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Walter (Wendy) Carlos - Switched-on Bach (Vinyl rip 24 96) 1968 UK

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Music : Other : Lossless
 
Electronic Realizations and Performances by
Walter Carlos with the assistance of Benjamin Folkmann
Switched-On Bach

Vinyl: CBS
S 63501 Made in England 1968
Quality: 24bit/96KHz
Ripped by:  Farscape2008

BACH A LA
MOOG
In 1782, Mozart arranged a number of Bach fugues for string trio. Since then, many great virtuosos and
composers have been sufficiently fascinated by Bach to take time out from their main pursuits to transcribe his music.
Bach's works have thus always exerted a continuous magnetic attraction on musicians, and even today they repeatedly
return to the study of his art to learn more about their own art. It is only natural, then, that today's electronic
composers have continued this tradition.
On the face of it, electronic music has a great deal to offer to Bach:
Many baroque characteristics, such as crisp, bright sonorities, terraced dynamics, and high relief of voices, are among
the most idiomatic features of electronic music. (Indeed, no combination of live instruments could achieve the clarity
of texture of this recording. At last, every note and line can be heard, which was one of our chief purposes when we
first began to work on Bach.) But, of course, there is more to Bach than clarity.
Two years ago, this album could
not have been made. With the equipment then available, to obtain the qualities that make up a good performance was a
thankless, time-consuming, and ultimately futile enterprise. Even rudimentary phrasing, articulation, or modulation of
timbre could involve many gruelling hours for the production of mere seconds of music. Crescendo and diminuendo, the two
most natural vocal or instrumental means of musical expression, required the most calculated and laborious manipulation
of volume controls and filters. Even programmed or computerized attempts to automate "spontaneity" were
entirely a matter of guesswork, and the musician was unable even to hear, much less to modify, a sound as it was being
produced. Only the least sophisticated means of expression, i.e. timbral and dynamic contrasts, could be controlled
satisfactorily. These and other limitations were evident any time an electronic composition contained a lineal all
instrumental in nature.
It was at this impasse that Walter Carlos implored Bob Moog, the originator of the
commercially packaged synthesizer, to work with him in evolving new subsystems with which the production of more
sophisticated nuances of expression would be a practical matter. The modified synthesizer resulting from their
collaboration was a musical instrument. Like any musical instrument, it has extraordinary capabilities and maddening
limitations. Playing it beautifully requires as much skill, practice, talent and taste as playing any instrument
beautifully, plus the need of a composer's ear for new and different sounds. Often two pairs of hands and several feet
arc needed to take advantage of all that the Moog Synthesizer can do, but the instrument is constantly being
improved.
This album, then, is a proving ground both for the synthesizer and for our collaborative musicianship. We
have tried to make our performances musically expressive, electronically idiomatic, and spiritually and musicologically
faithful to Bach?conditions probably not totally reconcilable. Some sounds took hours to perfect; others were built and
then regretfully abandoned; sometimes we had to choose between technique and spirit; sometimes the historically correct
ornamentation didn't "sound"; many sessions were spent re-thinking, retouching, re-mixing, rejecting. But at
last we achieved results that we feel have musical validity. Through all these difficulties, Bach's great works were an
ever-renewing inspiration to us, so it is with a sense of deep humility that we present them to you in electronic
garb.
Fittingly, this record begins with a transcription of a
transcription. The Sinfonia from Cantata No. 29 is a miraculous elaboration on the
Praeludium from the E-Major Partita for Solo Violin. Bach transposed the work down a tone, transferred it note-for-note
to the organ, and then added three trumpets, tympani, strings and oboes, transforming its mood from lighthearted cheer
to triumphant affirmation.
The Chorale Prelude "Jesu, Joy of Man's Desiring" concludes both halves of
Bach's Cantata No. 147 for the Feast of the Visitation. The string figuration?long, flowing, and pleasantly ambiguous in
phrase structure - nevertheless adapts itself brilliantly to the regularity of the chorale tune.
Bach's Inventions
were intended not only as teaching pieces for the young player, but also as models in composition. Composers of any
century might well envy the extraordinary ingenuity of the stretto in the B-Fiat Invention. Included here are the three
Two-Part Inventions in F Major, B-Flat Major, and D Minor.
In place of August Wilheimj's once-famous solo violin
arrangement (on the G string) of the Air for Strings and Continuo from the 5uite in D Major, we offer our study in reed
tone, which shows that the lower voices are at least as important as the famous melody. This realization contains the
subtlest sounds on the album, and is dedicated to the memory of Marcel Tabuteau, for years the great solo oboist of the
Philadelphia Orchestra.
The Prelude in E-Flat Major (Well-Tempered Clavier I, 7) is actually a gigantic
introduction and double fugue, with the theme of the introduction reappearing as the second subject of the fugue. Words
cannot convey the titanic, cumulative effect of the work. Many critics have objected to the perky good humor of the
Fugue proper (three voices) as inappropriate after the grave majesty of the Prelude. Actually, it is a perfect foil to
its predecessor, as welcome as Trinculo after Prospero.
The Prelude in C Minor (Well-Tempered Clavier I, 2) is an
object lesson in how Bach touches an artistic convention with genius. For three-quarters of its length, it behaves like
any "arpeggio" prelude, content to make its effect through the building momentum of its characteristic figure.
Then, just as it has reached an impressive climax, things go awry: The bottom voice seizes the floor for an angry solo,
the characteristic theme flies into a tail-spin, and a passionate recitative is required to restore order. The Fugue
(three voices) is notable for the long sixteenth-note scale passages that give it special urgency.
The Chorale
Prelude "Wachet auf, ruft uns die Stimme" appears in Cantata No. 140, which is a retelling of the parable of
the Wise and Foolish Virgins. The tenors of the chorus dovetail the archaic, irregular Chorale Melody by Phillipp
Nicolai into the almost quadrangularly symmetrical line of the upper strings. This is another work that Bach transcribed
for organ.
The Third "Brandenburg" is one of the portfolio of six highly varied concerti grossi that
failed to get Bach a job with the Margrave of Brandenburg. Three violins, three violas, three cellos, and bass, along
with the ubiquitous continuo, mass together into a fair-sized baroque orchestra. More often than not, however, they
split up into solo groups or venture forth as soloists, with fascinating results. The first third of the first movement
is an exhaustive discussion of the opening tutti. The remainder is a remarkable study in contrast, as a querulous second
theme keeps intruding and getting shouted down, until the cellos and bass at last invert it, turn it into a nightmare,
and exorcise it.
Bach provided no second movement other than a "Phrygian" Cadence: Obviously he expected
the continuo player to improvise a cadenza leading up to it, thus giving the listener a rest from string tone. Our
improvisation is a fantasia after Bach's most florid and chromatic style, and incorporates a number of virtuoso
electronic effects not heard elsewhere in the album.
The last movement is much less complex than the first. It is a
good-humored, bumptious dance with lots of exuberance and sparkling first violin and first viola solos. How Bach managed
to preserve the "sound" of the first movement here with such a lighter texture is a secret he shares with only
the greatest masters.
Benjamin Folkman                                                             

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