Dresden is a city of radiating artistic culture, literature and music. Among many cultural achievements, the city on the Elbe could boast of an extraordinary organ tradition. It is worth remembering that Dresden, as the capital of Saxony, was one of the most important musical centers of its time. Heinrich Schütz spent his entire creative life in Dresden - from 1615 to 1672, educating many generations of composers who had a significant impact on the development of the musical culture of the 17th century. One who created strong base for musical culture of this city was organ builder Gottfried Silbermann, who was eminent organ masters of the late Baroque. He built in Dresden four instruments: the Sophienkirche, Hofkapelle des Residenzschlosses, Frauenkirche and unexampled organ in Katholische Hofkirche, which was the last instrument designed by the master. The construction of Silberman’s last instrument was completed in 1755, two years after his death by his students and associates Zacharias Hildebrandt and his son Johann Gottfried Hildebrandt. Originally, Silbermann planned 66 registers, eventually the instrument had 47 registers on 3 manuals and pedal and 3000 pipes. In 1944, the organ was hidden in the monastery of St. Marienstern, thanks to which the pipework, the action and the console survived the British bombing of Dresden on February 13, 1945. The organ case was destroyed, carved wood prospectus and big parts of wind supply were lost. In 1963-1971, this monument of organ building has been restored by Jehmlich Company.
Herbert Tachezi an der Silbermannorgel vol.1 (1986)
Exceptional instrument requires great artist who is able not only to present the instrument's unique features, but also can create interpretations of the best works of the era and build a recital adequate to the quality of unique instrument. The Dresden Cathedral Silbermanorgan was recorded many times. One of most significant session took place a year before the 300th anniversary of Johann Sebastian Bach's birth. The Viennese organist Herbert Tachezi (1930-2016), who has recorded a set of works by the great composer on the organ of the Dresden Cathedral. The session was co-produced by two labels from the western and eastern parts of the then divided Germany - Teldec and Eterna. As a result, two albums in Direct Metal Mastering technology were published: in 1985 two LPs were released under the label Teldec (BRD) and a year later under the label Eterna (GDR). Both labels also released CDs - Teldec in 1985 and Eterna in 1989.
The program included a selection of Bach's most famous organ compositions, from the Toccata and Fugue in D Minor BWV 565 to the Passacaglia in C Minor BWV 582. Between these two pillars of the repertoire of each organist, Tachezi placed the Prelude and Fugue in E-flat Major BWV 552 and Prelude (Fantasy) and Fugue in G Minor BWV 542. This choice may seem too obvious - it contains the most appreciated, most spectacular works in organ literature, but after listening to the album, it turns out to be extremely accurate from an artistic point of view. By linking these works, Tachezi was able to demonstrate the depth and space of the sound of the instrument and the resonance interior in which it was built, while creating a philosophically and aesthetically coherent program. The majestic Prelude in E-flat Major, which, according to Schweitzer, is an image of divine power, and the corresponding triple Fugue, which is a representation of the Holy Trinity, are the only prelude and fugue for organ published by Bach during his lifetime. They form the frame for the third issue of Clavier-Übung - a collection with a clear religious and semantic plan, which is recognized by all significant musicologists writing on Bach's organ literature. As a result, this program allowed Herbert Tachezi to build a narrative presenting a close relationship between the top-class organ building achievement and the metaphysical content of Bach's work. It is hard to imagine a better tribute to the music of the great Leipzig cantor.
Albums issued on vinyl records can tell the complex story of music, performances and artists, trends and ideas, composers, instrumentalists, vocalists and lots of people being a part of the recording industry. Professional position of creative producer in the era of vinyl records was significantly higher than any time
before and after. Those were the times of records as subjects of value, pieces of art and complete product. In the digital era, the ease of recording, simplicity of studio processing, cheap manufacturing of discs and possibility to download music in any format were the factors that rapidly changed the world of the musical industry. The compromise between quality of cutting the matrix and the length of the music recorded on one side of the record with worsening quality of sound with every overtime minute was the real technical problem and a symbolic frame for artistic freedom in all types of recording. The other side of the problem was audience demand and expectations. The role of any producer was to seek a balance between these factors and artists’ creative freedom.
