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Bebe Barron (1925 - 2008) Sun, Apr. 20 2008 Bebe Barron (1925 - 2008) It is with great sadness that I report the death of Bebe Barron on April 20, 2008 at the age of 82, of natural causes. Bebe was the last of the pioneering composers of classical studio electronic music. She was a close friend, an enthusiastic colleague, and a most gracious lady. Bebe Barron was born Charlotte Wind in Minneapolis, on June 16, 1925. She received an MA in political science from the University of Minnesota, where she studied composition with Roque Cordero, and she also spent a year studying composition and ethnomusicology at the University of Mexico. In 1947 she moved to New York and, while working as a researcher for Time-Life, studied composition with Wallingford Reigger and Henry Cowell. That same year, she met and married Louis Barron (1920 - 1989). Shortly thereafter, the Barrons began their experiments with the recording and manipulation of sound material by means of a tape recorder that they received as a wedding gift. They created a private studio in New York and, in 1955, composed the first electronic music score for a commercial film, Forbidden Planet. In 1962 the Barrons moved to Los Angeles; they divorced in 1970. In 1973, Bebe married Leonard Neubauer, a screen writer. Bebe became the first Secretary of the Society for Electro-Acoustic Music in the United States (SEAMUS) in 1985, and also served on the Board of Directors. In 1997 Bebe was presented the SEAMUS Award for the Barrons life work in the field of electro-acoustic music. She is survived by her husband, Leonard, and her son, Adam. Bebe’s last public appearance was on January 12, 2008, at an event held at the Hammer Museum in Los Angeles, celebrating the work of her good friend, Anais Nin. Bebe was too ill to speak in public at this point, but she agreed to be interviewed for a video piece that was shown at the event. This is her final interview, and you can see it on YouTube. Bebe’s final composition, Mixed Emotions (2000) uses computer generated sound material made in the CREATE studios of the University of California at Santa Barbara. She brought the material back with her to Los Angeles where, in the studio of composer Jane Brockman, she finished the work with Ms. Brockman doing the final editing, mixing, and mastering. There are some photos of Bebe and myself taken in 2005 at her home on the Photos page of my web site. I first met Bebe Barron in the middle 1970s; I don't remember exactly when, but I think it was around 1975. I had asked Bebe and her former husband and composing partner Louis to attend a showing of Forbidden Planet that I had arranged as part of a class at CalArts. They agreed to do it, and I quickly became good friends with Bebe and we remained close over the years. In writing about Bebe Barron, it's impossible not to focus on the pioneering work that she and Louis did in electronic music. They began their experiments in 1948, shortly after they were married. This early work was done using a tape recorder, preceding the work of Luening and Ussachevsky and the switch from disks to tape by Pierre Schaeffer and the GRM. But, to my knowledge, the Barrons' early experiments did not result in any completed works, a state of affairs not uncommon with early pioneers in the field. In 1949 they set up one of the earliest private electro-acoustic music studios and began their experiments with electronically generated sounds. They built their own circuits which they viewed as cybernetic organisms, having been influenced by Norbert Weiner's work on cybernetics. The circuits, built with vacuum tubes, would exhibit characteristic qualities of pitch, timbre, and rhythm, and had a sort of life cycle from their beginnings until they burned out. The Barrons recorded the sounds from the amplification of these circuits and this formed the basis of their working library. They also employed tape manipulation techniques as part of their compositional procedures. The sound qualities of these various amplified tube circuits and the tape manipulations that they underwent formed the musical language that the Barrons created in their studio. Unlike some of the work being done elsewhere, the Barrons' music reveals long phrases, often stated in tape-delayed rhythms, with the stark finesse of the tube circuit timbres. They created a style that was uniquely their own yet married to the technology they were using. The Barrons earliest finished work, Heavenly Menagerie (1951) does not seem to have survived in a complete form. But their score for Ian Hugo's film Bells of Atlantis (1952), based on a poem by Anais Nin, who appears on screen, does exist on the film sound track. This may be the earliest extant work of the Barrons and presages what was to come with Forbidden Planet, the music for which was composed in 1955, the film being released the next year. The music for Forbidden Planet is truly a landmark in electro-acoustic music. This was the first commercial film to use only electronic music, and the score for the movie displays an attitude towards film scoring that was different from anything that had happened before. In Forbidden Planet, while there are themes for characters and events in the film, as was traditional in the scoring of that day, the themes are composed and perceived as gestalts, rather than as melodies in traditional movie music. Even more important is the fact that the scoring of Forbidden Planet breaks down the traditional line between music and sound effects since the Barrons' electronic material is used for both. This not only creates a new type of unity in the film sound world, but also allows for a continuum between these two areas that the Barrons exploit in various ways. At some points it's actually impossible to say whether or not what you're hearing is music, sound effect, or both. In doing this, they foreshadowed by decades the now common role of the sound designer in modern film and video. The Barrons composed many other works for tape, film, and the theater in the 1950s. Their studio became the home for John Cage's Project of Music for Magnetic Tape, and they assisted in the creation of Cage's first chance piece Williams Mix (1951-52), as well as works by other members of the group such as Earle Brown and Morton Feldman. As a studio for the creation of their own and other composers' works, the Barrons' studio served as a functioning center for electro-acoustic music at a time when there was no institutional support of the medium in the United States. It's curious, then, that, for many years, the Barrons, their studio, and their works were largely overlooked by composers and historians in the field. Fortunately, that injustice has since been corrected, and, in 1997, it was my great honor to present to Bebe and, posthumously, to Louis, the SEAMUS Lifetime Achievement Award. Bebe was involved with SEAMUS from the very beginning of the organization. She was one of the ten original members who responded to my organizational call and met at CalArts in November of 1984 to form the group, and she was SEAMUS's first secretary. There may have been a little strong-arming on my part to get her to be involved so actively, but Bebe was always ready to support the cause of electro-acoustic music in whatever way she could. Bebe created a firm legacy in her music. If the importance of one's work is to be judged in any regard by its influence, acceptance, longevity, and innovative qualities, then the score for Forbidden Planet is an enormous success. It remains the most widely known electro-acoustic music work on this planet. For me, Bebe Barron will always be the First Lady of electronic music.

