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Wendy Carlos & Rachel Elkind: Switched-On Bach (1968)




Wendy Carlos & Rachel Elkind: Switched-On Bach (1968)


Switched-On Bach, oltre ad essere stato il primo album di musica classica a guadagnarsi il disco di platino, cambiò per sempre la faccia del pop, of rock and traditional music. He started a host of imitators and infinite delight the ears of an audience that until then had looked with suspicion electronics. Prior to S-OB-mail was considered the vanguard in the worst possible way and, moreover, did not raise no economic interest. Wendy Carlos
solved the problem:

"I thought if I Offered That people a little bit of traditional music, and They Could Clearly hear the melody, harmony, rhythm and all the older values, they'd finally see That this was really pretty in net new medium "

Walter Carlos had studied piano, was interested in physics, had experience as a sound engineer and Columbia had degree in composition with Otto Luening and Ussachevsky. In 1966 Bob himself gives him his first Moog, with help from Bob Schwartz, a colleague at Gotham Recording Studios, Walter's apartment on West End Avenue, Walter had become a recording studio in miniature. Bob spends a whole weekend in the West End to check the correct operation of the instrument, is the beginning of a long and successful partnership: Carlos, suggests some improvements and market leads to the port and the switch. Over the years, Moog goes back and forth between New York and Trumansburg with his prototypes, desirous of valuable advice to Walter. Gotham Studios to meet Carlos Rachel Elkind, arrived from San Francisco as aspiring singer jazz and ended up working first as an assistant producer and then, in the music industry. Rachel describes his first encounter with Wendy:

"loathe at fist sight. We did not care for Each Other at all. It Took us about a year before I started bugging her to collaborate with me or makes me feel

When Wendy Rachel to a version of a Bach sonata immediately realizes the potential of this work. Wendy had not yet thought to make an album of covers of Bach: the idea is Rachel. The two began writing the first movement of the Third Brandenburg Concerto: Wendy and Rachel works at Moog produces sounds not too encouraging imitative than those actually usati da un’orchestra. Il timbro doveva essere familiare ma pur sempre differente. Alla fine dell’estate del ’68 S-OB è finalmente pronto e la Columbia offre al duo un contratto. Il successo investe le ragazze ma, non tutto è rose e fiori. In quel periodo Walter sta iniziando la sua trasformazione in Wendy grazie ad una terapia ormonale a cui segue nel 1969 un pionieristico intervento permanente. Per questo motivo Walter-Wendy non fa vita sociale, non appare in pubblico e non incontra altri musicisti. Dopo il tragico concerto con la St. Louis Orchestra nel 1969, Wendy si rifiuta per sempre di suonare in pubblico. Specchio di Walter-Wendy, la stessa natura di S-OB completamente prodotto in studio, mal si presta alle esibizioni live. Anche per Rachel le cose non sono felici. La gente non capisce il suo ruolo in quel capolavoro:

“Having built up Walter Carlos, I also got tired of people thinking that I was there serving tea”.

Ma la gigantesca portata di S-OB non causa problemi solo alle sue creatrici; il disco spaventa i musicisti d’orchestra che immaginano il loro lavoro andare in fumo, sostituito da una sola persona e da un sintetizzatore. Terrorizza gli artisti e i compositori d’avanguardia che vedono la sintesi imitativa di Carlos popolarizzare i loro progetti sperimentali. Per tutte queste persone è necessaria una strategia di salvezza e così l’American Federation of Musician e i produttori di spot siglano un contratto nel 1969 per bandire the use of the Moog by the production of commercial jingles. The quarrel ended with the intervention of Walter Sear, who once belonged to the lobby. Thanks and his contacts Sear explains the AFM that the Moog needs a musician to be played ...
After changing the history of music, Wendy Rechel and continue to work together. After the timely realization: The Well-Tempered Synthesizer (1969), Switched-on Bach II (1973), Switched-On Brandemburgs (1979) and the soundtrack of A Clockwork Orange (1972) and The Shining (1980).



Bob Moog describes the public reaction EASA meeting in New York (1968) after listening to a preview of a piece of the Third Brandenburg Concerto:

"I put the tape on, and I wanted to let it run. So I just Walked off the stage into the back of the room. And I can remember people's mouths dropping open. I swear I Could see a couple of cynical old bastards Those starting to cry. At the end, she got a standing ovation, you know, Those cynical, New York experienced engineers HAD HAD Their Minds blown "