Showing posts with label Karlheinz Stockhausen. Show all posts
Showing posts with label Karlheinz Stockhausen. Show all posts

April 17, 2021

Thornton Wilder, Grace Wilder, Telegraph Hill & ButohDrawing

 ~   
 
Thornton Wilder - 1920
photo: Roger Sherman Studio

      
Today is the birthday of American playwright and novelist, Thornton Wilder. Born on April 17, 1897, in Madison, Wisconsin. He won three Pulitzer Prizes: for the novel The Bridge of San Luis Rey and for the plays Our Town and The Skin of Our Teeth. He also won a U.S. National Book Award for the novel The Eighth Day.      
 
I have an indirect connection with Wilder on several levels. When I was in my English Lit class in high school, one of the books I read for one of my book reports was his novel, The Bridge of San Luis Rey. His novel had a profound impact on me as it was my first awareness of Chance Operation where time, things, people, events converge with no obvious plan but effect those involved in different ways (link below). This was long before I had heard of John Cage, Charles Ives, Karlheinz Stockhausen, and Alan Hovhaness with their concepts of Aleatoric music; then 30 years later applying the concept to the ButohDrawing performances by Tom White that resulted from it (link below).    

Another level was in the early sixties, when I was acting and appeared in a performance of The Skin of Our Teeth; I met his nice, Grace Wilder who had been involved with theater her whole life. She was a delightful old lady who had a wonderful sense of humor and told amazing stories. I remember visiting her home/studio perched on the side of Telegraph Hill where she had been living for decades. The area by then was nothing but rundown housing inhabited by outcasts and artists; characters that could have been right out of the Cannery Row novel by John Steinbeck. The structures had been built sometime in the 1800's and had survived the 1906 Earthquake but were dilapidated and probably very dangerous. A story in a 1947 newspaper stated that "the reason Telegraph Hill was reasonably safe in 1906, was due to how the "Italians and Spanish kept it from burning by quenching, with buckets of red wine and wine-soaked blankets, the flames that threatened their tinder-dry frame houses and board shanties." Seems to me the alcohol in the wine would have added to the fire, but what do I know?      
 
There was an abandoned quarry just below her place that threatened all the buildings on her side of the hill. In 1927, Philo Farnsworth invented the first fully functional all-electronic image pickup device video camera tube and produced the first electronic television transmission in his Green Street lab in the Telegraph Hill quarry.      
 
 
Telegraph Hill - ca 1885 
Photo: San Francisco History Center
San Francisco Public Library
 
 
As far as I can remember, her studio was somewhere in the area I've circled in red in the above photograph I cropped:    

 
 
 
There were two or three huge casement widows that swiveled up in her studio and you could see the San Francisco bay. The photo below is from 1878 but take the church out of it (I don't remember seeing it) and the view looked pretty much the same.    
      
      
Telegraph Hill - 1878
 photo by Henry Guttmann
      
 
The paths along the way to get to the dwellings on the hill were all made of wood and I remember the steep stairs and uneven walkways were rickety and scary.     
 
On January 2, 1857, a newspaper reported about the graveyard on Telegraph Hill:  
"During the late storm a miniature avalanche of rock and dirt occurred at a quarry on Telegraph Hill, in Sansome Street North of Vallejo. The fall exposed several coffins which were buried high up on the hill, and on examination it was found that a great number of graves were scattered about. A headboard in one place bore the following inscription: "Here lies the remains of James Anderson, seaman on board the U.S.F. Congress, a native of Canterbury, England, died July 16, 1847, aged 41 years. The coffins were in remarkable state of preservation.      
The Telegraph Hill Dwellers site (link below) states that Telegraph Hill has had a series of names through its history. Allegedly the Spanish called it Loma Alta. Others referred to it as Clark's Point, Prospect Hill, Signal Hill, Windmill Hill, Goat Hill and Tin Can Hill (fits in with Steinbeck's Cannery Row).         



