsky, music by Eduard Artemiev US 1972 Movement 14 ANS photoelectronic synthesizer As above.     This episode's Archive Mix in which I play two tracks at the same time to see what happens:   Track 1: Sim Gets Hit from The Name of the Game is Kill, by Stu Phillips. Track 2: The Summer House from Girl on a Motorcycle, electronic sound effects created at the Putney studios in London.  

durée : 00:07:15 - La chronique de Djubaka - Djubaka en professeur de musique raconte l'histoire de cet instrument de musique électronique, inventé par Maurice Martenot.

My guest today is Kevin White a Nashville based musician, audio engineer, musicologist, film composer, and audio educator.   As an audio engineer, Kevin has worked with national corporate clients, films, radio, rock bands and gained a reputation for his retro-futurist aesthetics. He has taught classes on mixing and lo-fi production techniques. Kevin is a voting member of the recording academy and works full-time for the audio production college, SAE Institute. A notable milestone in Kevin's career has been his contributions to the NASA Apollo Flight Journal. His musicology and audio restoration work has contributed to the preservation of American/space flight history as well as expanding the frontiers of musicology.   Kevin was part of the newly-released documentary film Teslafy Me (2019) which presents the history of renewable energy and the authentic story of Nikola Tesla from the perspective of his Balkan homeland. As the film's composer and sound supervisor Kevin specifically used sounds from Tesla's lifetime.  He mixed the instrumentation of an old fashioned Serbian string band with early electronic instruments from the era including the: Theremin, Ondes Martenot, Hammond Novachord, and Hammond Solovox. He also used source samples of vintage equipment including electric arcs, Tesla Coils, and a Bell Labs Voder, in order to create a unique sonic signature for the film. Thanks to our sponsors! OWC: Other World Computing: https://www.OWC.com JZ Microphones: https://usashop.jzmic.com Spectra1964: https://www.spectra1964.com Presonus Studio One: https://www.presonus.com API Audio: http://www.apiaudio.com/ RSR Academy: http://RSRockstars.com/Academy Want to learn more about mixing? Get Free mix training with Lij at: http://MixMasterBundle.com Hear more on Youtube If you love the podcast, then please Leave a review on iTunes here CLICK HERE FOR SHOW NOTES AT: http://RSRockstars.com/254

On arrive déjà à notre dernière transmission pour cette neuvième saison sur les ondes de Radio Campus Paris et, par complaisance et un léger manque d'inspiration, on s'est dit qu'une nouvelle émission en mode balek ne pouvait pas mieux résumer les neuf derniers mois fondamentalement chaotiques qui ont bousculé nos habitudes et nous ont poussé à innover, un peu, et improviser, souvent. On fouille donc dans les rebuts de précédentes émissions, parmi quelques sorties récentes, et revenons aussi vers des morceaux qui n'ont pas eu leur place ailleurs depuis septembre dernier pour vous offrir une playlist personnelle et riche qui célèbre l'entropie, et sera probablement l'une des seules à conjuguer l'accordéon, l'intelligence artificielle, la prose midlandaise de l'est et les ondes Martenot en un bordel organisé qui se solde par un final angoissant accéléré artificiellement à cause d'un pur manque d'anticipation. Comme l'année dernière, on vous invite à nous contacter par ICI si jamais vous souhaitez complétez l'équipe d'Amplitudes qui n'est jamais trop étoffée, à la condition que vous puissiez supporter nos choix musicaux dénués de sens et notre absence de ligne éditoriale que personne ne nous reproche jamais vu qu'on diffuse en fin de programmation. Bonne écoute, bonnes vacances, et rendez-vous en septembre. Tracklist : Ben Lukas Boysen - Clarion (Mirage, 2020) The Soft Pink Truth - Sinning (Shall We Go on Sinning So That Grace May Increase?, 2020) Emptyset - Axil (Blossoms, 2019) Christine Ott - Todeslied (Chimères (pour Ondes Martenot), 2020) Igorrr - Musette Maximum (Spirituality and Distortion, 2020) Scorn feat. Jason Williamson - Talk Whiff (Café Mor, 2019) Roger Eno and Brian Eno - Celeste (Mixing Colours, 2020) Roly Porter - An Open Door (Kistvaen, 2020) Gastón Arévalo - Sur les Traces des explorateurs (Terrain, 2020) ASC - Dyad (Realm of the Void, 2019) Automatisme - Alter-Scape 7 (Alter-, 2020) Slow Reels - Miya (Farewell Islands, 2020) Photo : The Boat that Rocked, Richard Curtis (2009)