Teo Macero — Impressions of Charles Mingus (1983)
One of legendary producers was Teo Macero (1925-2008), professional musician himself, who sacrificed to support the careers and artistic development of many musicians of jazz and other genres. As composer and saxophonist he was one of these jazzmen who built professional positions in a narrow circle of insiders only. For the wide public he was producer of dozens of jazz albums, but among musicians he was recognized as a competent and creative artist, composer, arranger and saxophonist. Thank to his professional competences he was able to help artists to realize such cornerstone albums as Monk’s Dream and Underground by Thelonious Monk, Mingus Ah Um and Let My Children Hear Music by Charles Mingus, Time Out by Dave Brubeck, but above all groundbreaking fusion albums In a Silent Way and Beaches Brew by Miles Davis. He was producer of most Davis albums published by Columbia Records and his role was so prominent, Davis’ biographer Paul Tingen in book Beyond Miles stated, his role was similar to what George Martin was to The Beatles. Macero was also real friend for many musicians. Miles Davis dedicated him composition Teo (1961). The same did Thelonious Monk with his composition Teo (1964) and Maynard Ferguson with composition Teonova (1973).
Teo Macero — Impressions of Charles Mingus (1983)
Born in Glens Falls, NY, Macero studied composition in Julliard School of Music. Active musician in the field of jazz, he was successful playing his own formations as well as a sideman recording with many others. Beyond jazz he was producer of over one hundred classical music records. In post-war avantgarde movement he acted as performer and as a composer. He became famous as Columbia record producer taking part in most significant recording sessions. First of them was Kind of Blue (1959) recording session where he was not credited but already coworking with main producer Irving Townsend. From Sketches of Spain (1960) Teo Macero was constantly Miles Davis producer. As producer of groundbreaking works for many artists Teo Macero acted as an art curator – he was prolific as creative. Phenomenon of his work consisted in skillfully convincing artists of the value of artistic priorities. He was trusted for his professional musician competence and for artistic intuition, both in dynamic musical equilibrium. His own music, as is often the case, was overshadowed by production achievements. And this is why the album Impressions of Charles Mingus is as much significant. Listening to this gives the artist a chance for justice.
Technology is what changes the world. New sources and technical methods of sound modeling have always formed the basis of the development of new styles and even a new aesthetic paradigm. The history of electronic music in USA began in 1951, when the Columbia Music Department purchased the first Ampex 400 tape recorder. Two composers: Vladimir Ussachevsky and Otto Luening began experimenting with recorded voices and instruments. During the First Congress of Experimental Music in 1953, they made contact with composers in Europe who created the first experiments in radio studios: Pierre Schaeffer and Pierre Henry in Paris, and Karlheinz Stockhausen and Herbert Eimert in Cologne. These meetings resulted in many new ideas for the development of electronic music studios in universities of USA and Canada. In 1957 first American studio was installed in Macmillan Hall. The same year group of composers were able to work with RCA Mark II synthesizer installed in the studio, a flagship of Columbia–Princeton Electronic Music Center. And the first presentation of electronic music from Columbia–Princeton Electronic Music Center took place at the Composers Forum concert at the Macmillan Theater at Columbia University on May 9, 1961, and was repeated the next day. Material from this concert was published by Columbia in 1964.
Six pieces by six composers presenting the most advanced achievements in the field of experimental and studio music. Few of them were composers of different cultures. The first in the program was Bülent Arel (1919-1990), a composer and pioneer of electronic music from Turkey. Born in Istanbul, a graduate of the Ankara Conservatory, he was invited in 1959 by the Rockefeller Foundation to the Columbia-Princeton Electronic Music Center, later became a professor at Yale University (from 1961 to 1970) and a professor at the State University of New York at Stony Brook, where he worked from 1971 to retired in 1989. He was an active composer of contemporary symphonic and chamber music, his music for tape includes the two main pieces of Stereo Electronic Music No. 1 (1961) and Stereo Electronic Music No. 2 (1962). The first of these two tracks was presented during the concert mentioned above and released as an introduction to the first LP presenting the achievements of the Columbia-Princeton Electronic Music Center.
