Electric Music, Tape (4 tracks, at Institute of Sonology, Royal Conservatory, The Hague)
UA: 2/27/1967, Utrecht (First part)
UA: 3/27/1967, Stedelijk Museum, Amsterdam, (integral)
DE: 7/10/1967, Allgem. Deutsches Musikfest, München
CD : Acousmatrix 5, Electronic Works, BVHAAST 9011 (CD 1990) [EDISON AWARD]
CD: An anthology of noise & electronic music, SR 190 sub rosa, po box 808 cm
B 1000 Brussels, Belgium, http://www.subrosa.net
Performer(s) : purely electronic
The booklet tells us: “Considered from he beginning – and rigthly so – as one of the most radical pieces ever conceived in electronic music, Aspekt combines a very fine and highly elaborated (though invisible) structure with the impact of a very great power.”
CD: ‘Institute of Sonology, Early Electronic Music’, Sub Rosa SR 164, same adress as above.
ASPEKT (1964–1967) grew out of the idea of a vast unity between the sound structure and the ‘large form’.
The working out of this idea required means of production entirely new at that time, amongst which the “Variable Function Generator” designed by Stan Tempelaars at the Institute of Sonology. I used it in a complete unexpected way.
(Read more in: Konrad Boehmer, Gegenschläge, First part of his Collecteted Writings, Pfau Verlag).
ASPEKT deals not only with the association of sounds but also with their very composition – and in the minutest detail. None of the traditional procedures of electronic music (for example: echo, filters or sinusoidal sound generators) is used here. Instead the complex structure of the work comes from the application of principles encompassing all the aspects of musical texture and technique: sound-structure and form are identical.
ASPEKT was written in homage to Nguyen Van Troy, a young Vietnamese liberty fighter who was murdered in 1964. It was awarded the Price of the 5th Biennale of Paris in 1968, and an EDISON in 1993.
The premiere took place on march 27, 1967 , Stedelijk Museum, Amsterdam.