 
The Bridge of San Luis Rey has been translated to film in 1929, 1944, 1958 (for TV) and in 2004 with F. Murray Abraham, Kathy Bates, Robert De Niro and Harvey Keitel, and a score written by Lalo Schifrin. In 2018 it was adapted for the stage by David Greenspan.         
 
 
movie poster
 
 
movie poster 
 
 
Some time in the seventies, I think, the old buildings on Telegraph Hill were demolished to build condos but Grace had died long before that happened.    
      
      
     
Viewfinder links:
     
ButohDrawing     
John Cage      
Robert De Niro            
Philo T. Farnsworth        
Alan Hovhaness      
Tom White           
     
Net links:
      
ButohDrawing         
Chance Operation     
Found San Francisco ~ Telegraph Hill's Architectural Survivors      
KQED ~ Remember the Quarries of Telegraph Hill            
Telegraph Hill Dwellers ~ Walking the Historic District        
Tom White     
     
YouTube links:
      
The Bridge of San Luis Rey         
Sam Waterston ~ The Bridge of San Luis Rey (audio bok)         
The Bridge of San Luis Rey (review)        
The House on Telegraph Hill (1951) (complete movie)        
     
     
     
     
     
     
"My advice to you is not to inquire why or whither, 
but just enjoy your ice cream while it's on your plate."
            ~ Thornton Wilder
     
     
     
Styrous® ~ Saturday, April 17, 2021   


 















Karlheinz Stockhausen articles/mentions

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Dean Santomieri ~ Ghost In the House     
      
      
     
     
     
     
      
     
      
     
      
     
date & photographer unknown
      
     
      
     
      
     
      
     
      
     
      
     
      
 
 
 
 
 
 
 
 
 
 
 






February 27, 2018

20,000 vinyl LPs 128: Orchestral Manoeuvres in the Dark (OMD) ~ Dazzle Ships

Today, February 27, is the birthday of Paul Humphreys, one of the founders of the electronic New Wave group, Orchestral Manoeuvres in the Dark (OMD). For this event I've chosen one of my favorite albums by OMD, Dazzle Ships (1983).     

Although I've known the title and cover art (designed by Peter Saville) reference a painting by Vorticist artist Edward Wadsworth, which painting I didn't know. I was recently informed by Lon Clark the painting, titled Dazzle-ships in Drydock at Liverpool, was based in turn on dazzle camouflage (link below). Dazzle-ships in Drydock, is in the collection of the National Art Gallery of Canada in Ottawa, Canada.  


What a mind-blower that was! Dazzle camouflage, also known as razzle dazzle (in the U.S.) or dazzle painting, was a family of ship camouflage used extensively in World War I, and to a lesser extent in World War II and afterwards. Credited to the British marine artist Norman Wilkinson, though with a it consisted of complex patterns of geometric shapes in contrasting colours, interrupting and intersecting each other (link below).       


The album cover

The music is divided into "time zones"; this is reflected in the physical graphic design of the gatefold, die-cut album cover in the British issue (this recording) but not the US pressing. There are die-cuts, holes, punched into the appropriate locations on the map of the world on the interior of the gatefold album.     



The record sleeve has different color configurations on each side so when inserted one way, the time zones are indicated in orange; when inserted the other way, the time zones are indicated in yellow.      










The music

Dazzle Ships is the fourth album by Orchestral Manoeuvres in the Dark (OMD), released in 1983. The title and cover art (designed by Peter Saville) allude to a painting by Vorticist artist Edward Wadsworth based on dazzle camouflage, titled Dazzle-ships in Drydock at Liverpool.       

Dazzle Ships had six conventional pop songs, up-tempo numbers and ballads. Two of them, The Romance of the Telescope and Of All the Things We've Made were remixed versions of songs previously issued on B-sides to earlier singles (on the Joan of Arc single, The Romance of the Telescope was described as "unfinished"). Radio Waves, not to be confused with the Roger Waters song by the same name, was a new version of a song from McCluskey and The Id, the pre-OMD band Paul Humphreys played in. Two singles were released from the album, Genetic Engineering and Telegraph, which achieved moderate chart success in the United Kingdom and on American rock and college radio. Both were also released as 7" vinyl picture discs.  