Columbia–Princeton Electronic Music Center (1964)
One of artists known for his serious contribution to the development of the ideas and techniques of concrete and electronic music was an Egyptian ethnomusicologist and composer Halim El-Dabh (1921-2017). In his works he combined electronic sounds and processed human voice. El-Dabh’s work Leiyla and the Poet shows modern version of old Arabic tale about Layla and Majnun. The story of Qays ibn al-Mulawwah, 7th century Bedouin poet obsessed with beloved Layla became the context for the narrative form in this early period of concrete music. He achieved interesting effects using processed vocal sounds in the manner rooted in traditional folk music. He became the pioneer of such forms already in beginning of 1940s. He was student of Cairo University, when in 1944 he created The Expression of Zaar, using wire recorder. Composition Layla and Poet was recorded 15 years later in Columbia-Princeton Studio on AMPEX tape recorders. Halim El-Dabh has strong influence on the ideas of developing experimental music and experimenting composers of popular music. His idea of looping became technical base for many progressive artists, and its influences included popular music. Some references can be found in the early work of the West Coast Pop Art Experimental Band (Leila), Mothers of Invention and Frank Zappa.
Two composers playing leading role in the studio, presented two compositions combining electronics with traditional musical media. In the work by Vladimir Ussachevsky (1911-1990) called /Creation—Prologue based on text of Babylonian creation myth Enuma Elish, electronic sound was used as accompaniment to performance of The Little Chorus Of Macalester College mastered by Ian Morton. In Gargoyles by Otto Luening (1900-1996) sound of RCA synthesizer recorded and tape manipulated is interfering with solo violin played by Max Pollikoff. Two works published on this record were created solely as a result of pure artificial sound. Argentinian-American composer Mario Davidovsky (1934-2019) presented Electronic Study No. 1 based on sine wave, square wave and white noise tape manipulations. He came to USA in 1960 to study music and remained as citizen. One of his teachers was composer and mathematician Milton Babbitt (1916-2011) who’s Composition for Synthesizer opens B-side of the album. Babbitt was also performer of this work on RCA Synthesizer. These pure electronic works show how fruitful was new idea of sound creation in connection with 20th century new principles of musical form. Six works, five of them composed with tape manipulations, four composers born outside US, three works of pure electronics, two works connecting electronics with traditional media, one example of musique concrete – this math is something really making sense. Five stars for sixty years of noble presence in musical world.
John Adams, one of the best composers of today’s America, started his creative career in the end of the decade of sixties. Time of avantgarde ideas and great achievements of post-war music was about to an end. From the beginning of his composing he took esthetic positions of post-minimalistic style dealing with Darmstadt school ideas. As 31 years old composer in 1978 he wrote Shaker Loops for string septet in modular version, where conductor decided when musicians should move from one module to another. Five years later orchestrated this work and number of repetitions has been specified in the score.
His early works like Shaker Loops, Grand Pianola Music (1982) and many fragments of his first opera Nixon in China (1987) became a great success and pave his road to the fame of master of contemporary minimalism although most of his works cannot be recognized as minimal music. In the middle of second decade of his creative work he was already far from minimal ideas and in symphonic score Harmonielehre from 1985 he moved back to the expressionist means and loose tonality. Nevertheless in 1990’s he was listed in one row with masters of 1960’s generation Terry Rilley, Steve Reich and Philip Glass. Some elements of this style he was working also in next decades, i.e. using steady pulse as characteristic feature of his style, but the last decade of 20th century and two decades of new Millenium was the time of his greatest creative achievements.
