In the mid-1960s, as pop music acquired a greater sophistication and maturity, artists began to make more ambitious musical and conceptual statements. In the search for new ideas, pop began to find inspiration along the spectrum of classical music - from Stockhausen to Sibelius - and from artists who inhabited the outer reaches of jazz, drawing even on the classical music of Northern India with it's roots in the antique past. The albums produced by The Beatles at their creative peak; Rubber Soul, Revolver and Sgt. Pepper; almost everything by The Mothers of Invention; The Byrds' Fifth Dimension; The Pink Floyd's debut, The Piper at the Gates of Dawn; The Grateful Dead's Anthem of the Sun; the early works of Can, Jefferson Airplane and Soft Machine; all were enriched by the assimilation of techniques and procedures appropriated from the pioneers of art music. Frank Zappa did more than anyone to open the door to the modernist world; his expansive music informed by Stravinsky, Webern, Schoenberg, Messiaen, Boulez and most notably Edgard Varèse, whose work Zappa encountered in his youth, and spent his life championing. Paul McCartney and John Lennon increased their creative palettes by borrowing from the strange new musical universes of Stockhausen, Berio and Cage while George Harrison's life was changed by Ravi Shankar, to whose music he and the other Beatles were feverishly introduced by David Crosby and Roger McGuinn at a Benedict Canyon LSD party in 1965. For the "Fifth Beatle", producer George Martin, the passions were the French Impressionist composers Debussy and Ravel, from whom he claimed to have learned to "Paint in Sound"; for Phil Lesh of The Grateful Dead it would be the music of Charles Ives ("It sounds like the inside of your head when you're daydreaming"). Brian Eno directly answered Erik Satie's call for "music that would be a part of the surrounding noises" with his ambient Music for Airports, while Captain Beefheart, Robert Wyatt and Lou Reed would all surrender to the liberating spirit of Ornette Coleman. In the realm of electronics and musique concrète, the tireless experiments in tape-manipulation by Daphne Oram and Pierre Henry found expression in radio, television and on stage. In cinema, Stanley Kubrick's masterful use of Bartok and Liszt vindicated his stated preference for the use of pre-existing music over original score; while in Altered States, Ken Russell blew our minds by taking the relationship between music and image to a new sensory level; aided by a wild electronic score that included Pierre Henry's Veil of Orpheus. The full 27 minute version of Henry's Orpheus, the first major work of symphonic concrète music is but one of the historic features to be found in this presentation. A Revolution In Sound also includes the premiere recording of Stockhausen's monumental Gruppen for Three Orchestras, with Pierre Boulez, Bruno Maderna and Stockhausen himself conducting; Beecham's beautiful 1955 account of Sibelius' Incidental music from The Tempest; an exhilarating recording of Stravinsky's ballet Agon by Hans Rosbaud with the SWGR, a hugely influential piece, a triumph for the composer; and from before the creation of the BBC Radiophonic Workshop, the "Radiophonic poem", Private Dreams and Public Nightmares, a quite unprecedented collage of manipulated voices and sound effects assembled by Daphne Oram and Desmond Briscoe: a challenge for radio listeners in 1957. As the producer, Donald McWhinnie stated in his introduction, 'You may detest this programme, but I hope you won't dismiss it. Certainly nothing like this has ever come out of your loudspeaker before'
In the mid-1960s, as pop music acquired a greater sophistication and maturity, artists began to make more ambitious musical and conceptual statements. In the search for new ideas, pop began to find inspiration along the spectrum of classical music - from Stockhausen to Sibelius - and from artists who inhabited the outer reaches of jazz, drawing even on the classical music of Northern India with it's roots in the antique past. The albums produced by The Beatles at their creative peak; Rubber Soul, Revolver and Sgt. Pepper; almost everything by The Mothers of Invention; The Byrds' Fifth Dimension; The Pink Floyd's debut, The Piper at the Gates of Dawn; The Grateful Dead's Anthem of the Sun; the early works of Can, Jefferson Airplane and Soft Machine; all were enriched by the assimilation of techniques and procedures appropriated from the pioneers of art music. Frank Zappa did more than anyone to open the door to the modernist world; his expansive music informed by Stravinsky, Webern, Schoenberg, Messiaen, Boulez and most notably Edgard Varèse, whose work Zappa encountered in his youth, and spent his life championing. Paul McCartney and John Lennon increased their creative palettes by borrowing from the strange new musical universes of Stockhausen, Berio and Cage while George Harrison's life was changed by Ravi Shankar, to whose music he and the other Beatles were feverishly introduced by David Crosby and Roger McGuinn at a Benedict Canyon LSD party in 1965. For the "Fifth Beatle", producer George Martin, the passions were the French Impressionist composers Debussy and Ravel, from whom he claimed to have learned to "Paint in Sound"; for Phil Lesh of The Grateful Dead it would be the music of Charles Ives ("It sounds like the inside of your head when you're daydreaming"). Brian Eno directly answered Erik Satie's call for "music that would be a part of the surrounding noises" with his ambient Music for Airports, while Captain Beefheart, Robert Wyatt and Lou Reed would all surrender to the liberating spirit of Ornette Coleman. In the realm of electronics and musique concrète, the tireless experiments in tape-manipulation by Daphne Oram and Pierre Henry found expression in radio, television and on stage. In cinema, Stanley Kubrick's masterful use of Bartok and Liszt vindicated his stated preference for the use of pre-existing music over original score; while in Altered States, Ken Russell blew our minds by taking the relationship between music and image to a new sensory level; aided by a wild electronic score that included Pierre Henry's Veil of Orpheus. The full 27 minute version of Henry's Orpheus, the first major work of symphonic concrète music is but one of the historic features to be found in this presentation. A Revolution In Sound also includes the premiere recording of Stockhausen's monumental Gruppen for Three Orchestras, with Pierre Boulez, Bruno Maderna and Stockhausen himself conducting; Beecham's beautiful 1955 account of Sibelius' Incidental music from The Tempest; an exhilarating recording of Stravinsky's ballet Agon by Hans Rosbaud with the SWGR, a hugely influential piece, a triumph for the composer; and from before the creation of the BBC Radiophonic Workshop, the "Radiophonic poem", Private Dreams and Public Nightmares, a quite unprecedented collage of manipulated voices and sound effects assembled by Daphne Oram and Desmond Briscoe: a challenge for radio listeners in 1957. As the producer, Donald McWhinnie stated in his introduction, 'You may detest this programme, but I hope you won't dismiss it. Certainly nothing like this has ever come out of your loudspeaker before'
5013929335738

