Watch and enjoy:
http://fatbaron.com/

[next step]

downloading.......................

split, purify and blend againg
ingedients are always the same: Mercury Sulfur Salt

[Пятхъдесят Шест]

If I didn't think it was going to make my computer shut off (beacause its a bastard) I would have a look. I trust it is great, but I'm not ready for this machine to tell me I'm done being online just yet.

Perhaps later.

well worth it.

Delia Derbyshire interview - 1997
http://www.livevideo.com/video/landi...view-1997.aspx

BBC Radiophonic Workshop bonanza on youtube. Some kind soul upped them all from some uknova torrents:

http://www.youtube.com/results?search_type=search_videos&search_query=rad iophonic&search_sort=relevance&search_category=0&p age=1

[Tokolosh]

I can't open the fatbaron one.
The link doesn't work.

Same documentary is upped on youtube, now.

[Tokolosh]

Oh, I see, it's the same one. Thanks.

 

 

2CD in jewel case with 16 page booklet
CD 1
• Introduction (3:33)
• Power tools (0:44) mp3
• Bird of parallax (12:58)
• In a jazz style (0:37)
• Purring interlude(0:42)
• Contrasts esconic (8:15)
• Lego builds it (0:56)
• Pompie ballet (excerpt) (3:35)
• Intertel (1:20)
• Adwick High School No.1 (0:46)
• Look at Oramics (0:38)
• Rotolock (1:27) mp3
• Purple dust(6:45)
• High speed flight (0:49)
• Studio experiment No.1 (1:48)
• Four aspects (8:05)
• Kia Ora (0:47) mp3
• Dr. Faustus suite (9:36)
• Adwick High school No.2 (2:17)
• Tumblewash (1:59)
• Studio experiment No.2 (0:41)
• Snow (7:46)


CD 2
• Rockets in Ursa Major (excerpt 1) (4:54)
• Food preservation (3:20)
• Studio experiment No.3 (1:07)
• Bala (1:42)
• Episode metallic (5:28)
• Studio experiment No.4 (0:39)
• Adwick High School No.3 (1:35)
• Fanfare of graphs (0:57)
• Studio experiment No.5 (1:14)
• Brocilliande (10:11)
• Mary had a little lamb (2:37)
• Incidental music for Invasion (excerpts) (5:04)
• Costain suite(13:16)
• Rockets in Ursa Major (excerpt 2) (1:22)
• Passacaglia (4:28)
• Missile away(2:06)
• Pulse Persephone (4:02) mp3
• Adwick High School No.4 (2:17)
• Nestea (0:28)
• Rockets in Ursa Major (excerpt 3) (3:28)
• Conclusion (0:11)
• Studio jinks (6:08)
total time 155'47"

Cover photo by Brian Worth
Released 2007
Daphne Oram is best known for her design of her Oramics system, and also for co-founding the BBC Radiophonic Workshop in 1958, but until now the only easily available piece of music by her on CD has been the 8 minute long ‘Four Aspects’. There was also a 7” EP from 1962 on HMV, released as part of the ‘Listen, Move and Dance’ series that was specifically designed to help children dance. Although the short pieces on this record are very basic it could be argued that this was the first ever electronic dance record!
Now for the first time is a survey of nearly all the major pieces that she produced since her departure from the BBC in January 1959 until her final tape piece in 1977. During this time she worked independently in her home studio, and thanks to a grant from the Gulbenkian Foundation in 1962 she was able to persue her interests. In Britain there were no state funded studios other than the Radiophonic Workshop which in its earliest times mainly existed at the behest of the drama studio and was not generally seen as a place to develop personal artistic ideas. There were also no university studios at this time, so it was necessary for British electronic composers to be self funded. Throughout this period she devoted her attention to developing her Oramics ‘drawn sound’ system, which consisted of a large machine that enabled patterns drawn on transparent 35mm film to be converted into sound. This system was eventually fully realised in the late 60’s and several pieces here incorporate its use.
The 2 and a half hours of music on this 2CD set covers the whole range of Oram’s post BBC output. All of the music is electronic with some occassional use of real instruments, especially small percussion and piano frame. There is also some use of musique concrète techniques. The works fall roughly into the following catagories: works for TV and cinema advertising, film soundtracks, music for theatre productions, installations and exhibitions as well as concert pieces and several studio experiments. Also included are 4 mini compositions that resulted from an experimental music course given by Oram at a high school in Yorkshire in 1967.