John
Adams — Must the Devil Have All the Good
Tunes? (2020)
Concert compositions occupy a special place in John Adams’ oeuvres. Starting from Violin Concerto (1993) to Scheherazade 2 – symphony for violin and orchestra (2014) he presented an unusual melodic lightness and lyricism contrasted with dramatic tensions. In compositions for piano and orchestra these qualities were augmented with motoric intensity and expressive radiant harmonics interacting with variety of rhythmic patterns. In third piano concerto called Must the Devil Have All the Good Tunes? Was commissioned by Los Angelese Philharmonic and premiered March 7, 2019 in Walt Disney Concert Hall by Yuja Wang and Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel. In November 2019 artists recorded this work for Deutsche Grammophon and in April 17, 2020 album was released. New piano concerto uses the same steady pulse we know as a hallmark of composers style. This is the starting point for the process of developing and expanding patterns as figurative units for motoric and intensive piano action. This virtuoso concerto continues the line of great concertos by Bartok and Prokofiev. It consists of three movements: I Gritty, funky, but in Strict Tempo; Twitchy, Bot-like, II Much Slower; Gently, Relaxed III Piú Mosso: Obsession / Swing. Firm and energetic, perfect and virtuoso music suita the diabolic name which has its root in saying of Martin Luter. The program of this LP comprises concerto Must the Devil Have All the Good Tunes? and as an encore China Gates (1977) for piano solo, early composition based on principles developed in minimalistic period. Perfect performance of orchestra conducted by Gustavo Dudamel and brilliant virtuoso piano by Yuja Wang gave this visionary music good premiere. For composition and for performance complete five stars.
In the time of violent unrests, when constitutional rights are trampled by armed forces, politicians are staying against people, companies still are creating growth of public debt, and corporative mass-media false picture of reality, only arts and music can remind you what an honest world should look like. For some it will be a moment of rest, momentary relief in pain, but in many cases, it is powerful exposure of common concerns and dreams. To understand it, you don't need any special competences, this is publicly open message. Position of rock music comes from it is impact in actions against Jim Crow laws and imperialistic wars, like the one against Vietnam. Action was considerably strong and gave impulse for huge wave of counterculture movements. Position of rock music from 1960's was one of most significant effects of this process. In second half of 1970’s the era of disco was in full swing, big part of rock music looked like already historic genre. Pop rock as more entertaining and ideologically indifferent was in raising trend. Many artists were repeating earlier achievements in various subgenres, expanding them with some fashionable improvements, and gaining success. In late 1970’s most respectable subgenres of rock show some rebellious ideas, and most popular among them was punk rock. Its rhythmical, harmonic, and instrumental simplicity one could understand as weakness, but in fact these elements serve just as background for lyrics. Punk was more counterculture movement than just a genre and besides musical characteristics most significant feature of punk rock was its political commitment.
Tom Robinson Band — Power in the Darkness (1978)
Many bands in UK were playing syncretic rock with elements of new style recognized as punk and more traditional hard rock, glam rock, and various pop music styles. One of these bands was Tom Robinson Band, also known under abbreviation TRB. Band was established in 1976 by Tom Robinson, singer and songwriter, gay rights activist. He started his own band as singer giving performances on early London punk scene. He invited his friend Danny Kustow as guitarist, by add in music paper they have found drummer “Dolphin” Taylor, then by next audition they found keyboardist Mark Ambler. Tom Robinson decided to play bass guitar himself. Punk rock was politically engaged in general, but Tom Robinson band was more radical than others although their music was not so defiant as The Clash or Sex Pistols.
TRB played much more complex and sometimes moderate version of punk rock gravitating towards new wave. Based on rock rhythms it sounded modern and fashionable. Their started with hit song 2-4-6-8 Motorway – it was 1977 hit picking 5th position on UK Singles Chart – which together with B-side anthem I Shall Be Released it should be considered as a classic punk rock single. After this success in May 1978 EMI released Tom Robinson Band’s debut album Power in the Darkness. As punk rock album it is unusually rich as a variety of elements coming from every corner of rock and various pop music traditions. And it’s still interesting showing in original version some ideas that became fruitful in punk rock in 1990’s.
