Podcast appearances and mentions of robert worby

Episode 91 The Silent Episode Playlist Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist's collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn't feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24 John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50 John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04 John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58 Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27 Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41 MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50 Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26 Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53 Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38 Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02 Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35 Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39 Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57 Opening background music: Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). 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.  

LICHT, the vast opera cycle composed by Karlheinz Stockhausen between 1977 and 2004 is an enigma, and composer and broadcaster Robert Worby goes on a personal journey to find out why it divides critics and audiences. Stockhausen was the most gifted composer of the post-war European avant-garde. In the 1950s, his early works - including some of the first electronic music created - confirmed his genius. But LICHT wasn't so warmly received. In LICHT Stockhausen wrote an opera cycle for the new millennium, bewildering in scale, and frequently baffling for audiences, but containing music as challenging as anything that he'd written. The seven operas, each named after a day of the week, total more than 28 hours. It took Stockhausen 26 years to compose them, and amazingly its musical architecture derives from a three minute 'Super-formula' inspired on a trip to Japan. Robert Worby speaks with Stockhausen's family, life partners, critics, scholars and interpreters, who candidly put this extraordinary achievement in the context of his life and work. Producer Andrew Carter - A Radio Cumbria Production for BBC Radio 3 Photo - Rolando Paolo Guerzoni - Stockhausen May 2003 Teatro Comunale di Modena.

Esta semana intentamos ponernos al día y nos ponemos a abrir novedades que se nos quedan atrasadas poco a poco. Escucharemos a Stereo Hypnosis & Christopher Chaplin, Robert Worby, Station 17, Siavash Amini y terminaremos nuestra primera hora de Atmósfera con lo nuevo de Rival Consoles y un repaso a su anterior trabajo “Persona”. Nuestra segunda hora de programa la ocuparán los sonidos más de pista. Tendremos una hora de Atmósfera Expansiva con Atmósfera en cabina. Escuchar audio

John Cage is arguably the most important composer of the 20th century, even though he's perhaps famous, or infamous depending on your point of view, for writing a piece of music that is 4'33" of silence. Famous because it made his reputation - after all composers write music not silence – and infamous because not unsurprisingly, it's outraged, perplexed and fascinated audiences since its premiere in 1952. Cage though was deadly serious about his silent piece, and Robert Worby goes on an odyssey to find out what Cage thought silence was, and why silence was central to his life and work. Robert goes to the quietest place in the UK - so quiet you can't hear a pin drop - to experience what John Cage did, when he entered an anechoic chamber in the 50s in search of silence. But it's not as straightforward as you might think, as Robert discovers Cage didn't find the silence he was seeking, and instead found something even more surprising. The key to understanding 4'33”, and Cage's fascination with silence, is his interest in the discipline of Zen Buddhism, which unlocked a whole new world of hearing sound that he charted through chance operations. It led to a meeting of like minds when Cage met Yoko Ono in New York who instantly saw the Zen influence on his work. In 1962 Ono and her husband, Toshi Ichiyanagi, invited Cage to visit Japan - his Zen spiritual homeland - a trip that later became known as the ‘Cage Shock'. It was a turning point in his career whose ground breaking performances sealed his reputation as the most controversial and experimental composer in the world. The programme features two UK premieres on Radio 3, an interview Robert recorded with John Cage when he met the composer in NYC in the 80s after finding his number in the phone book, and Cage reading his Lecture on Nothing, his enigmatic musing on silence. Produced by Andrew Carter - A BBC Radio Cumbria Production. Photograph of D.T.Suzuki and John Cage meeting in Japan 1962, courtesy of the John Cage Trust.

The unknown tale of cold war communist Poland's unlikely love affair with electronic music. Robert Worby finds out Warsaw was a beacon of musical freedom behind the iron curtain. It was here that the remarkable Polish Radio Experimental Studio was established in 1957, and this was the first electronic music studio in the Eastern Bloc and the fourth in Europe. This futuristic facility was at the cutting edge of modern music, and was a serious rival for existing studios in Paris, Milan, and Cologne in the West. But at a time when contemporary music was viewed with deep suspicion in the satellite states of the Soviet Union, and Warsaw itself had been destroyed during WWII, a shiny new electronic music studio hardly looked like a priority. But when Stalin's murderous legacy was condemned by the new Soviet leadership in 1956, a loosening of the Eastern European communist stranglehold began. Uniquely in Poland the church and intellectuals struck an unparalleled bargain with the Polish authorities, allowing each to rub along with the other, as long as they agreed to keep their nose out of one another's business. This suited the Communist People's Polish Republic who were keen to distance themselves from Moscow, and supporting the Polish Radio Experimental Studio helped promote a positive image of what appeared to be a progressive society, not only to itself, but to the world. Now a new generation of Poles have re-discovered the rich musical archive of the Polish Radio Experimental Studio, that created the sounds of the future, not in spite of, but because of the complex postwar history of the People's Polish Republic. A BBC Radio Cumbria Production for BBC Radio 3. Presented by Robert Worby and produced by Andrew Carter. Photo of Eugeniusz Rudnik ©Museum of Modern Art in Warsaw https://culture.pl/en/gallery/the-polish-radio-experimental-studio-image-gallery 15 Corners of the World https://ninateka.pl/film/15-stron-swiata-zuzanna-solakiewicz

Robert Worby on how post-war German radio and new music were conscripted to fight the cultural cold war, juggling political, economic and cultural forces outside of their control.

Donald Macleod and Robert Worby explore the life and music of Karlheinz Stockhausen

Robert Worby's selected seismic moment in new music is the first performance of John Cage's controversial 4'33" and its impact on performers and audiences ever since.The story of new music is peppered with events that have altered the course of musical history. For our New Year New Music season, we asked five Radio 3 presenters to each tell the story of one of these "seismic moments". From silence and ambient sounds to riot and revolution, these intriguing events have, in different ways, changed the progress of sound and culture - or, as one of our five suggests, have they?Written and read by Robert Worby Produced by Elizabeth Allard.

Institute of Musical Research Brian Ferneyhough talks with Robert Worby at the Huddersfield Contemporary Music Festival, November 2013 Supported by Institute of Musical Research, Huddersfield Contemporary Music Festival Executive Producer: Pau...

As NASA's rover Curiosity conducts its mission on Mars, Samira Ahmed presents a special programme on the Red Planet. To plot a course through the clouds of theology, astronomy and pure speculation, Samira is joined by the science writer Marcus Chown, theoretical physicist Lawrence M. Krauss, and one of Radio 3's New Generation Thinkers, Josh Nall - a science historian from Cambridge University. They're joined on board by the writers Francis Spufford, Liz Williams and Sophia McDougall who'll dissect the fictional record of our involvement with Mars. And sound artist and broadcaster Robert Worby ponders the planet's influence on musicians and composers.

Composer and Hear and Now presenter Robert Worby singles out V of IV, an early electronic work by American pioneer Pauline Oliveros; author and journalist Rob Young provides the background to this period of her work, and we also hear from the composer herself.