Henk Badings 31-tone microtonal avant Fokker Organ Teylers Museum private 1970

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42

Muziek in de aula van Teylers Museum [music in the auditorium of Teylers Museum]-- Henk Badings: Uit "Reeks Kleine Klankstukken" (1954 for 31-tone Fokker Organ in selected tone systems); Sonata III for 2 violins in the 31-tone system (1967) / Anton de Beer: Instructive Sonatina (1964 for 31-tone Fokker Organ) / Hans Kox: Serenade for 2 violins in the 31-tone system (1968) / Jan Pieterszoon Sweelinck: Paduana Lachrimae (16?? for organ in aeolian tuning system) / Giovanni Battista Vitali: Sonata a tre op.2 nr.6 (1667 for 2 violins and bass accompaniment) label & cat. no.:Stichting Huijgens-Fokker RC 227 pressed in:Netherlands date:1970 format:LP Vinyl: vg+ (few minor unfeelable scuffs)
Cover: ex (minor wear, couple faint stains on back)

description:
An ultra-rarity for collectors of Badings, microtonal music, and unusual instruments, this highly recommended Dutch lp was privately issued by the Huygens-Fokker Foundation Center for Microtonal Music. It features beautiful and alien experimental works made with non-traditional tuning systems and was recorded at the Teylers Museum in Haarlem. The Museum is the home of the one-of-a-kind Fokker Organ, which divides the octave into a novel scale of 31 tones and allows the creation of custom microtonal scales (hence the Badings work for "selected tone systems" derived from the 31-tone pallette). The Fokker Organ is featured on most of the tracks here, played by Anton de Beer (its original virtuoso); also performing on 3 tracks are violinists Bouw Lemkes and Jeanne Vos (well-known experts in violin microtonality, for whom the Kox and Badings violin compositions were written). In addition to the modern works, there are a pair of 17th century pieces in unusual tunings. The Fokker Organ was built in 1950 by physicist Adriaan Fokker, a student of Albert Einstein who composed microtonal music under the alias Arie de Klein and was influenced by the music theory of 17th-century Dutch physicist Christiaan Huygens (who in 1661 rejected well-tempered tuning and first posited the 31-tone system). Microtonal pioneers like Ivan Wyschnegradsky and Dutch avant gardists including Paul Christiaan van Westering, Peter Schat, and Jan van Dijk also composed for the Fokker Organ; in 1970 the Archiphone, an electronic instrument modeled after Fokker's organ design, was created by the company Neonvox and established its own following of later composers. This scarce lp contains recordings unavailable elsewhere in any format, essential listening for anyone interested in the tradition of microtonal composers like Harry Partch, Alois Haba, Julian Carrillo, Lou Harrison, La Monte Young, Glenn Branca, Terry Riley, Charles Ives, John Eaton, and Tony Conrad.

artist info from album notes etc.:
Badings was a geologist and composer who studied under Willem Pijper and worked with Dick Raaijmakers at the Philips early electronic music studio in Eindhoven (which he founded); he experimented with microtonal scales and was among the very first electronic music pioneers during the 1950s and 60s along with Pierre Schaeffer, Pierre Henry, Herbert Eimert, John Cage, Karlheinz Stockhausen, Vladimir Ussachevsky, etc. • Anton de Beer studied piano with Johannes Rontgen and Paul Frenckel, harpsichord with Richard Boer, and composition with Ernest W. Mulder; he worked directly with Fokker, premiered 31-tone organ works by Badings, Kox, Joel Mandelbaum, Alan Ridout, and Wyschnegradsky, and worked with Herman van der Horst to create the Archiphone electronic 31-tone instrument. • Hans Kox studied piano with Jaap Spaanderman and composition with Henk Badings.

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