Episode 32
African American Pioneers of Electronic Music
Olly Wilson
Playlist
Olly Wilson, “Cetus” from Electronic Music IV (1967 Turnabout). Composer, electronic realization on tape, Olly Wilson. Realized in the studio for Experimental Music of the University of Illinois. Wilson was the winner of the First International Electronic Music Competition, Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. 9:15.
Olly Wilson, “Piano Piece for Piano And Electronic Sound” from Natalie Hinderas Plays Music By Black Composers (1971 Desto). Composer, electronic realization on tape, Olly Wilson; piano, Natalie Hinderas. Electronic sound realized at the Electronic Music Studio of the University of California at Berkeley. No apologetic electronics here. Wilson deftly blends a full range of electronic sounds, from loud and rumbling to delicately wavering, with a piano piece that moves through many of the dynamics of the piano. 10:56.
Olly Wilson, “Akwan, For Piano, Electric Piano, Amplified Strings and Orchestra” from Black Composer’s Series, Akwan/Squares/Visions of Ishwara (1975 Columbia Masterworks). Composer, electronic realization on tape, Olly Wilson; Piano, Electric Piano, Richard Bunger; Baltimore Symphony Orchestra conducted by Paul Freeman. Electronic sound realized at the Electronic Music Studio of the University of California at Berkeley. The word “akwan” comes fromt the Akwan language of West Africa. It means “roads, pathways, opportunities, or directions” (from the liner notes). This large-scale work serves as a kind of conversation between the soloist/orchestra and the electronic sounds. 16.26.
Olly Wilson, “Echoes” from American Contemporary, Fantasy/4 Preludes/Echoes/Automobile (1977 CRI). Composer, electronic realization on tape, Olly Wilson; clarinet, Phillip Rehfeldt. Electronic sound realized at the Electronic Music Studio of the University of California at Berkeley. Close integration and interplay of clarinet and tape sounds. This was a performance piece for which the clarinet was amplified, and the tape sounds were projected on a 4-channel speaker system. 10:37.
Olly Wilson, “Sometimes” from Other Voices (1977 CRI). Composer, electronic realization on tape, Olly Wilson; tenor, William A Brown. Electronic sound realized at the Electronic Music Studio of the University of California at Berkeley. Based on the Black spiritual “Sometimes I Feel Like a Motherless Child,” this work evolves through a variety of roles for the voice and tape. Opening with highly modified sounds and distorted electronics (yes, those are beautiful and purposeful distortions you hear as part of the original tape!) the tenor is next featured as a soloist, then the elements are combined and mixed in various combinations for the rest of the work. 17.24.
Opening and background music is excerpted from Olly Wilson, “Expansion III,” William Grant Still, Olly Wilson, Afro American Symphony, Kaintuck,' Dismal Swamp, Expansions III (1997 Centaur Records). Cincinnati Philharmonia Orchestra. Recorded October 29, 1995 at the Great Hall, University of Cincinnati.
Opening and closing sequences voiced by Anne Benkovitz.