Tom Robinson Band — Power in the Darkness (1978)
From the starting moment TRB were sympathizing with Rock Against Racism movement, which was supported by Tom Robinson from the beginning. The cover graphics of the album was the same raised fist as they used as band’s logo. No wonder debut album of TRB was created as a contribution to Rock against Racism campaign. Information about campaign on album cover includes short manifesto: “We want rebel music, street music. Music that breaks down people’s fear of one another. Crisis music. Music that knows who the real enemy is”. UK edition had 10 songs; in most local editions 2-4-6-8 Motorway song was added. US edition was 2LP with many bonus tracks. In UK and European editions part of the album cover was the LP size stencil showing raised fist and ring with name of the band.
Not only rebellious ones, but most of popular culture artists have generally pro-equality and against- attitude. Although exceptions happen and many artists are testing random kinds of rebellious ideas, good majority is oriented towards values typical for open society, including anti-totalitarianism and advocating full rights for minorities. This direction is common in attitudes of most significant artists. They are saying about what is close to their social and individual interest, sometimes even putting their relations into risk. But experience shows those who are trying to support their careers with hate speech usually do not deserve attention.
Song can be understand as a base of musical expression and position of music in communication system. As the form of musical experience, song was always fundamental part of any culture. While developing forms of music through the eras were expanding and complicating, in folk music this form rooted in communication mechanisms, language and symbolic gestures, was flourishing with creative ideas and current content but remaining purest and uncontaminated form. The tradition of telling various stories with poetic text was common for most cultures all over the world. With rhyme, rhythm and with melody even legends and fantastic tales sounded more realistic. Basing on formal foundations song became a vehicle for ideas of great importance. After industrial revolution society became more independent and, from this moment onward, popular song played the role of common practical set of ideas.
The new world society was in quite different situation. New waves of immigrants were coming with fresh energy and some basic musical culture, but mainly without education or cultural competences. The economy of this form and the power of impact were primary reason for connecting song with social behaviors and beliefs in migrating society, patriotic feelings or protests injustice, war or inequity. So country music was as much adequate as it was for social layer without structural rating system.
Since the beginning of popular culture era, songs were the tools for disseminating various ideas, step by step taking position of main form in spectrum of musical culture. This process can be observed almost in every area, it can last decades, or centuries. In American society after 2nd World War, with domination of English language, in place of different singing and telling traditions, appeared limited number of forms and worldwide recognizable authors of songs. As this massive cultural change came with domination of American politics and economy, so significant part of globalizing culture was common American English music and literature including folk and country music.
Various Artists – Folk Festival (1960?)
Country ballads, folk rock, protest songs and popular folk songs were extremely popular and in every catalogue such music existed as a section of rich selection. Elektra Records was founded in 1950 with idea to publish folk songs and in next two decades it became major label specialized in all kinds of folk songs. In mid 1950’s their catalogue was already a rare collection of great singers, so they started to publish compilations of different style songs. In 1956 Elektra published Folk Sampler with 18 songs and in 1961 this compilation was reedited and titled Folk Festival. Next compilation of 15 songs was published under the same title and republished few times in licence edition. One of them was Vintage label operating in Germany (Vintage F50002). There were few other versions, but none of them contained any information about the year of publication.
The album is one of dozens alike. Such compilations of popular folk songs were in sixties common way to earn some extra money from albums already sold. The program includes stars from the label's stable, from Judy Collins, Brownie McGhee, Rod McKuen and Theodore Bikel, through The Dillards, Lightnin’ Hopkins, Ed McCurdy and Oscar Brand to Odetta and Pete Seeger. Interesting choice of songs (and two instrumental pieces by Glen Campbell) – for newbies the opportunity to check, for those who like American folk music, a chance to have more comprehensive overview. For the lack of thrill, two and a half of stars only although every distinguished artist alone deserves more.