Details

Format: CD
Label: EL RECORDS
Rel. Date: 06/04/2021
UPC: 5013929335738

Revolution In Sound: Pop Culture & Classical Avant
Artist: Revolution In Sound: Pop Culture & Classical Avant
Format: CD
New: Available at Distributor, Will arrive Pure Pop in 2-5 days. $30.99
Wish

Available Formats and Editions

DISC: 1

1. The Circle with a Hole in the Middle
2. No. III. Adagio, from Music for Strings, Percussion and Celesta (Von Karajan / Berlin Philharmonic)(From Kubrick's the Shining)
3. Sequenza 1 for Flute Solo
4. (Severino Gazzelloni: Flute)
5. Gruppen (Groups) for Three Orchestras
6. (Conductors: Boulez-Stockhausen- Maderna / Cologne Radio Symphony Orch.)
7. Aisha
8. Raga Bilaskhani Todi
9. Glad to Be Unhappy Franz Liszt
10. Nuages Gris (Sergio Fiorentino: Piano)
11. King of Denmark's Galliard (Julian Bream: Lute)
12. Notturno for Tape
13. Track 13
14. Octandre, for Eight Instruments (Boulez / Orchestra Domaine Musical)
15. Track 15
16. Three Distinguished Waltzes of a Jaded Dandy (Aldo Ciccolini: Piano)- 2
17. the Tempest - Incidental Music
18. Op.109B ; C (Beecham / Royal
19. Philharmonic Orchestra) - 2
20. Four Sea Interludes (From Peter Grimes) Op. 33A (Boult / London Philharmonic Orchestra)
21. Private Dreams and Public Nightmares
22. Mrs. White's Nothing (Julian Bream: Lute)
23. Menuet Sur Le Nom de Haydn (Marcelle Meyer: Piano)
24. Track 24
25. Track 25
26. Track 26
27. Le Tombeau de Couperin (Ansermet / Orchestre de la Suisse Romande)
28. Track 28
29. Sonata for Flute, Viola and Harp (Melos Ensemble)- 2
30. Agon (Contest) - Ballet for Twelve Dancers (Rosbaud / South West German
31. Radio Symphony Orchestra)
32. No. 1, Mässig, from Three Piano Pieces Op. 11 (Glenn Gould: Piano)
33. 2
34. Two Movements from Symphony No. 1, Op. 23 (Boult / London Philharmonic Orchestra)
35. Forlorn Hope Fancy (Julian Bream: Lute)
36. Piano Sonata No. 2 "Concord, Mass., 1840-1860" IV. Thoreau (Aloys Kontarsky: Piano)
37. Track 37
38. Symphony Op. 21 (Craft / Studio Orchestra)
39. Le Marteau Sans Maître: No. 1, Avant L'artisanat Furieux (Craft)
40. Polifonica-Monodia-Ritmica for Ensemble (Maderna / English Chamber Orchestra) -
41. Amores for Prepared Piano and Percussion (John Cage: Piano)
42. Le Voile D'orphee I (Version Integrale)
43. Le Banquet Céleste (Olivier Messiaen: Organ)
44. Re: Person I Knew

