PROBES #34.2
Auxiliaries
The PROBES AUXILIARIES dig deeper into the main programme topic but are also programmed for your ecstatic listening pleasure; so examples here are edited and sequenced and cut together on the wheels of steal; there’s no talking either (at least not by me), so you need to download the playlist to get the details, backstory and relevance of each of the pieces featured.
In PROBES #34.2, we explore otherworldly cruises through the many and wildly various applications of Maurice Martenot’s glorious instrument, with a side bar on the Trautonium.
Auxiliaries
The PROBES AUXILIARIES dig deeper into the main programme topic but are also programmed for your ecstatic listening pleasure; so examples here are edited and sequenced and cut together on the wheels of steal; there’s no talking either (at least not by me), so you need to download the playlist to get the details, backstory and relevance of each of the pieces featured. In this new episode, Hammonds talk, sing, swing, soar, strut and contemplate the universe, and Jerry Goldsmith takes the Novachord out into space and down to the bottom of the sea.
In PROBES #35 Chris Cutler examines the quiet electronic revolution ushered in by the Hammond organ and excavate traces of the visionary but short-lived Novachord - a polyphonic synthesiser born a quarter-century ahead of its time, which briefly flared - and then disappeared.
Auxiliaries
In this new Auxiliary by Chris Cutler, we’ll find the Theremin at work in art ensembles, symphony orchestras, a jazz group, rock bands and on film and television scores – both alone and in quantity –, and there’s a rare sighting of Nikolai Obukhov’s Croix Sonore from his extraordinary Third and Last Testament.
In PROBES #34 a sequence of new, purely electronic, instruments appear – amongst them (the) electrophon, kurbelspharophon, ondes Martenot, dynophone, croix sonore, pianorad, trautonium and mixtur trautonium – none having any obvious place in the existing vocabulary of musics. In parallel an alien aesthetic begins to redefine the parameters of ‘musical’ sound.