CalArts Premieres Schrader's "Monkey King" Sat, Jan. 19 2008 The world premiere of Barry Schrader's new electronic music epic Monkey King will be presented in CalArts' Roy O. Disney Hall at 8:00 pm on Saturday, January 19, 2008. Monkey King is based on scenes from the classic Chinese book Journey to the West, written around 1550 by Wu Cheng-en. Considered one of the great classics of Chinese literature, the book chronicles the adventures of the Monkey King, one of the most fascinating fictional characters ever created. Schrader's music depicts such scenes as Monkey's birth, his underwater journey to the lair of the Dragon King of the Eastern Sea, and Monkey's famous attempt to jump over Buddha's palm. Also on the program is Schrader's Wu-Xing - Cycle of Destruction, a work based on the five ancient elements in Chinese tradition: metal, wood, earth, water, fire. This special performance will include live improvisation by harpist Susan Allen and clarinetist William Powell. Beginning the concert will be Schrader's music from the film Death of the Red Planet. Created on the Buchla 200 modular synthesizer, this was the first quadraphonic electronic music sound track for a commercial film. Released in 1973, the film seems to have disappeared, and this will be the first time in 35 years that this music has been heard in public.

Barry Schrader at Electroacoustic Juke Joint Sat, Oct. 20 2007 Barry Schrader will be participating in the 2007 edition of the Electroacoustic Juke Joint Festival at Delta State University in Cleveland, Mississippi on November 9 & 10. On Friday, November 9, there will be a performance of Schrader's Five Arabesques for clarinet and electronic music with clarinetist Andrea Cheeseman. On Saturday, November 10, Schrader will make a presentation on his compositional theory along with an analysis of Duke's Tune.

Barry Schrader's "Lost Atlantis" at MEDITERRÀNIA Sat, Oct. 20 2007 Three movements of Barry Schrader's work Lost Atlantis have been selected to accompany the MEDITERRÀNIA exhibit at the Centre d’Art la Panera in Lleida, Spain. The exhibit, which deals with the history, art, and architecture of Mediterranean cultures runs from October 18, 2007 through January 20, 2008.

Five Arabesqes at 2007 Dartington Summer Festival Mon, Jun. 25 2007 On Tuesday, August 17, 2007, famed clarinetist William Powell will perform Barry Schrader's Five Arabesques for clarinet and electronics on the Dartington International Summer School Festival. For more information, please go here.

