Francesco Zappa (Album)

Occupation

  • David Ocker - music notation and programming Synclavier
  • Frank Zappa - orchestration Synclavier

Francesco Zappa is a rehearsed with the Synclavier recording of compositions by the Milanese composer Francesco Zappa in the late 18th century. The album was produced by Frank Zappa and apostrophized as Francesco Zappa's " first digital recording for over 200 years."

Genesis

Gail Zappa, wife of American musician Frank Zappa had discovered a record of the Milanese composer Francesco Zappa in the Grove Dictionary of Music and Musicians. Other sources also indicate that the clarinetist David Ocker, the Zappa had hired for music transcription, was encountered on the entry. Frank Zappa procured the notes that were available in the Music Library of the University of California, Los Angeles and had some ocher Trios for Two Violins and Bass in the Synclavier programmed with.

The Synclavier decreed at this time do not have the opportunity to sample natural sounds, the individual voices were produced synthetically. Zappa told the magazine keyboard! three years later that he felt the instrumentation with two violins and a bass straight as unattractive and that he doubted that the piece would have been interesting if he had received it in a most natural timbre. He had therefore " only added a bit of Technicolor ".

Ocher noticed later that Zappa had originally intended the music should sound as natural as possible. During the recording sessions for the album Zappa felt the sound of Synclaviers as being far too boring and staid. He therefore chose a very " noisy " synthesizer sounds, which blurs the orientations of ocher nuances of the piece and the compositions Francesco Zappa had falsified.

Zappa released the Trio Sonatas Opus I and Opus IV in November 1984 on his label Barking Pumpkin Records.

Title list

Album Cover

Album Cover Francesco Zappa External links to copyrighted content.

  • Front of the cover on zappa.com

On the cover of a dog is shown in the lower left quarter, wearing sunglasses and a brown short-sleeved shirt. Above him the cover width of the title Francesco Zappa is filling up in a reminiscent of LED displays, green font. Under the title is " The music of Francesco Zappa (fl. 1763-1788 ). His first digital recording in over 200 years " ( engl. f The music Francesco Zappa ( creative period 1763-1788 ). His first digital recording for over 200 years ). The picture was taken by Donald Roller Wilson, graphic design New Age type is specified. On the back of the depositor a collage of Gabriela Raumberger is shown. You can see a person wearing a wig in the style of the late 19th century with mounted red hat with feather against a European urban background. On one of the roofs of the houses there is a sign with the inscription " UMRK Digital Baroque Amusement Facility ". The person holds a pen in his right hand, with which she seems to write on a sheet of music. In a thought bubble is "Who gets this one? " (English f Who understands this here?)

Reception

Music journalist Barry Miles noted that the music on the album as a computer sword, plays classical music. It is " mechanical, soulless, lifeless ". Zappa had spent on the project is not too much trouble. He compares the album, published in 1969 by George Harrison Electronic Sound album on which this Earn the capabilities of the Minimoog synthesizer - just as was Francesco Zappa Zappa's an attempt to explore the limits of Synclaviers.

The sociologist Ben Watson compares the inclusion in their " mechanical appearance of computer-generated sounds ," which are based on the limited artificial sound generation of Synclaviers, with a sounding Christmas card. Just like the fifteen years earlier published album Cruising with Ruben & the Jets it by contrasting it to the other albums released. Watson sees the importance of the album rather than conceptual on a musical level. It opens up a new perspective on issues to musical objectivity to scientific and technological progress, which manifests itself in the music genre.

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