More Info:

In the mid-1960s, as pop music acquired a greater sophistication and maturity, artists began to make more ambitious musical and conceptual statements. In the search for new ideas, pop began to find inspiration along the spectrum of classical music - from Stockhausen to Sibelius - and from artists who inhabited the outer reaches of jazz, drawing even on the classical music of Northern India with it's roots in the antique past. The albums produced by The Beatles at their creative peak; Rubber Soul, Revolver and Sgt. Pepper; almost everything by The Mothers of Invention; The Byrds' Fifth Dimension; The Pink Floyd's debut, The Piper at the Gates of Dawn; The Grateful Dead's Anthem of the Sun; the early works of Can, Jefferson Airplane and Soft Machine; all were enriched by the assimilation of techniques and procedures appropriated from the pioneers of art music. Frank Zappa did more than anyone to open the door to the modernist world; his expansive music informed by Stravinsky, Webern, Schoenberg, Messiaen, Boulez and most notably Edgard Varèse, whose work Zappa encountered in his youth, and spent his life championing. Paul McCartney and John Lennon increased their creative palettes by borrowing from the strange new musical universes of Stockhausen, Berio and Cage while George Harrison's life was changed by Ravi Shankar, to whose music he and the other Beatles were feverishly introduced by David Crosby and Roger McGuinn at a Benedict Canyon LSD party in 1965. For the "Fifth Beatle", producer George Martin, the passions were the French Impressionist composers Debussy and Ravel, from whom he claimed to have learned to "Paint in Sound"; for Phil Lesh of The Grateful Dead it would be the music of Charles Ives ("It sounds like the inside of your head when you're daydreaming"). Brian Eno directly answered Erik Satie's call for "music that would be a part of the surrounding noises" with his ambient Music for Airports, while Captain Beefheart, Robert Wyatt and Lou Reed would all surrender to the liberating spirit of Ornette Coleman. In the realm of electronics and musique concrète, the tireless experiments in tape-manipulation by Daphne Oram and Pierre Henry found expression in radio, television and on stage. In cinema, Stanley Kubrick's masterful use of Bartok and Liszt vindicated his stated preference for the use of pre-existing music over original score; while in Altered States, Ken Russell blew our minds by taking the relationship between music and image to a new sensory level; aided by a wild electronic score that included Pierre Henry's Veil of Orpheus. The full 27 minute version of Henry's Orpheus, the first major work of symphonic concrète music is but one of the historic features to be found in this presentation. A Revolution In Sound also includes the premiere recording of Stockhausen's monumental Gruppen for Three Orchestras, with Pierre Boulez, Bruno Maderna and Stockhausen himself conducting; Beecham's beautiful 1955 account of Sibelius' Incidental music from The Tempest; an exhilarating recording of Stravinsky's ballet Agon by Hans Rosbaud with the SWGR, a hugely influential piece, a triumph for the composer; and from before the creation of the BBC Radiophonic Workshop, the "Radiophonic poem", Private Dreams and Public Nightmares, a quite unprecedented collage of manipulated voices and sound effects assembled by Daphne Oram and Desmond Briscoe: a challenge for radio listeners in 1957. As the producer, Donald McWhinnie stated in his introduction, 'You may detest this programme, but I hope you won't dismiss it. Certainly nothing like this has ever come out of your loudspeaker before'