European Premiere of Wu Xing at Futura 2007 Fri, Jun. 22 2007 The European premiere of Barry Schrader's Wu Xing - Cycle of Destruction will take place on Friday, August 17 as part of the Futura 2007 festival in Crest, France. The concert begins at 6:45 P.M. at Salle Moulinages de l'Espace Soubeyran à Crest [Drôme · France]. Wu Xing - Cycle of Destruction deals with the Chinese concept of Wu Xing, the five elements in ancient Chinese tradition: wood, fire, earth, metal, and water. These are important in Chinese astrology, medicine. and BaGua, a system of trigrams used in Fengshui and other areas of Chinese life and culture. The five elements are often arranged in one of two cycles: the cycle of birth, ending with earth, or, as in this work, the cycle of destruction: Metal, Wood, Earth, Water, Fire. Wu Xing - Cycle of Destruction explores these elements in transcendent ways. The Metal and Wood sections are aural depictions of the elemental density of the mediums, while Earth considers the metaphysics of planetary rotation and revolution. Water reflects on the conceptual aspects of the world's oceans at various depths, voyaging from the darkest abyss to the light of distant shores. Finally, in Fire, there are the physical and spiritual effects of all-engulfing flames. For more information on Futura 2007, click here.

(re)Discovering the Work of Adam Beckett Sat, Sep. 30 2006 What: (re)Discovering the Work of Adam Beckett (Fragments from A Lover’s Discourse) When: Sunday, October 8, 2:00 pm Where: REDCAT, Disney Concert Hall, 631 West 2nd Street, Los Angeles, (213)237-2800 Barry Schrader's score for "Heavy-Light", the groundbreaking 1973 experimental film by Adam Beckett (1950-1979) is one of five newly restored films presented in this program. The films are beautifully restored - thanks to the very discerning work of Mark Toscano at the Academy Film Archive. Restored prints of five of Adam's films ("Heavy-Light", "Evolution of the Red Star", "Sausage City", "Flesh Flows", and "Kitsch in Synch") will be presented along with a presentation by Pam Turner, the person researching Adam's life and work.

World Premiere of Barry Schrader's "Wu Xing - Cycle of Destruction" Sat, Sep. 30 2006 What: SCREAM 2006 (A SCREAM Reunion) When: Saturday, November 4, 2006, 8:00 P.M. Where: Music Recital Hall, Los Angeles Harbor College, 1111 Figueroa Place, Wilmington, CA 90744 Tel: (310) 233-4413 or (310) 233-4526 Tickets: $5.00 SCREAM (The Southern California Resource for Electro-Acoustic Music) presents a 20th anniversary concert featuring a reunion of the original composer members of the early SCREAM consortium. Live/electro-acoustic and studio works by Roger Bourland, David Bradfield, Tom Flaherty, Frederick Lesemann, Samuel Magrill, Rodney Oakes, Barry Schrader, and Mark Waldrep will be featured on the concert.

BARRY SCHRADER: SOUNDWORLD Tue, Feb. 21 2006 REDCAT presents a multimedia celebration of the electro-acoustic composer’s sublime music on the occasion of his 60th birthday, this retrospective includes the world premiere of Fallen Sparrow, a solo work performed by violinist Mark Menzies, and a new dance theater setting of the piece After Death by choreographer Kyu Hee Park, with video by Francesca Penzani. Also making special guest appearances are harpsichordist Barbara Cadranel and pianist Vicki Ray. Schrader’s music this evening is accompanied by films and videos by Adam Beckett, Steve Eagle, Jules Engel and Michael Scroggins. "Barry Schrader’s music conjures up a whirlwind of emotion from some primeval source that permeates the listener with awe". Bebe Barron

MARTIN PERLICH INTERVIEWS BARRY SCHRADER ON KCSN Wed, Feb. 15 2006 The noted interviewer Martin Perlich interviews Barry Schrader on the occasion of his 60th birthday retrospective concert at REDCAT. The interview will be broadcast live on KCSN, 88.5 FM in Los Angeles at 4:00 P.M. (0:00 GMT (UTC)), and will stream live on the web at  KCSN's site. Included in the program will be the broadcast premiere of the first part of Schrader's Monkey: The Land of Ao-lai, The Birth of Monkey.