My favorite song on the album was not one of the "hits", of course. It is Silent Running, not to be confused with the film nor the song by Mike and the Mechanics. Running is very short but very beautiful (YouTube link below).    

A terrific dance song is the energetic, Telegraph. It starts quietly and tinkly then bursts into a fast as a speeding train tempo.

Of All the Things We've Made is a great song to be danced to fast or slow depending on who you're with and how you're feeling.       

The album was released on Virgin Records, however, to maintain the image of being signed to an "indie" label, the record purported that the album was released by the fictitious "Telegraph" label.   

  
vinyl LP label, side 1
photo by Styrous®
 

Dazzle Ships was the follow-up release to the band's hugely successful Architecture & Morality (1981). OMD, then at their peak of popularity, opted for a major departure in sound on the record, shunning any commercial obligation to duplicate their previous LP. The album is noted for its experimental content, particularly musique concrète sound collages, and the use of shortwave radio recordings to explore Cold War and Eastern Bloc themes.    

It's these typewriter, experimental, shortwave radio signals, etc., sounds that make this album so interesting on so many levels. McCluskey has said, "We wanted to be ABBA and Stockhausen. The machinery, bones and humanity were juxtaposed." They did an excellent job on that score!  

The Radio Prague track is the actual interval signal of the Czechoslovak Radio foreign service, including the time signal and station ID spoken in Czech. Time Zones is a montage of various speaking clocks from around the world. Neither Radio Prague nor Time Zones carry any writing credit at all, with OMD being credited only for arranging the tracks. The tracks This Is Helena, ABC Auto-Industry and International also include parts of some broadcasts recorded off-air (a presenter introducing herself, economic bulletin and news, respectively). The track Genetic Engineering is an homage to Kraftwerk, with the vocal arrangement drawing heavily on the structure employed on their track Computer World from the album of the same.







Epilogue

Most of the reviews of the time were unfavorable, however, Maxim Jakubowski acknowledged that a few of the tracks "recapture the melancholy brilliance of the past". More forgiving was the Melody Maker article by Paul Colbert, who wrote that "as an album from start to finish it's a challenge and a reward". Reviewer Johnny Black in Smash Hits hailed the new musical direction saying, "the songs are waiting to be found and are as melodic, passionate and vital as ever". Right on!

The record peaked at #5 on the UK Albums Chart and remained in the top 20 for six weeks (rising from #19 to #16 in its second-to-last week), and achieved sales of 300,000 copies. It was deemed a flop in comparison to multi-million selling predecessor Architecture & Morality (1981), which prompted OMD to move in a more conservative musical direction on future releases. This is a shame as the experiments in this album indicate that there might have been exciting and innovative work to come.    

Musician and music journalist Bob Stanley commented on its limited impact: "[It] contained no obvious hits and soundtracked the cold war at its coldest... Orchestral Manoeuvres in the Dark's Dazzle Ships came to be viewed as a heroic failure – the ultimate commercial suicide."

The LP has garnered positive retrospective appraisals from publications such as Record Collector, The A.V. Club, Q and The Quietus, among others. John Bergstrom of PopMatters said the album "is rightly considered a lost classic". Pitchfork journalist Tom Ewing wrote: "Luckily, you don't need a contrarian streak to love it... history has done its own remix job on Dazzle Ships, and the result is a richer, more unified album than anyone in 1983 could have imagined." Ned Raggett in AllMusic said the record "beats Kraftwerk at their own game", and described it as "dazzling indeed"; he and colleague David Jeffries hailed the album as a "masterpiece"—an opinion echoed by numerous critics. DIY writer Gareth Ware said: "Like a strange piece of modernist architecture, it's a collection of awkward, jagged polygons which come together to form a cohesive mass at the last possible moment... [Dazzle Ships] demands attention."        

