Montag, 31. August 2020

Ist gar nicht schlimm, 75 zu werden. Viel schlimmer, wenn man's nicht wird.

Welcome to the club, Van the Man !

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Sonntag, 21. Juni 2020

Lesen & Hören (6)

Es ist nicht einzusehen, warum der Hörer so viel weniger üben soll als der Musiker.(Peter Sloterdijk)


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Donnerstag, 14. Mai 2020

kurz & knapp XLIV

Früher haben die Kinder ihre Eltern mit Rock-Musik genervt, heute ist es umgekehrt.

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Mittwoch, 13. Mai 2020

From "The KS Circle" # 38 ... (Nostalgic recollection, pt. 24)

In 1999, a friend wanted to put together a CD-Box for an American label that should include the pioneers of Electronic Music, those who were influential and important for this genre. He asked for my opinion. I answered in length, and my choices were this:
From the names you give I would select with my well-known strictness :-)
Stockhausen's "Gesang der Jünglinge" (tell the people that this was it, maily. 96% of what else he did, is NOT electronic or even electric. Besides, this track didn't influence the young people but it only shocked some of the older, "serious" academic people who didn't and never will have any influence on the young music scene. When "Gesang der Jünglinge" came out, the youngsters were listening to Belafonte, Elvis (four No.1 singles and two No.1 albums in the USA in that one year), The Platters, Fats Domino, Chuck Berry, Lonnie Donegan's "Rock Island Line", Bill Haley, Gene Vincent, Johnny Ray, ...and to a certain Pat Boone.

Eno (an early track. If he ever would have made it without the immense & flashy "Roxy Music" fame?

Tangerine Dream's second or third album. Zeit or Alpha Centauri is a good choice.

Kraftwerk. An earlier track than "Robots".

Edgar Varèse.

Pierre Henry. I saw and heard him recently, also his new CD. He's stuck deeply in the fifties. Each of today's teenage Techo DJ makes better "electronic". But Henry's early collaboration with a pop group were of some influence, at least then. I think the group was "Spooky Tooth".

Walter Carlos of course. In my humble opinions it all started with him in the late sixties. Before, “electronic music” or “synthesizers” did not exist in peoples’ minds. Try to get his "Timesteps," said KS.

Morton Subotnick "Silver Apples on the Moon".

Ussachevsky. A fifties' title as example for all the academics who did similar experiments at the universities in Princetown, Paris, Utrecht, and Leningrad.

Tonto's Expanding Head Band.

Schulze (an early track, from "Irrlicht" for instance. He was indeed the only one who seriously und totally experimented with electronic sounds since the early seventies and outside & beyond the "serious" academic circles ... who did not stop, and who influenced all those synthesizer one-man-shows who came up in the late seventies, and still :-)

Beaver & Krause.

White Noise. "Electric Storm" (1969) was a widely known and influencial album.

Mort Garson (plenty of popular and strictly electronic albums).

...and that's all that comes spontaneously to my mind. Some of the names from your list are new to me (probably just known in the USA?), some I would place in the eighties, and some are better known for doing this or that, but they were of no "electronic" influence. The "Theremin" or the "Trautonium" come to my mind, they are still (for 60 years now) just novelties, funny inventions that had and still have no influence whatsoever. It's just that journalists mention these strange looking & sounding, unique instruments again and again. After all, it's a headline and a story the sensation of a two-headed dog :-) It doesn't belong into a serious sampler.

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Freitag, 7. Februar 2020


»Die einen machen die Musik, die anderen verstehen sie.« (Beda Venerabilis, 672-735)

»... so bewirkt die Musik einen guten Charakter, indem dieser sich gewöhnt, an musikalischer Beschäftigung rechte Freude zu empfinden.«(Albertus Magnus, um 1200-1280)

»Der vollkommene Musikgenuss besteht daher im vollkommenen Musikverstehen.« (Johannes Tinctoris, 1435-1511)

»Das Nachdenken über Musik fördert auch heute noch das Verständnis der Kunst, der Welt, der Menschen. Die Musik betrifft nicht nur den Bereich der Emotionen!« (zeitloser Appell)

»Ob-la-di, ob-la-da, life goes on« (a British beat combo,1968)

»Was ist ein Synthesizer?« (fragt ein Radio-Journalist 1975 Klaus Schulze)

»Ich mache elektronische Musik.«(sagt 1998 die Schlagersängerin 'Blümchen', geboren 1980)

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Samstag, 1. Februar 2020


Kaiser Franz I. war überhaupt ein sehr leutseliger Herr. Einmal hörte er zu, als Beethoven auf dem Klavier spielte; nach dem Konzert ließ er sich den Künstler kommen, klopfte ihm auf die Schulter und sprach: "Herr Kapellmeister, Sie sind ja ein Tausendsassa!" (Victor Auburtin, 1923)

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Sonntag, 26. Januar 2020

Gerade wiedergehört...

...nach sechzig Jahren: "(Night Time is) The Right Time" von Ray Charles (& Margie Hendricks and the Raelettes). Mehr oder weniger der Beginn meines doch sehr starken Interesses für eine "sehr interessante" Musik, ...aber auch "Early in the Morning" und "Worried Life Blues" aus der gleichen Zeit... und so manches andere...

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Sonntag, 13. Oktober 2019


... fragt man sich beklommen, ob es im Bezirk großer Musik überhaupt so etwas wie Fortschritt gibt.
.(Joachim Kaiser)

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Freitag, 20. September 2019

Ausmusterung (CDs) No. 2

9 x "The Tiger Lillies" (muss man auf 'ner Bühne SEHEN ! )
4 x "Paris Combo" (zufällig im Radio gehört & gefallen; dann aber nie wieder angehört)
3 x Tierney Sutton (ihre Version von "Blue in Green" hatte mir mal gefallen. Nun ja...)
2 x Eva Cassidy (nett. Aber nicht mehr)

Die werden heute in der benachbarten Kleingartenkolonie "zum Mitnehmen" hinterlassen. Wir nehmen uns dann wieder die dort jeden Herbst kostenlos feilgebotenen Tüten mit Äpfeln, etc. Für die typischen Datscha-Bewohner ist's wohl nicht das richtige (sehr speziell: Tiger Lillies!), da radeln aber auch andere Menschen durch. Und Spaziergänger sowieso.

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Mittwoch, 11. September 2019

Breath and Mouth & Hand and Fingers

For centuries, music was made (beside the brain) always with the help of the breath and mouth (singing, blowing, whistling) and with hand and fingers (touching, knocking, pressing. plucking).
. . . . Now, after many thousands of years, it's only the human brain that sets the patterns to a machine, a computer. Maybe that's the reason why electronic music has sceptic critics; no one can actually SEE what the artist does. That's why some 'modern' composers give (and need) a lot of explanations to explain their music.
. . . . There is no immediate activity anymore, no sweat, no jitters, no tension and no fear because of playing a wrong note, of missing a cue, of a broken string. (Dance music is another topic or branch. I just speak of music for the ears, for the pure listening and entertaining).
. . . . Compare this with sports (e.g. soccer or snooker), and more & very clearly at car race, boxing, gladiatorial combats, or just "America's [Britain's] Got Talent" ("Deutschland sucht den Superstar"). The spectators always wait for something happen, they don't want to SEE the normal, the banal. They crave for emotions. And other people's (artists, actors...) obvious and visibly exhibited joy or their suffering offer exactly this desired little sensation.
. . . . That's why I can cry when listening to a certain music, even when I'm alone at home.

(From The KS Circle 256, January 2019)

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