On arrive déjà à notre dernière transmission pour cette neuvième saison sur les ondes de Radio Campus Paris et, par complaisance et un léger manque d'inspiration, on s'est dit qu'une nouvelle émission en mode balek ne pouvait pas mieux résumer les neuf derniers mois fondamentalement chaotiques qui ont bousculé nos habitudes et nous ont poussé à innover, un peu, et improviser, souvent. On fouille donc dans les rebuts de précédentes émissions, parmi quelques sorties récentes, et revenons aussi vers des morceaux qui n'ont pas eu leur place ailleurs depuis septembre dernier pour vous offrir une playlist personnelle et riche qui célèbre l'entropie, et sera probablement l'une des seules à conjuguer l'accordéon, l'intelligence artificielle, la prose midlandaise de l'est et les ondes Martenot en un bordel organisé qui se solde par un final angoissant accéléré artificiellement à cause d'un pur manque d'anticipation. Comme l'année dernière, on vous invite à nous contacter par ICI si jamais vous souhaitez complétez l'équipe d'Amplitudes qui n'est jamais trop étoffée, à la condition que vous puissiez supporter nos choix musicaux dénués de sens et notre absence de ligne éditoriale que personne ne nous reproche jamais vu qu'on diffuse en fin de programmation. Bonne écoute, bonnes vacances, et rendez-vous en septembre. Tracklist : Ben Lukas Boysen - Clarion (Mirage, 2020) The Soft Pink Truth - Sinning (Shall We Go on Sinning So That Grace May Increase?, 2020) Emptyset - Axil (Blossoms, 2019) Christine Ott - Todeslied (Chimères (pour Ondes Martenot), 2020) Igorrr - Musette Maximum (Spirituality and Distortion, 2020) Scorn feat. Jason Williamson - Talk Whiff (Café Mor, 2019) Roger Eno and Brian Eno - Celeste (Mixing Colours, 2020) Roly Porter - An Open Door (Kistvaen, 2020) Gastón Arévalo - Sur les Traces des explorateurs (Terrain, 2020) ASC - Dyad (Realm of the Void, 2019) Automatisme - Alter-Scape 7 (Alter-, 2020) Slow Reels - Miya (Farewell Islands, 2020) Photo : The Boat that Rocked, Richard Curtis (2009)

On arrive déjà à notre dernière transmission pour cette neuvième saison sur les ondes de Radio Campus Paris et, par complaisance et un léger manque d'inspiration, on s'est dit qu'une nouvelle émission en mode balek ne pouvait pas mieux résumer les neuf derniers mois fondamentalement chaotiques qui ont bousculé nos habitudes et nous ont poussé à innover, un peu, et improviser, souvent. On fouille donc dans les rebuts de précédentes émissions, parmi quelques sorties récentes, et revenons aussi vers des morceaux qui n'ont pas eu leur place ailleurs depuis septembre dernier pour vous offrir une playlist personnelle et riche qui célèbre l'entropie, et sera probablement l'une des seules à conjuguer l'accordéon, l'intelligence artificielle, la prose midlandaise de l'est et les ondes Martenot en un bordel organisé qui se solde par un final angoissant accéléré artificiellement à cause d'un pur manque d'anticipation. Comme l'année dernière, on vous invite à nous contacter par ICI si jamais vous souhaitez complétez l'équipe d'Amplitudes qui n'est jamais trop étoffée, à la condition que vous puissiez supporter nos choix musicaux dénués de sens et notre absence de ligne éditoriale que personne ne nous reproche jamais vu qu'on diffuse en fin de programmation. Bonne écoute, bonnes vacances, et rendez-vous en septembre. Tracklist : Ben Lukas Boysen - Clarion (Mirage, 2020) The Soft Pink Truth - Sinning (Shall We Go on Sinning So That Grace May Increase?, 2020) Emptyset - Axil (Blossoms, 2019) Christine Ott - Todeslied (Chimères (pour Ondes Martenot), 2020) Igorrr - Musette Maximum (Spirituality and Distortion, 2020) Scorn feat. Jason Williamson - Talk Whiff (Café Mor, 2019) Roger Eno and Brian Eno - Celeste (Mixing Colours, 2020) Roly Porter - An Open Door (Kistvaen, 2020) Gastón Arévalo - Sur les Traces des explorateurs (Terrain, 2020) ASC - Dyad (Realm of the Void, 2019) Automatisme - Alter-Scape 7 (Alter-, 2020) Slow Reels - Miya (Farewell Islands, 2020) Photo : The Boat that Rocked, Richard Curtis (2009)

