In Europe, Pierre Schaeffer had attempted live generation of the final stages of his works at the first public concert of musique concrète in 1951 with limited success. Stockhausen (2 September 1972 at the Shiraz Arts Festival, at the sound controls for the live-electronic work Mantra), who wrote a number of notable electronic compositions in the 1960s and 1970s in which amplification, filtering, tape delay, and spatialization was added to live instrumental performance Cage's interest in live electronics continued through the 1940s and 1950s, providing inspiration for the formation of a number of live-electronic groups in America who came to regard themselves as the pioneers of a new art form. 1 (1939) was among the earliest compositions to include an innovative use of live electronic material it featured two variable-speed phonograph turntables and sine-tone recordings. Percy Grainger, used ensembles of four or six theremins (in preference to a string quartet) for his two earliest experimental Free Music compositions (1935–37) because of the instrument's complete 'gliding' freedom of pitch.( The ondes Martenot was also used as a featured instrument in the 1930s, and composer Olivier Messiaen used it in the Fête des belles eaux for six ondes, written for the 1937 International World's Fair in Paris. An example includes composer Joseph Schillinger, who in 1929 composed First Airphonic Suite for Theremin and Orchestra, which premièred with the Cleveland Orchestra with Leon Theremin as soloist. Many early compositions included these electronic instruments, though the instruments were typically used as fill-ins for standard classical instruments. This Telharmonium console (likely pictured in the late 1890s) is an early electronic organ by Thaddeus Cahill, and one of the first electronic instruments used for live performance.Įarly electronic instruments intended for live performance, such as Thaddeus Cahill's Telharmonium (1897) and instruments developed between the two world wars, such as the Theremin (1919), Spharophon (1924), ondes Martenot (1928), and the Trautonium (1929), may be cited as antecedents, but were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance.
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