Walter Carlos – Switched-On Bach
Label: |
Columbia Masterworks – MS 7194 |
|---|---|
Format: |
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Country: |
US |
Released: |
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Genre: |
Classical |
Style: |
Experimental |
Tracklist
| A1 | Sinfonia To Cantata No. 29 | 3:20 | |
| A2 | Air On A G String | 2:27 | |
| A3 | Two-Part Invention In F Major | 0:40 | |
| A4 | Two-Part Invention In B-flat Major | 1:30 | |
| A5 | Two-Part Invention In D Minor | 0:55 | |
| A6 | Jesu, Joy Of Man's Desiring | 2:56 | |
| A7 | Prelude And Fugue No. 7 In E-Flat Major | 7:07 | |
| B1 | Prelude And Fugue No. 2 In C Minor | 2:43 | |
| B2 | Chorale Prelude "Wachet Auf" | 3:37 | |
| Brandenburg Concerto No. 3 In G Major | |||
| B3 | First Movement | 6:35 | |
| B4 | Second Movement | 2:50 | |
| B5 | Third Movement | 5:05 |
Companies, etc.
- Record Company – CBS Inc.
- Manufactured By – Columbia Records
- Mastered At – Customatrix
- Pressed By – Columbia Records Pressing Plant, Pitman
Credits
- Composed By – Johann Sebastian Bach
- Liner Notes – Robert Moog
- Performer [Electronic Realizations And Performances By], Synthesizer [Moog] – Walter Carlos
- Performer [With The Assistance Of] – Benjamin Folkman
- Photography By [Cover Photo] – Horn / Griner*
Notes
This release is from 1968-70 with gray labels and "⇦”360 SOUND” STEREO “360 SOUND”⇨" in white text.
This version housed in a third state cover with "Bach" standing and a reference to Walter Carlos - "Walter Carlos Performing On The Moog Synthesizer" below title.
The First state cover, often referred to as the "Constipated Bach" version, was short lived as these were quickly pulled and replaced with standing version.
Some pressings came with numbered Columbia masterworks liner. (see image)
Later (1970-90) reissue editions have darker olive/gray labels with gold "Columbia Masterworks" around border with black text.
Covers with a UPC code printed are Switched-On Bach
Printed in U.S.A.
Tracks A7, B1 (from Book 1 of "The Well-Tempered Clavier")
The selections are in the public domain.
This album was devised and produced by Trans-Electronic-Music Productions, Inc.
Special thanks to Mary, Hilda and Florence.
May come with a sticker on shrink-wrap with praise from various music press, as well as from Glenn Gould.
This version housed in a third state cover with "Bach" standing and a reference to Walter Carlos - "Walter Carlos Performing On The Moog Synthesizer" below title.
The First state cover, often referred to as the "Constipated Bach" version, was short lived as these were quickly pulled and replaced with standing version.
Some pressings came with numbered Columbia masterworks liner. (see image)
Later (1970-90) reissue editions have darker olive/gray labels with gold "Columbia Masterworks" around border with black text.
Covers with a UPC code printed are Switched-On Bach
Printed in U.S.A.
Tracks A7, B1 (from Book 1 of "The Well-Tempered Clavier")
The selections are in the public domain.
This album was devised and produced by Trans-Electronic-Music Productions, Inc.
Special thanks to Mary, Hilda and Florence.
May come with a sticker on shrink-wrap with praise from various music press, as well as from Glenn Gould.
