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DOCKSTADER, TOD & JAMES REICHERT — Omniphony 1
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Omniphony 1 ist die Neuauflage der gleichnamigen, 1966 auf OWL Records erschienenen LP. 1963 komponierte Tod Dockstader eine Reihe von Tonbandstcken, cells, bestehend aus natrlichen Klangquellen (Glocken, menschliche Stimmen etc.) und elektronischen Klngen (z.B. Oszillatoren). Der Filmkomponist James Reichert (1932 1995) entwarf, der Klangintention der cells entsprechende Orchesterstcke, sogenannte inparts, die anschlieend nochmals durch Filter und Ringmodulatoren gejagt wurden, um den instrumentalen Klangumfang und die Dynamiken zu verndern. Die
anschlieende Re-Komposition zeitigte ein sehr homogen angelegtes Ergebnis, das auch heute noch in Erstaunen versetzt. Elekronisches umschwirrt reiend und manchmal ein bischen frech die moog-manipulierten Blsergruppen. Stndige Wechsel der Dynamik verwirren die Fden der Klnge so weit, dass Elektronik und konkreter Instrumentalklang jeweils mit der Sprache des anderen zu sprechen scheinen. So wirken manche Stellen glatt wahnwitzig: wenn die kammermusikalischen inparts im Zusammenspiel mit Dockstaders
pr-Industrial-elektronischen cells eher Hollywood denn Donau-Eschingen beschwren, werden Bereiche des Grotesken befhlt. Das ist nicht schlimm, sondern erzhlt vielmehr von der Besessenheit mit der echte Freaks am Werke waren, um in einem Jahr 100.000 Fu an Tapematerial zu bearbeiten. Als Bonusmaterial gibt es Dockstaders Study no.7 (1961) in einer Stereoversion, sowie seine dringliche Past prelude von 1990. //
Omniphony 1 is the rerelease of the OWL-LP from 1966. In 1963, Tod Dockstader composed a set of taped sounds which he called cells consisting of natural sounds (bells, wind, voice) and electronically sounds (as from oscillators, recording circuitry, etc.). James Reichert (1932 1995) composed a series of orchestrated parts which were based upon the sound intention of Dockstaders cells. Those inparts were transmuted using R.A. Moog music processing equipment to change the instrumental ranges and dynamics. With the following re-composition they produced a very homogeneous result wich is today still amazing. Electronically sounds pungent and sometimes a kind of saucy are flowing through a moog-manipulated brass group. The permanent changing of dynamics entangles the sounds. It seems that electronic and concrete instruments have particular swapped their very own sound. So some parts might have a strange atmosphere: when the chamber music -like inparts together with Dockstaders pr-industrial-electronically cells evoke Hollywood more than Donau-Eschingen it is getting grotesque. But it is cool, because it tells from the truly obsessive fashion of two music freaks who edited and mixed down over 100.000 feet oftapes for that release. Further bonus tracks are Dockstaders study no.7 (1961) in a stereo version and his past prelude from 1990." [Peter Schlewinski for Drone Records]
"In the early 1960's Tod Dockstader was a young maverick composer of electronic 'organised sound', and James Reichert a film composer and music supervisor. They met in New York in 1963, and launched one of the most extraordinary collaborations in modern music, a unique attempt to integrate electronic sounds and the classical orchestra. Unlike Varese's Deserts, and Stockhausen's Kontakte, it does not merely have the orchestra play along with a tape, or even process orchestral sounds live. What makes this project unique is that the orchestra was transformed by electronic processes at a fundamental level, and organically fused with the purely electronic sounds. The completed work is a bizarre blend of Dockstader's fundamentally intuitive approach to sound, and Reichert's more conservatoire-based feeling for melody and orchestration. It often sounds like an unlikely collaboration between Stravinsky and Frank Zappa in avant garde mode, or Stockhausen and his alter-egos, Stock, Hausen and Walkman. Its not simply an important historical document, but an intriguing and entirely convincing listen; a truly extraordinary combination of electronic and orchestral textures, in which the orchestra seems to have been drenched in Technicolor, and dragged through a cartoon sound studio." [label
info]
anschlieende Re-Komposition zeitigte ein sehr homogen angelegtes Ergebnis, das auch heute noch in Erstaunen versetzt. Elekronisches umschwirrt reiend und manchmal ein bischen frech die moog-manipulierten Blsergruppen. Stndige Wechsel der Dynamik verwirren die Fden der Klnge so weit, dass Elektronik und konkreter Instrumentalklang jeweils mit der Sprache des anderen zu sprechen scheinen. So wirken manche Stellen glatt wahnwitzig: wenn die kammermusikalischen inparts im Zusammenspiel mit Dockstaders
pr-Industrial-elektronischen cells eher Hollywood denn Donau-Eschingen beschwren, werden Bereiche des Grotesken befhlt. Das ist nicht schlimm, sondern erzhlt vielmehr von der Besessenheit mit der echte Freaks am Werke waren, um in einem Jahr 100.000 Fu an Tapematerial zu bearbeiten. Als Bonusmaterial gibt es Dockstaders Study no.7 (1961) in einer Stereoversion, sowie seine dringliche Past prelude von 1990. //
Omniphony 1 is the rerelease of the OWL-LP from 1966. In 1963, Tod Dockstader composed a set of taped sounds which he called cells consisting of natural sounds (bells, wind, voice) and electronically sounds (as from oscillators, recording circuitry, etc.). James Reichert (1932 1995) composed a series of orchestrated parts which were based upon the sound intention of Dockstaders cells. Those inparts were transmuted using R.A. Moog music processing equipment to change the instrumental ranges and dynamics. With the following re-composition they produced a very homogeneous result wich is today still amazing. Electronically sounds pungent and sometimes a kind of saucy are flowing through a moog-manipulated brass group. The permanent changing of dynamics entangles the sounds. It seems that electronic and concrete instruments have particular swapped their very own sound. So some parts might have a strange atmosphere: when the chamber music -like inparts together with Dockstaders pr-industrial-electronically cells evoke Hollywood more than Donau-Eschingen it is getting grotesque. But it is cool, because it tells from the truly obsessive fashion of two music freaks who edited and mixed down over 100.000 feet oftapes for that release. Further bonus tracks are Dockstaders study no.7 (1961) in a stereo version and his past prelude from 1990." [Peter Schlewinski for Drone Records]
"In the early 1960's Tod Dockstader was a young maverick composer of electronic 'organised sound', and James Reichert a film composer and music supervisor. They met in New York in 1963, and launched one of the most extraordinary collaborations in modern music, a unique attempt to integrate electronic sounds and the classical orchestra. Unlike Varese's Deserts, and Stockhausen's Kontakte, it does not merely have the orchestra play along with a tape, or even process orchestral sounds live. What makes this project unique is that the orchestra was transformed by electronic processes at a fundamental level, and organically fused with the purely electronic sounds. The completed work is a bizarre blend of Dockstader's fundamentally intuitive approach to sound, and Reichert's more conservatoire-based feeling for melody and orchestration. It often sounds like an unlikely collaboration between Stravinsky and Frank Zappa in avant garde mode, or Stockhausen and his alter-egos, Stock, Hausen and Walkman. Its not simply an important historical document, but an intriguing and entirely convincing listen; a truly extraordinary combination of electronic and orchestral textures, in which the orchestra seems to have been drenched in Technicolor, and dragged through a cartoon sound studio." [label
info]