Morton Subotnick: Silver Apples Of The Moon / The Wild Bull
 
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Morton Subotnick: Silver Apples Of The Moon / The Wild Bull

October 21, 2011

$3.96
Also available in CD Format
  Song Title
Time
Popularity  
1
Silver Apples Of The Moon - Part A
16:40
2
Silver Apples Of The Moon - Part B
14:59
3
The Wild Bull - Part A
13:08
4
The Wild Bull - Part B
15:01


Product Details

  • Original Release Date: July 29, 2011
  • Label: wergo
  • Copyright: (C) 2011 Wergo, a division of Schott Music and Media GmbH 1994
  • Total Length: 59:48
  • Genres:
  • ASIN: B005USQFBU
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Best Sellers Rank: #17,011 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

4.6 out of 5 stars
(10)
4.6 out of 5 stars
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Most Helpful Customer Reviews
56 of 56 people found the following review helpful
4.0 out of 5 stars A unique and engaging voice from the pre-digital age. October 26, 1998
It borders on the cliché to refer to electronic music-especially that composed before the advent of digital synthesis and the all-pervasive Musical Instrument Digital Interface (MIDI)-as bleep-bloop music. But, it cannot be denied, there was a lot of bleeping and blooping going on well into the 1970's. The academic world was awash in the jittering goings on at the Columbia-Princeton Electronic Music Center in New York, and other such places, from which the likes of Charles Wuorinen's Pulitzer Prize winning Time's Encomium were produced. Don't get me wrong, a good bleep and the odd bloop now and again does a body good, but it is always a delight to discover composers such as Morton Subotnick who defy all clichés and head off into unknown territory. This 1994 release of two of Subotnick's earliest recorded compositions is, therefore, a rare treat. Oddly packaged as part of Wergo Music's Music with Computers series (no one had ever heard of Computer Music in 1967), are Silver Apples of the Moon, a composition originally commissioned and released by Nonesuch Records, and the mythically titled 1968 composition, The Wild Bull. Composed and recorded using the now rare, albeit famous, Buchla synthesizer (or Electric Music Box as its designer, Donald Buchla preferred to call it), these compositions display Subotnick's talent for creating a personalized electronic music that is at once challenging, haunting, kinetic, engaging, sad, contemplative and immanently engrossing. His music ranges from pensive to frantic in mood and even manages to swing a bit along the way (in Subotnick's inimitable style, of course). Read more ›
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29 of 29 people found the following review helpful
5.0 out of 5 stars Still Original after 30 Years September 21, 2000
Verified Purchase
I remember being in the Electric Circus in NY during the late sixties or early seventies and having heard the wonderful music of Morton Subotnick. He had a number of speakers placed around the club and they throbbed with his pulsating electronic rhythms. This CD captures the essence of that music and has great historical significance in the chronology of electronic music. Unlike other composers Subotnick managed to create organic music from very inorganic synthetic timbres. Since he departed from the popular trend to use the Moog synthesizer and instead chose more esoteric ones developed by Donald Buchla I think he managed to achieve a completely fresh approach to electronic music composition.
In the early seventies there was a branch of synthesizer musicians who wanted the instrument to imitate the sound of natural acoustic instruments. Walter (Wendy) Carlos at that time was making significant impact with Switched on Bach and there was a flurry of other composers hopping on this particular band wagon. Subotnick, however, chose another path. Because of the nature of the Buchla synthesizers I think the blend of musical vision and instrumentation has never been more fully realized than in the recordings on this CD.
Electronic music has had the stigma of being gimmicky and its introduction into mainstream music was done with some awkwardness and a great deal of rejection. Most musicians and composers realized the potential but few knew exactly how to tame this new medium. Subotnick was one of a small handful who fortunately did understand the medium. In the compositions of Subotnick, the synthesizer is no longer a gimmick but a fully mature instrument that deftly underpins the power of his music.
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18 of 18 people found the following review helpful
4.0 out of 5 stars Timeless music from the stone age of electronica September 8, 2003
Format:Audio CD|Verified Purchase
By notions of electronic music, this album is about as old as they come. And amazingly these pretty primitive sounds don't sound dated at all. How did Subotnick know to avoid the cliches that would plague most later synthesizer music? Maybe it's rather that most pop musicians -- who came to define synthesizer music -- didn't listen to atonal and arythmic bloops and bleeps, so they never picked up on these textures. Their loss. This music is still sparklingly original. Required listening.
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9 of 9 people found the following review helpful
5.0 out of 5 stars Inventive Electronics October 12, 2001
By JBL
Wild sounds, strange timbres, heavy syncopated rhythms like jazz from another dimension: two of Subotnick's earliest works, composed when electronic music was still new and cliche-free. Anything but ambient, it demands your attention!
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6 of 7 people found the following review helpful
5.0 out of 5 stars Big Fun In An Alien Soundscape September 7, 2003
Format:Audio CD
In an era when electronic music seems to have ossified into the making of formless, but nonetheless attractive, spacey atmospheres, or into industrial strength techno-monotony, it is refreshing to hear this computer-generated music from the 1960's when Morton Subotnick could create serious compositions. This pricey disc contains 2 half hour pieces, each originally released in the dark ages as a separate LP. They are quite distinct from each other, yet definitely arising from the same esthetic. Bleeps, hisses, blangs and moans? Yes. Odd, self-generating rhythmic structures from some other time dimension? Positively. Wonder, fear, tension and resolution? Absolutely. 'Silver Apples' and 'Wild Bull' are as strange, challenging, and hopefully, delightful, as any music you are ever likely to hear. Great stuff!
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