Barry Schrader Premiere of "Wu Xing - Cycle of Destruction" Thu, Nov. 3 2005 The world premiere of Barry Schrader's Wu Xing - Cycle of Destruction will take place on Friday, November 18, at REDCAT (Roy and Edna Disney/CalArts Theater) in the Walt Disney Concert Hall in Los Angeles. This version of Wu Xing is a collaboration between Schrader and jazz trumpeter Ishmael Wadada Leo Smith, where Smith has created his part over Schrader's electro-acoustic music score. The work deals with the five Chinese elements arranged in the cycle of destruction: metal, wood, earth, water, fire. Wu Xing is featured on the second night of the 2005 Creative Music Festival.

Barry Schrader Premiere in Beijing Wed, Sep. 28 2005 Barry Schrader's "The Land of Ao-lai, The Birth of Monkey" will be premiered in Beijing, China on Monday, October 24. This is the first movement of Schrader's current work-in-progress, "Monkey", based on the great Chinese classic "Journey to the West" written by Wu Ch'eng-en(1500?-1582). The premiere will be part of the opening ceremonies and first concert of the Musicacoustca2005 Festival and Conference sponsored by the Center for Electronic Music in China. This international festival will be held at the Central Conservatory of Music in China October 24-30 and features concerts and presentations of electro-acoustic music of all styles from around the world.

European Premiere of "Death" by Barry Schrader Wed, Sep. 28 2005 The National University of Music of Bucharest, Romania will present the European premiere of "Death" and other new works by Barry Schrader on Monday, October 24. The National University of Music Bucharest was created in June 1863, and is one of the leading centers for music in Europe.

BEYOND CD RELEASED Wed, Jul. 27 2005 Beyond CD now available on Innova This album features four recent electro-acoustic music works: First Spring, Beyond, Duke’s Tune, and all three movements of Death: Before Death, Into Death, and After Death. Regarding the music on this CD, pioneering electro-acoustic music composer Bebe Barron writes “This music conjures up a whirlwind of emotion from some primeval source that permeates the listener with awe.” Concerning the work Death, composer Judy Klein has written “ I am captured in the very first moment. And then, what subtle enhancement in the second section, and what a journey in the third! I hear the release of the spirit, its energy, its guides; darkness, hugeness, powerful monsters. Images foreign but not unfamiliar come to mind. There is such musical drive and such unity throughout the piece. I feel I've heard transformations of an element through gaseous and solid states, and that in the end, a spirit has become one with the voices which called to it in the beginning.” Beyond has a street release date of September 27, at which time it will be available from online and retail stores. But you can purchase Beyond now online directly from Innova by going here .

BARRY SCHRADER RECEIVES COPLAND GRANT Sun, Aug. 22 2004 The Aaron Copland Fund for Music Recording Program has awarded a grant to Innova Recordings for the release of two CDs of music by Schrader on the label. The first, produced by film composer Gary Chang will feature two older analog electro-acoustic compositions: Trinity and Lost Atlantis, while the second will feature more recent work, including Ravel, a piece for piano and electro-acoustic music composed for and played by pianist Vicki Ray, and Love, In Memoriam composed for and sung by the late countertenor Frank Royon Le Mée.

LOST ATLANTIS CD - INNOVA 629

1. TRINITY [15:17]

LOST ATLANTIS [39:39]

2. Introduction: The Pillars of Hercules - The Great Harbor [6:10]

3. The Gardens of Cleito [6:28]

4. The Temple of Poseidon - The Dance of the Gods [7:50]

5. The Gathering of the Kings - The Hunting of the Bulls [6:47]

6. The Mystery Rites of Purification [4:14]

7. The Destruction of Atlantis - Epilogue: "...and Atlantis Shall Rise."[8:20]

total time [55:41]


Produced, engineered and mastered by: Gary Chang

Digital Transfers: John C. Gilbert, Barry Schrader

Digital transfer engineering: Barry Ober, John C. Gilbert

Graphic Design/Art Direction: Vision/Peter Grenader

Photography: Sam Hernandez, Dorcas3 Photography, Dennis Gilbert and B. Hyams

This recording is supported by a grant from the Aaron Copland Fund for Music Recording program, administered by the American Music Center