[terminal pharmacy]

whats with the guy always in the background

I'm not sure if the original link is working, but you could also download it in fairly decent quality. Thanks for bumping it.

Standing Waves - Delia Derbyshire In The 60's

The extraordinary story of Delia Derbyshire - the ground breaking electronic music composer and member of the legendary BBC Radiophonic workshop who was most famously responsible for the incredible Dr Who theme music.
'Standing Wave' ran at the Tron in Glasgow in October 2004. There are no currrent plans for further touring.

http://www.reelingwrithing.com/wave/index.htm

Travel back in time with Delia

A co-production between the Tron Theatre Company and Glasgow-based drama team Reeling & Writhing, Standing Wave is one of the most intriguing new plays of the current season. Subtitled, with deliberate inaccuracy, Delia Derbyshire In The 60s, it is a clever and witty dramatisation of the ideas and events which shaped the most explosive period in the life of the woman behind the path-breaking theme tune for Dr Who.
Beginning in 1974, with Derbyshire holed up in the gallery of her lover, Japanese artist Li Yuan-chia, the play transports us backwards through the years, with the inevitable assistance of a certain time-travelling doctor. The destination is November 23, 1963, the day when the composer’s distinctive theme tune put the BBC Radiophonic Workshop on the musical map. By means of the good doctor’s not entirely reliable yearometers, 1970s Derbyshire (Abigail Davies) moves steadily back through her eventful life, while her 1964 self (Luisa Prosser) plays out the difficult year which followed the Dr Who success.
Derbyshire’s lonely monologue at New Year 1974 paints a picture of an intelligent and poetic character, with a child-like enthusiasm, who is also vulnerable and somewhat erratic. The structure of Nicola McCartney’s subtle, beautifully weighted script creates a different kind of intrigue. We are interested not in where Derbyshire goes from here, but in how she arrived at this point.
There is something very rewarding about such backwards biography. The reverse anticipation has the unusual effect of making events explications, rather than developments in the plot. So, for example, when the composer suffers the most appalling moment in her marriage to former miner David Hunter, we already know that things went pear-shaped between the couple.
As with a Tarantino movie, however, the removal of the suspense of a linear narrative does nothing to lessen the dramatic impact. Katherine Morley’s astute and unhurried direction is attuned brilliantly to the shape of the text, generating a gentle yet compelling piece that is as focused on the workings of Derbyshire’s mind as on the personal and political happenings which influenced her.
The composer moves back through her disastrous, alcohol-dependent relationship with White Noise pioneer David Vorhaus , her involvement in the women’s rights movement and her horror at the BBC’s embracing of synthesisers. As she does so, the theme of her almost spiritual combination of art and science recurs.
She rages at a misheard comment to the effect that beautiful sounds cannot be made electronically, giving a passionate and convincing defence of electronic music as mathematics transformed into an emotive artform. Everything about the piece, from the tremendous closing speech (about the sounds that generated a sense of musicality in the young Derbyshire) to Moley Campbell’s excellent set (a fine combination of modern domesticity, chaotic working environment and 1960s sci-fi futurism), encapsulates the idea of science as art.
The cast has a superb handle on the unconventional pace and tone of the piece. Gary McInnes does a great job of playing all of the male roles, as well as Derbyshire’s matronly teacher. Prosser, as the younger Derbyshire, has the combination of intense intellect, angry defensiveness and personal warmth, which we recognise in Davies’s exceptional playing of the composer as she travels back from the mid-1970s.
No drama about Derbyshire would be complete, however, without a strong musical score. Pippa Murphy has created an outstanding soundtrack, reflecting the composer’s experiments, and weaving her music intricately into the fabric of the play itself.
By Mark Brown, 17 Oct 04

It's great isn't it?

[Onani Nic]

That Oramics 2xCD is awesome!!

Did you read the out of print theory book by her? There is a pdf download of it somewhere, I don't have it at work. I think that I've sent the link to demonrail, if he is in the house and has it up it for the masses, please.