It's important to keep your eye on the target but like a Vorticist painting, Dazzle ships made everyone miss their mark!    
 











Tracklist:

Side 1:

A1 - Radio Prague, Arranged By – OMD* - 1:18

A2 - Genetic Engineering - 3:42

A3 - ABC Auto-Industry - 2:06

A4 - Telegraph    - 2:57

A5 - This Is Helena, Vocals [Additional] – Maureen Humphreys- 1:58

A6 - International - 4:26

Side 2:

B1 - Dazzle Ships (Parts II III & VII) - 2:21

B2 - The Romance Of The Telescope 3:26

B3 - Silent Running - 3:33

B4 - Radio Waves, Written-By – Floyd*- 3:44

B5 - Time Zones, Arranged By – OMD*Recorded By – Andy Dunkley, Dirk Hohmeyer, Jean Michel Reusser*, Keith Nixon, Michael Stark (2), Paul Ward (4), Sue Sawyer, Tony Lawrence (3)- 1:49

B6 - Of All The Things We've Made - 3:23

Companies, etc.


    Phonographic Copyright (p) – Virgin Records Ltd.
    Copyright (c) – Virgin Records Ltd.
    Published By – Virgin Music (Publishers) Ltd.
    Recorded At – The Gramophone Suite
    Recorded At – Gallery Studios
    Recorded At – Mayfair Studios
    Mixed At – The Manor
    Mastered At – Master Room

Credits:

    Design – B. Wickens*, K. Kennedy*, M. Garrett*, P. Saville*, P. Pennington*
    Engineer – Brian Tench, Ian Little, Keith Richard Nixon*, OMD*
    Management – Gordian Troeller
    Management [Assisted By] – Ines Troeller, Steve Baker (8), Susan Pippet
    Mastered By – Arun Chakraverty
    Performer – G. A. McCluskey*, M. A. Holmes*, M. H. Cooper*, P. D. Humphreys*
    Producer – OMD*, Rhett Davies
    Written-By – OMD* (tracks: A2 to B3, B6)

Notes:

Recorded at The Gramophone Suite, Gallery Studio, Mayfair Studio.
Mixed at The Manor Studios.
Mastered at The Master Room.

"Dazzle Ships" title suggested by Peter Saville after a painting by Edward Wadsworth.

℗ 1983 Virgin Records Limited
© 1983 Virgin Records Limited
Except "The Romance Of The Telescope" & "Of All The Things We've Made" ℗ 1981 Virgin Records Limited

Comes in a die-cut gatefold sleeve with pink and yellow inner sleeve.
Barcode and Other Identifiers

    Matrix / Runout (Side 1): V-2261-A1
    Matrix / Runout (Side 2): V-2261-B1
     
OMD* ‎– Dazzle Ships
Label: Virgin ‎– V 2261, Telegraph (2) ‎– V 2261
Format: Vinyl, LP, Album, Gatefold
Country: UK
Released: 04 Mar 1983
Genre: Electronic
Style: Synth-pop, Experimental

  
               
               
Viewfinder links:     
YouTube links:     
        
OMD ~ Dazzle ships
             Silent Running
             Of All the Things We've Made   
             Radio Waves   
             This Is Helena    
             international
             Time Zones      
             Telegraph
             Telegraph (Live at Royal Albert Hall 2016)      
             Genetic Engineering [Live at the Museum of Liverpool]
            


Happy birthday, Paul! 



Styrous® ~ Tuesday, February 27, 2018  



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February 15, 2013

Ghost In the House

Ghost In the House CD

I have loved experimental music since I discovered it in college in the late 1950's. From the French experimental musique concrète by Pierre Henry, of the 1940's up to the early experimental ambient work in the late 1970's, I have loved it all. From the deliciously tranquil work of Brian Eno to the make-your-teeth-itch sounds (or none-sounds) of John Cage (see: Happy Birthday, John Cage), acoustic and electronic, I have loved it all. Olivier Messiaen, Jean Barraqué, Karlheinz Stockhausen, Edgard Varèse, Iannis Xenakis, Michel Philippot, and Arthur Honegger, I have loved them all.