a cura di Alessandro Achilli. Musiche di Aimee Mann, Olivier Messiaen, Dave Stewart & Barbara Gaskin, Francis Poulenc, Tom Cora, Ululating Mummies, Hobo (seconda parte)

a cura di Alessandro Achilli. Musiche di Aimee Mann, Olivier Messiaen, Dave Stewart & Barbara Gaskin, Francis Poulenc, Tom Cora, Ululating Mummies, Hobo (seconda parte)

durée : 00:06:27 - Musique connectée du mardi 17 septembre 2019 - par : Suzanne Gervais - L'entreprise Expressiv E vient de créer l'instrument numérique "Touché", assez proche des Ondes Martenot. Suzanne Gervais l'a testé pour nous !

It was always going to happen eventually, and finally we are covering a Radiohead song on RE:Production. Josh is joined by his lovely girlfriend Georgia to talk about "The National Anthem" from their album "Kid A". In this episode we cover metallic, resonant reverbs, Ondes Martenot and making music with portable radios.You can follow the podcast on all social medias @reproductionpodAnd you can support the show on patreon by going to patreon.com/reproductionpod

New music for ondes martenot, midi controller, piano and electronics.

New music for ondes martenot, midi controller, piano and electronics.

Leading Ondes Martenot player Cynthia Millar talks about her extraordinary electronic instrument and its repertoire, from Messiaen to Adés

Theremin player Carolina Eyk (GER), exploratory violinist Erkki Veltheim (Aus), 'Long String Instrument' inventor Ellen Fullman (US), improvising percussionist Will Guthrie (Aus/FR), composer-performer Anthony Pateras (Aus), The Overtone Ensemble (Aus), Ondes Martenot player Nadia Ratsimandresy (FR), post-classical chamber group Hinterlandt (Aus) and improvising trumpeter Scott Tinkler (Aus).

Theremin player Carolina Eyk (GER), exploratory violinist Erkki Veltheim (Aus), 'Long String Instrument' inventor Ellen Fullman (US), improvising percussionist Will Guthrie (Aus/FR), composer-performer Anthony Pateras (Aus), The Overtone Ensemble (Aus), Ondes Martenot player Nadia Ratsimandresy (FR), post-classical chamber group Hinterlandt (Aus) and improvising trumpeter Scott Tinkler (Aus).

Première partie de notre série d'épisodes sur l'histoire de la musique électronique. On s'attarde ici sur la première moitié du 20e siècle (1920-1960) en parlant des premières avancées technologiques dans le domaine ainsi que d'électroacoustique, sujet du prochain épisode.   John Cage / Imaginary Landscape Piotr Ilitch Tchaïkovsky / Sérénade mélancolique pour piano et Theremin Olivier Messiaen / Oraison pour 5 Ondes Martenot Edgar Varèse / Ecuadorial Herbert Eimert / Klangstudie II Lejaren Hiller / Illiac Suite for String Quartet (Parties 1 et 2)

Filmmaker Caroline Martel is the producer and director of Wavemakers, a documentary about the Ondes Martenot, an electronic musical instrument invented in France in the 1920’s. Her documentary traces the unusual history of the instrument and its enthusiasts from its creation through to the present. (photo: N. Corre)