One of songwriters and great folk-rock singers who reached great worldwide fame as performing artist is representative of great Canadian American tradition, bright stage personality and guitarist Joni Mitchell. She is famous as singer and well known as performer, but her creative effort in songwriting was on the first place from the very beginning. With strong roots in folk and folk rock, she was close to jazz scene as well. She started as songwriter and folk clubs singer in sixties, her debut album Song to a Seagull was produced by David Crosby and released in March 1968 by Reprise label. She was author of all songs, singer, played guitar and piano in all accompaniments and designed album cover. Bass guitarist Stephen Stills played only one song but became her constant coworker and playing much more on her next albums. Releasing every year new album in five years she became an icon of folk rock.
Shortly after Mitchell’s first folk rock records reach commercial success, she started to widen stylistic attitude. Consequently, her name was increasingly falling into category of jazz vocalists. It’s interesting process she was keeping the same position towards popular ballad and narrative poetry of rock songs changing only some elements of her musical style. In early seventies it was still somehow risky idea to get against actual trends. Folk rock albums made her famous, so experiments with other styles could eventually cost her losing some of her fans. So, she was moving to folk and jazz crossover in a mild way, adding more and more interesting musicians, and staying herself the same artistic personality. She was recording and touring with super league of jazz musicians. As time goes by she had considerably more listeners on jazz and some other ambitious genres of rock and pop music, but she was still associated with folk rock.
After the end of Vietnam war in seventies, with social change driven by economic crisis, many artists were searching for new solutions of art representation as a space for culture discourse. This perspective was perfect for continuing some trends popular in sixties. Renewed ideas were consumed as backward wave of folk music. Joni Mitchell as many others was still on top of popularity. It really didn’t matter how innovative she was and how far her new songs were behind borders of the style, she was still considered as folk singer. Like she was intending to confirm this stereotype, in many performances she was still a singer with a guitar, or even a bard with natural vocal technique and nice melodies. Sometimes it had to be a real challenge to reach it in such natural way, and many of her project were stylized to fulfill this idea. This tendency was present in live performances while not clearly visible in Mitchell’s studio recordings, where she was more ambitious on intellectual and artistic level.
Joni Mitchell — Don Juan’s Reckless Daughter (1977)
One of her best works, published in December 1977 double LP album Don Juan’s Reckless Daughter was also the one scandalously underestimated. Recorded for Asylum label in London, New York and Hollywood with huge group of musicians and various arrangements. Definitely, most significant element besides of Joni Mitchell’s voice and guitars was sound of Jaco Pastorius’ fretless bass. As a sideman he gave this music electrifying power of jazz phrasing, finding perfect balance with leader’s voice. In late seventies his sound was iconic element of Weather Report sound. Musicians from this band were saxophonist Wayne Shorter, percussionists Manolo Badrena, and Alex Acuña. Others were also known for their contribution in fusion jazz guitarist Larry Carlton, percussionist Airto Moreira, movie music composer, pianist Michel Colombier, lead singer from funk band Rufus Chaka Khan and drummer John Guerin known from early Frank Zappa’s albums.
Restricted use of jazz idioms on Don Juan’s Reckless Daughter was visionary. It sounded like jazz moved back to it’s popular music roots. Even in simple songs, for example in Jericho, where Jaco Pastorius bass and Joni Mitchell’s guitar with drums by John Guerin and bongos by Don Alias create thick and intensive instrumental layer. In this fabric soprano sax by Wayne Shorter is so discrete and colorful as it sounds like just extra sound dimension. This corresponds with unusual melody, full of unexpected changes, based on irregular, free verse poetry. It gives a mind-blowing effect. In opposite example Paprika Plains we receive expanded composition spanning whole side B of first LP. Similar group of musicians (except absence of congas and Joni Mitchell plays piano) and symphony orchestra orchestrated by Michael Gibbs gives this composition solid formal frame. Even final jazz solo by Wayne Shorter runs with the whole composition like a cadenza. The other side of musical experience are The Tenth World and Dreamland, both featuring essentially percussion band. For experimenting with styles, balancing ambitious musical creations with intense poetry this album deserves four stars. I am giving four and a half for personal input of Jaco Pastorius – this is one of his best accomplishments.