(click on any image to see larger size)
Circa 1930
photographer unknown


  Iannis Xenakis in his studio in Paris, c. 1970
photo by Michèle Daniel


 October 1994 in the Studio for Electronic Music 
of WDR Cologne, 
during production of the Electronic Music 
from FRIDAY from LIGHT.
Date: October 1994
photo by Kathinka Pasveer


The experiments in 1942 when the French composer and theoretician Pierre Schaeffer began his exploration of radiophony and he joined Jacques Copeau and his pupils in the foundation of the Studio d'Essai de la Radiodiffusion Nationale are marvels to experience.

 Pierre Schaeffer working with the phonogene in his studio
circa 1948 
photo by Serge Lido


About the same time, the Egyptian composer Halim El-Dabh, then a student in Cairo, was independently experimenting with tape music.

Halim El-Dabh
2009
photo by James Vaughn


These and many other experiments in music have built a rich body of work in the field. Last night I had the pleasure of experiencing this wonderful tradition being kept alive in a dynamic performance at the Berkeley Arts Center on University Avenue in, where else, Berkeley.

photo by Styrous®


The music was performed by the experimental music group, Ghost In The House. The group was conceived by filmmaker & musician David Michalak. The first part of the program was, Dreams & Dance in D minor ~ an eerie dream narrative by The Dreamer accompanied by dance and set to otherworldly music described as a soundtrack for the subconscious. 

 Ghost In The House. 
 photo by Styrous®

The tale about a giant head was read by Dean Santomieri (The Dreamer) who wrote the main part of the story, with the beginning and ending text written by David Michalak. It is a strange and creepy tale with the music/sound appropriately matched by Ghost in the House. The reading and the soundtrack combined so well you could almost smell the rotting, putrid head there in the performance space. A brilliant piece of theater!!

 The Dreamer (Dean Santomieri)
photo by Styrous® 

As The Dreamer read, the dance was performed behind a screen by internationally renown Butoh dancer, Kinji Hayashi.

photo by Styrous®

photo by Styrous®

The audience sat enthralled by the performance until the intermission when we were able to talk to the performers during the break. I was introduced to Kinji by Dean at that time.

During the second half of the program, Kinji danced practically in the faces of the audience. It was quite an experience.

photo by Styrous®


photo by Styrous®


I bumped into Pamela Z, an extraordinary sound/performance artist who has been doing her stuff in the bay area for over 30 years. We hadn't seen each other for years and it was good to touch base with her again. She told me she was performing with the Kronos Quartet at the Yerba Buena Center for the Arts on February 21 and 22, a week from now. I'm looking forward to seeing it.

Pamela Z
photo by Styrous®


The Ghost in the House performers:

Polly Moller: bass flute
Karen Stackpole: percussion & gongs
John Ingle: soprano & alto saxophone
David Michalak: lap steel
Tom Nunn: inventions,
Dean Santomieri: narration & resonator guitar
Richard Waters: waterphone

Dean Santomieri, narration & resonator guitar
photo by Styrous®


Polly Moller, bass flute
 photo by Styrous®


 John Ingle, soprano & alto saxophone
 photo by Styrous®


 Karen Stackpole, percussion & gongs
 photo by Styrous®


Tom Nunn, inventions
photo by Styrous®


Performances by Dean Santomieri can be seen on YouTube.
The Boy Beneath the Sea by Dean Santomieri is available on Amazon.
Music by Polly Moller is available on cdbaby.
Music by Karen Stackpole can be heard on YouTube.
Music by Tom Nunn is available on iTunes.
Music by Richard Waters can be heard on YouTube.
Richard Waters invented the waterphone which is for sale online at Waterphone.

It was an evening of anticipated delights and wonderful surprises. My thanks to Ghost In the House for the fantastic event.

What a delightful Valentine!


Styrous® ~ Feb 14, 2013