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Walter Carlos October 16, 1972 The Retriever Page 9 Music Walter Carlos A few years back, a composer of Carlos' innovative score for the of the music it attempts to portray (by - electronic music named Walter Carlos Kubrick film, in which he presented the way, I never cease to be amazed issued an album on Columbia entitled several elcctronic transcriptions of at his simulation of the human voice Switched On Bach (Columbia MS familiar classical scores interspresed in this piece, an effect which has to be 7194) in which he presented "elec­ with "straight" orchestral -tracks heard to be appreciated.). tronic realizations" of several of J.S. and, of all things, the voice of Gene On Side Two are found four tran­ Bach's more familiar compositions on Kelly doing "Singing in the Rain". A scriptions, also used in the film, of the then new Moog Synthesizer · (so successful pop album of the film's fairly standard "classical" works: - named after its inventor. Robert soundtrack has further introduced Moog.) Called an "aesth.etic ex­ Carlos' work for the film to a much Rossini's overtures to "William Tell" periment" by its composer, Switched wider listening audience than it has and "La Gazze Ladra", the Scherzo On Bach turned Dut to be much more been previously. from the Ninth Symphony of than that; indeed, both the music Howev Beethoven, and a hauntingly beautiful people and the listening public at However it seems that while rendi tion of the March from Henry large were quick to turn Switched On nobody wa~ looking (or rather, while Purcell's "Music for the Funeral of Bach into a huge (almost monstrous) everybody was listening to the film's Queen Mary"; a short composition by success. A few critics were wont to soundtrack) Walter Carlos released Carlos entitled "Theme from A C1cok­ label the attempt a '''commercial an album ~ntitled Walter Carlos' work Orange"; and what was for me bastardization of Bach", etc., but the Clcokwork Orange (Columbia KC the album's highlight, an original majority seemed to recogniqe in 31480) which so far has received five-minute composition entitled Carlos' work a fresh, and almost scant 'recognition from the public, a "Country Lane". Words could not do revolutionary (in the best sense of the neglect which in part stems from the justice to this strikin& effort b~T the word), look at some standard or competition for the original sound­ composer - however, lsn t that what classical, musical ~oncepts within the track for the film. This is indeed a great art is all about? Suffice it to say medium of electronic music. And shame, as for one thing, this new that the Walter Carlos of Switched On what is more important, the public in album is in effect entirely separate Bach is still in evidence here, in that large numbers seemed to be "swit­ from the film track; for whereas the he remains a superb and even in­ ching itself on" , so to speak and made soundtrack contained orchestral spired converter of standard musical sounds into the language of ele­ the album a huge financial success, . playing as well as Carlos' elect~on~c tronics; however, his work on this thus insuring for its creator a further transcriptions, this new album IS III opportuni ty to continue his growth fact based entirely upon the elec­ album, and in particular on "Country both as a composer and as a highly tronic medium and included not only Lane" and "Timesteps", offers us a unique experimenter in the realm of new and more extended glimpse into his potential as a force in electronic music. arrangements of the pieces used in the creation of what will in future Subsequent efforts by Walter Carlos the movie (by Rossini, Beethoven, times be thought of as the 'music of have shown him to be more than and Purcell), but also two entirely our age'. Thus, I advise anyone for worthy of this confidence. The new selctions, "Timesteps" and whom the above thought holds any kind of meaning whatsoever to take follow-up album to Switched On Bach, "Country Lane" (both composed by which was called The Well-Tempered due notice and to listen to the sounds Carlos for the film but apparently not of Walter' Carlos, beginning with Synthesizer (Columbia MS 7286), was, used in the final print>. "Timesteps" to be sure, not as striking as its Walter Carlos' Clockwork Orange. LUDWIG VON and "Country Lane" up the album, is --Herman Meyer predecessor, but it nonetheless a composition of almost fourteen ... A Clockwork Orange branched out from just a treatment of minutes in length, in which abstrc;tct Bach to embrace the styles of Handel, electronic sound') are combined WIth Scarlatti, and other of Bach's con­ (or superimposed upon) standard temporaries, 'and its success was musical ideas (such as harmony, enough to establish Carlos as one of melody, chordal progression, and the more significant and vital elec­ adherance to a tonal center), creating tronic composers of our day, a listening experience which is eerie, alongside of such talents as Luciano intense, and yet always ap­ Berio, John Cage, and Ralph Lund­ proacha ble, even to an untrained ear sten (a brilliant, Swedish composer of (a factor which immediately elctronic ballet scores who un­ separates Carlos from electromc fortunately is little known in this composer such as Stockhausen, country). I confess to not having whose challenging, remote, and heard Carlos' latest effort, a two­ enigmatic compositions in this field album set on Columbia with the title are usually inaccesible to all except Sonic Seasonings (Columbia KG those with refined musical sen­ Sea Train in Concert 31234), but the reviews of it have been sibilities). After "Timesteps" comes most favorable and, for what it's a seven-minute version of the fourth with Euclid McPherson worth, several friends of mine whose movement of Beethoven's Ninth opinions I respect have recommended Symphony, a shorter version of which it to me as a "knockout"; however, was used in the film. Of this I can say moving on to much more familiar little except that, while of course the Sat. Oct. 21 ground, Heel confident that anyone music presented is not in any way who has seen A Clockwork Orange "true" Beethoven, Carlos' must of a certain be familiar with realization is at all times respectful 8:30 p.m. UMBC Gym II T,ckets on sale in Theatre box office $3 50 UMBC Students s 450 at the door frOln Ol(,f. 16 - 20 lOam - 3pm Tickets will he available the night CARLOS CLOCKWORK ... scant recognition of the concert at the door. .
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