Paul Hindemith – Slow Piece & Rondo, for trautonium (Lost. Preserved in a reconstruction by Oskar Sala) (1935)

I. Slow piece
II. Rondo (2:39)

Oskar Sala, trautonium

The trautonium is a monophonic electronic musical instrument invented about 1929 by Friedrich Trautwein in Berlin at the Musikhochschule’s music and radio lab, the Rundfunkversuchstelle. Soon Oskar Sala joined him, continuing development until Sala’s death in 2002.

Instead of a keyboard, its manual is made of a resistor wire over a metal plate, which is pressed to create a sound. Expressive playing was possible with this wire by gliding on it, creating vibrato with small movements. Volume was controlled by the pressure of the finger on the wire and board. The first Trautoniums were marketed by Telefunken from 1933-35 (200 were made).

The sounds were at first produced by neon-tube relaxation oscillators (later, thyratrons, then transistors), which produced sawtooth-like waveforms. The pitch was determined by the amount of resistive wire chosen by the performer (allowing vibrato, quarter-tones, and portamento). The oscillator output was fed into two parallel resonant filter circuits. A footpedal controlled the volume ratio of the output of the two filters, which was sent to an amplifier.

On 20 June 1930 Oskar Sala and Paul Hindemith gave a public performance at the Berliner Musikhochschule Hall called “Neue Musik Berlin 1930″ to introduce the Trautonium. Later, Oskar Sala toured Germany with the Trautonium; in 1931 he was the soloist in a performance of Hindemith’s Concert for Trautonium with String Quartet. He also soloed in the debut of Hindemith’s student Harald Genzmer’s “Concert for Trautonium and Orchestra”.

Paul Hindemith wrote several short trios for three Trautoniums with three different tunings: bass, middle, and high voice. His student, Harald Genzmer, wrote two concertos with orchestra, one for the monophonic Trautonium and, later, one for Oskar Sala’s “Mixtur-Trautonium”. One of the first additions of Sala was to add a switch for changing the static tuning. Later he added a noise generator and an envelope generator (so called ‘Schlagwerk’), formant filter (several bandpass filters) and the subharmonic oscillators. These oscillators generate a main pitch and several harmonics, which are not multiples of the fundamental tone, but fractions of it. For any of the now two manuals, four of these waves can be mixed and the player can switch through these predefined settings. Thus, it was called the “Mixtur-Trautonium”. Oskar Sala composed music for industrial films, but the most famous was the bird noises for Alfred Hitchcock’s The Birds. The Trautonium was also used in the Dresden première of Richard Strauss’s Japanese Festival Music in 1942 for emulating the gongs- and bells-parts and in the 1950s in Bayreuth for the Monsalvat bells in Wagner’s Parsifal. [wikipedia.org]

Art by Aristarkh Lentulov

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Peter Klausmeyer – Cambrian Sea, for electronics (1968)

This piece was put together in the University of Michigan Electronic Music Studio in January, 1968. There is nothing particularly complicated about the material used; all the sounds are electronic in origin.

White noise formed the basis of the first couple of minutes of the piece. The signal was split into several components, filtered through two Krohnhite band-pass filters, re-mixed and shaped by a Moog envelope generator-voltage controlled amplifier combination.

The “metal” sounds were made by modulating a mixture of three sine waves with a white noise signal whose short attack & decay envelope came from the Moog equipment mentioned above. An old tube-type balanced modulator was used here.

The “belch” sounds were made in a fashion similar to that of the metallic sounds, except that a very low sawtooth wave was the modulating signal instead of the white noise, the frequency of one of the sine generators being altered by hand during the decay of the envelope.

With the return of the sea sounds at the end, the piece is closed off in the age-old, time-tested A-B-A fashion. –Peter Klausmeyer

Art by Taiga Chiba

Georg Friedrich Haas – Limited Approximations (2010)

for 6 micro-tonally tuned pianos and orchestra (2010)

Played by: Akiko Okabe, Pi-Hsien Chen, Christoph Grund, Florian Hoelscher, Julia Vogelsänger & Sven Thomas Kiebler – Piano

SWR-Sinfonieorchester Baden-Baden und Freiburg
Conducted by Sylvain Cambreling

Georg Friedrich Haas was born in 1953 in Graz, a city in the east of Austria. His childhood was spent in the mountainous province of Vorarlberg, on the Swiss border. The landscape and the atmosphere of the place have left a lasting impression on his personality. The atmosphere was marked not so much by natural beauty in the accepted sense of the word. Rather, Haas experienced the mountains as a menace; he felt closed in by the narrow valley where the sun rarely penetrated. Nature for him represented a dark force. The composer adds: “Just as important for me was the experience of being an outsider: unlike my younger siblings, I never learned to speak the local Alemannic dialect. [source]

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haas