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Format: Fylkingen Records FYCD 1025
Label & Cat.Number: CD
Release Year: 2012
Note: eight electroacoustic compositions realized at the EMS (Stockholm Electronic Music Studio) from 1970-1979 by this Hungarian-Swedish pioneer; evocative stuff combining weird analog electronic sounds & instruments, drones and vocal work...sounds still fresh & unusual, to discover
Price (incl. 19% VAT): €12.50
More Info"Analog and computer-generated electroacoustic music and mixed pieces for voice, instruments and live-electronics, realized at EMS - the Stockholm Electronic Music Studio. (now the Stockholm Institute of Electroacoustic Music)
1. Rege [Tale] (1970) 10’36"
2. Manipulation I (1976) 6’57" for basson, Svensson-Box and live-electronics
3. Rörelser [Movements] (1973) 7’29"
4. Manipulation II (1977) 8’28" for soprano and live-electronics
5. Manipulation III (1978) 7’33" for basson, violoncello, Svensson-Box and live-electronics
6. Ostinato (1975) 9’44"
7. Manipulation IV (1979) 6’35" for soprano, zither and live-electronics
8. Violasonata (1970) 11’05" for viola and live-electronics
All compositions by Miklós Maros
Miklós Maros - live-electronics
Ilona Maros - soprano
Attila Bodor - viola
Ingrid Gabrielsson - zither
Knut Sönstevold - basson
Peter Schuback - violoncello
Exerpt from the booklet text by Sten Hansson:
"When Miklós began working at EMS, the big hybrid synthesizer—one of the first of its kind in the world—was still under construction, and the only available instrument was the Sound workshop, a classic analog studio and the place where almost all of the early electroacoustic works in Sweden were composed.
When the computerized studio opened in 1973, Miklós composed his work Movements, one of the very first compositions completed there.
By then, Miklós has started to work as an instructor in the studio, and later he became teacher of electroacoustic music at the conservatory. His involvement with electroacoustic music lasted for a ten-year period through the seventies.
This makes him one of the pioneers of the genre in Sweden, not least because his so called mixed pieces, works for tape together with traditional instruments, a genre that he was one of the very few in Sweden to explore.
. . .
It is therefor important that this record is published, not only for its musical qualities, but also to establish his place among the electroacoustic pioneers." [website info]
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