Teitelbaum, an American, bought a synthesizer from Bob Moog and was the first to use one in Europe. He moogulated the voice of Carol Plantamura. Richard Teitelbaum, modular Moog synthesizer, contact microphones, voice. Octo– Musica Elettronica Viva, “Spacecraft,” (Akademie der Kunste, Berlin, October 5, 1967). Interestingly, it used one prototype Moog Polyphonic Electronic Instrument and one Moog Synthesizer. 3 The piece was one of the first chamber orchestra works composed for synthesizer. 2 It was performed again on Octoin Los Angeles and at Expo ’67 in Montreal. – Donald Erb premieres Reconnaissance using two Moog synthesizers played in real-time with a chamber orchestra Robert Moog operated the synthesizers at this Music In Our Time series performance, New York. The work is still performed at Young and Zazeela’s Dream House, but they no longer use the Moog modules. Scull Commission (1967) Claes and Patty Oldenburg Commission (1967) Betty Freeman Commission (1967). First performed at their Church Street loft in lower Manhattan in 1967, Young also lists several gallery installations including the Robert C. This was the basic strategy for a series of works that he and partner Marian Zazeela produced into the 1970s. Aware that the tuning of these oscillators would drift over time, he created a piece that made use of this phenomenon. This work was for two or more sine wave drones played at frequencies prescribed by Young. This was a piece composed for various instrumental settings in 1960, but this Moog performance was in 1967.ġ967 – LaMonte Young, Drift Studies, live performances using Moog Modular oscillator modules. Photo courtesy of the Bob Moog Foundation Archivesġ967 – John Cage presented Solo for Voice 2 (1960), with Carol Plantamura’s voice processed in real time using a Moog Modular. The program reproduced here is from this extensive Bob Moog Foundation blog documenting this event: This small event was attended by participants, family, friends, and Moog employees. Moog Company’s small factory, the culmination of a workshop of composers and musicians. 1965Īug– A live concert was produced at the R.A. By no means do I consider this record to be completeadditional listings and suggestions are welcomed. Without further delay, I give you a partial record of early Moog Modular live performances, organized chronologically. The available variations in patching and playing were essentially infinite. But the Moog Modular was also viewed as a remarkable combination of many audio devices with enormous potential. Yes, it was a complicated instrument and it sometimes behaved unpredictably, especially in its tuning. The idea that the Moog Modular synthesizer could be used in a live performance is somewhat contrary to what people believe today. They capture the use of the Moog Modular at its creative summit, prior to the widespread availability of the Minimoog. Most of these instances fall into the time period 1965-1970. I’ve been gathering these cases for a long time and offer them here for the Moog record. While digging through many of the clippings, news blurbs, and press releases associated with Bob Moog and his synthesizer, I sometimes find stories about the use of the early Moog Modular in concert. We stray from Moog recordings for this edition of the blog to document some of the early pioneers of live Moog Modular performance. Moog Modular Historian Thom Holmes Explores Early “Live” Moog Modular Artists (1965-1970)
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