Barcode and Other Identifiers
- Other (Library of Congress catalog card number): R68-3516
- Matrix / Runout (Label side A): XSM 137961
- Matrix / Runout (Label side B): XSM 137962
- Matrix / Runout (Variant 1, side A, stamped, exc. 1): 0 XXSM137961 2AD 1
- Matrix / Runout (Variant 1, side B, stamped, exc. S and 6): P X 0 XXSM137962 2AB S C 6
- Matrix / Runout (Variant 2, side A, stamped): XSM137961-2E
- Matrix / Runout (Variant 2, side B, stamped): XXSM137962-2H
- Matrix / Runout (Variant 3, side A, stamped, exc. 12 and B7): 0 XXSM137961 2B 12 B7
- Matrix / Runout (Variant 3, side B, stamped, exc. S and B7): 0 XXSM137962 2C S B7
- Matrix / Runout (Variant 4, side A, stamped): 0 XSM137961-2E P C 1
- Matrix / Runout (Variant 4, side B, stamped): 0 XXSM137962-2G .P D 5
- Matrix / Runout (Variant 5, side A, stamped): XSM137961-2E P C 2
- Matrix / Runout (Variant 5, side B, stamped): XXSM137962-2G P A 3
- Matrix / Runout (Variant 6, side A, stamped): XXSM137961 2AB P
- Matrix / Runout (Variant 6, side B, stamped): XXSM137962-2AB 1 P
- Matrix / Runout (Variant 7, side A, stamped): 0 XXSM137961 2B 22 A7
- Matrix / Runout (Variant 7, side B, stamped): 0 XXSM137962 2C S 20 S
- Matrix / Runout (Variant 8, side A, stamped): o XXSM137961 2AB P C 3
- Matrix / Runout (Variant 8, side B, stamped): o XXSM137962-2AB 1 P C 6
Other Versions (5 of 143)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
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Recently Edited
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Switched-On Bach (LP, Album, Stereo) | Columbia Masterworks | MS 7194 | Canada | 1968 | ||
| Switched-On Bach (LP, Album, Stereo, 1st Cover) | Columbia Masterworks | MS 7194 | US | 1968 | |||
|
Recently Edited
|
Switched-On Bach (LP, Album, Stereo, Laminated Sleeve.) | CBS | 63501, S 63501, MS 7194 | UK | 1968 | ||
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New Submission
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Switched-On Bach (LP, Album, Stereo, First Cover) | Columbia Masterworks | MS 7194 | Canada | 1968 | ||
|
New Submission
|
Switched-On Bach (LP, Album) | CBS | MLS 8112 | Colombia | 1968 |
Recommendations
Reviews
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A landmark record, and Carlos should be placed in the pantheon of innovators in musical instrumentation, let alone the genre of electronic music. She paved the way for the explosion of synthesized sounds in the 1980s by demonstrating the versatility and adaptability of electronic instruments. While a matter of personal taste, I still find these interpretations bracing and fun to listen to. The Columbia recording is good, not great, which is typical for the label and era.
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Edited 13 years agoSure, it's a non conventional interpretation of Bach.
But in fact, he further claims "the suitability of the textural clarity inherent in synthesized electronic sounds, to enhance the Baroque traits of crisp sonority, terraced dynamics and the high relief of different voices" (as perfectly write Peter Gutmann).
As an irer of Bach and Moog music, it's perfect record. Even if the gap is extremely large, and the experience disturbing, between the majesty of the compositions and the funny connotation of Moog sounds.
Stanley Kubrick, after listening to this success release, decided to work with Carlos for his masterpiece "A clockwork Orange", and find the perfect resonance to his images, the perfect strange mix this music create in minds. -
Personally me, I find the whole W. Carlos ouvre taste-less. He once was a great pioneer, and one of the first working entirely on such modulars but I don't like his/her albums. Lack of real spice, good sonic timbres and spirit of all. Very well done and pioneer job. But somehow I never have any intentions to listen any. I prefer ISAO TOMITA. His conception comes dreivative from W.C. but he went much further: each, every tunes and timbres are wonderfully charactheristic, deep, empotional, or funny, yet very grandioso and dramatic. Tomita IS the man at the field of analog modulars. He playes almost everything like no-one else. As a Debussy, Ravel and Bach -collector, I must say: he plays all exceptionally good, and the same time he has an incredible sonical and personal character what W.C. absolutely lacks of. W.C. is one of the most important name but if it comes to enjoy the music, only ISAO TOMITA comes in question. For me W.C. almost uninteresting even if I have a very huge collection of electronic music and I'm very much into the synthesis also. By now, I know the value of all...
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the labels for this issue shown here are the repress issues and should be moved to the repress release page. Original labels are medium gray with white lettering around edges with 360 sound, stereo, 2-eye, and black print for titles/artists.
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One of the most important electronic music recordings of all time. Carlos plays the Moog like no other. This is a must if you want a comprehensive electronic music education.
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