back in stock as of
july 9th, 2013
first in stock on
august 31st, 2010
|trunk (uk) #jbh 035 cd|
tristram cary “it’s time for tristram cary • works for film, television, exhibition & sculpture” compact disc
- music for light (red / white) (4:12)
- music for light (short orange) (1:10)
- music for light (red / green / white dubbing track) (4:11)
- visible manifestations (e1 a - d) (1:11)
- visible manifestations (f 31) (0:38)
- visible manifestations (e11, e12, e13, e14 a - e) (0:48)
- a hill, some sheep and a living (1m 1 take 2) (1:53)
- a hill, some sheep and a living (1m 2a) (1:00)
- a hill, some sheep and a living (m6 take 3) (1:03)
- opus (m1 - electronic titles, montage of metal sounds) (2:58)
- opus (house sequence / cocktail party montage) (1:20)
- opus (house sequence continued) (1:50)
- opus (m6 a take 3) (2:14)
- opus (green, drum track with reverb) (0:51)
- tests, for casino royale (opening section) (0:25)
- tests, for casino royale (torture sfx part 1 - persuasion by pain) (0:50)
- tests, for casino royale (torture sfx part 2) (1:19)
- tests, for casino royale (further sfx) (0:42)
- centre music (4:16)
- escalator music (0:40)
- shaped for living (1m1, 7 sounds) (0:48)
- shaped for living (1m5, 8 sounds) (1:21)
- shaped for living (1m6 sounds 5-9) (0:44)
- shaped for living (1m7, 18 sounds) (0:50)
- shaped for living (2m8, 5 sounds) (1:00)
- shaped for living (mixed track) (4:37)
- the curious history of money (effects part 11) (0:45)
- the curious history of money (m12) (1:04)
- divertimento (start) (3:38)
- divertimento 05 (4:09)
- 3 4 5 - a study on limited resources (6:56)
- narcissus (7:59)
|april 2010 release ; excellent overview of the work of preeminent uk electronic music composer tristram cary, focusing on his 60s & 70s work ...|
the main selling point (for me, at least) is the inclusion of his two 1970 galliard-label singles (i.e. “3 4 5 - study on limited resources” - listen to the sound-sample - and “narcissus”) ; but in fact the stray cues (including those for expo ‘67 & the film “casino royale”) & industrial commissions (the olivetti piece is esp. nice) featured on here are all incredible ...
an absolutely essential set for any fan of early electronic music ...
catalogue number jbh035cd
|over the last few years intrepid music lovers have been investigating and enjoying the work of pioneering electronic musicians, electro-acoustic artists and all the groovy folks who spent hours manipulating and cutting tape to make new and exciting sounds. it’s meant that lots of interesting figures have been brought back into our musical view. but one of the most important, innovative, influential and almost forgotten artists of them all is tristram cary. he hasn’t had that much exposure over the last few years. not much at all considering he is known as “the father of electronic music”. well now his story is here. some of his experimental music is here. and you are here too. so buy this cd now and spend some time with the great man and his extraordinary compositions for film, tv, sculptures and exhibitions. and if you like this hopefully more cary recordings will follow.|
the title for this album caused me lots of problems. in the end i decided that “it was time” we all learnt a bit more about this great man. he is a towering musical figure who lots of people have never really come across, but whose influence is all around us. for further joy i’d suggest looking up the following two obscure documentaries where the importance of his work becomes even more apparent: the same trade as mozart (1969), what the future sounded like (2007). featured on this album are a number of recordings from different sources, but all of course from the tristram cary archive. i’d agreed which archive pieces i was going to use with tristram about 6 months before he died. and thanks to the enthusiasm and help of his son mark, this project has continued.
tristram cary. 14th may 1925 – 24th april 2008.
born in oxford, he was the third son of famed novelist joyce cary (mr johnson, the horses mouth etc). as a youth tristram enjoyed a keen interest in science, sound and electronics, and even though his father wanted him to become a doctor, he supported his son’s desire to be a composer. cary went on to study at trinity college where he was introduced to the delights of modern classical music by friends michael flanders and donald swann.
as war broke out cary joined and served in the royal navy as a radar operator. here he encountered modern german tape equipment, and on his return to oxford started experimenting with recorded sound. after further studies in composition, piano, viola and horn, cary started gradually building up his own modern electronic studio, the first of its kind in the uk. thanks to his experiences in the navy and his mind for odd electronics, cary started constructing his own sound generators using discarded, defunct and decidedly cheap military equipment. simultaneously across europe similar minded musicians were working along similar lines, but cary was unaware of their sound or progress.
by 1954 cary was earning a living as a composer, and in 1955 got the job of writing all the music for new ealing movie the ladykillers. the film’s director, alexander mackendrick, had been cary’s drinking partner in their local boozer, the fringes in fulham road.
by the late 1950s the commissions were coming in at quite a rate, there was work for more films, radio, theatre and tv. much of this work was straight classical, but there were opportunities for cary to bring in his new ideas and electronic sounds. unusually cary was happy working across all musical mediums; he’d be content composing in a conventional classical style, and equally thrilled building electronic scores for modern commissions. in 1962 his radio musical “the ballad of peckham rye” won him the prix italia, and no doubt more international commissions followed.
he worked for the bbc on many occasions, most infamously creating the music and otherworldy effects for the dr who daleks seven part series in 1963 (this is the series in which the daleks first appear).
in 1967 he founded the royal college of music electronic studio, wrote the groundbreaking music for hammer’s quatermass and the pit, and in 1969 along with peter zinovieff and david cockerell founded ems (electronic music studios), the uk’s first ever synthesiser company. their first major products included the vcs 3 synthesiser, the suitcase synthi and the delaware, equipment that became the modern musical tools of their times. pink floyd, brian eno and the bbc radiophonic workshop would have all sounded very different without their ems equipment. at the same time cary was still experimenting with his very own studio and sound ideas, and through a local label in norfolk released two extraordinary short records (both on this release).
on demonstration tour in australia he was offered further work, and moved to adelaide in 1974 where he worked at the university under a number of different musical titles. he left in 1986 and returned to composing, and in 1991 received the medal of the order of australia for services to australian music. he carried on developing sound, consulting and composing for the rest of his life.