KLAUS RÖDER ~ PRÉLUDE POUR LA FRATERNITÉ / PRÄLUDIUM FÜR DIE BRÜDERLICHKEIT (1989), ELECTRONIC VOCAL (1978), ÜBERRAUSCHUNGEN (1972)

LP (180 Gram)
Original Artwork by Klaus Röder
Numbered & signed edition of 25 ex.
d’or058

Klaus Röder Born on 7 April 1948 in Stuttgart, married, 3 children. Violin lessons at the age of 10, later piano and guitar, from 1968 studies in ‘Bild und Ton’ engineering at the Hochschule Düsseldorf and composition with Milko Kelemen and Günther Becker, guitar with Dieter Kreidler at the Robert-Schumann-Hochschule Düsseldorf. During his studies he was a member of various bands (free jazz, rock, pop). 1972 to 2020 teacher for guitar at the music school in Langenfeld. Graduated with a diploma in electronic music compo

1970 Participation at the Darmstadt Summer Courses for New Music (scholarship).
1984 first experiments with computer music at the Institute for Communication Research and Phonetics at the University of Bonn with programmes for sound synthesis and sound analysis for the Kontron computer PSI 80.
Participation in courses on computer music: 1985 at the Groupe de musique expérimental de Bourges and 1988 at the Technical University of Berlin.
2002 Participation at the Stockhausen Courses in Kürten.0.

In addition to compositions for acoustic instruments (including ‘experimental’ instruments), he has written a large number of works of electroacoustic music (contemporary classical music), including 80 works for audio carriers (tape music).

1980 Award for Composition in Düsseldorf and Invitation to the ISCM World Music Days in Tel Aviv. In the same year he received a first prize for his composition ‘ Mr. Frankenstein’s’ Babies’ at the Concours international de musique électroacoustique de Bourges. Some years later he received in Bourges the ‘Euphones d’or’.
1988 1st prize at the Computer Music Courses Berlin for the composition ‘Kontra C’.

Klaus Röder was member of Kraftwerk in 1974 during the Autobahn LP.

Klaus Röder Website

Electronic Vocal
The electronic sound continuously merges into the sound of the voice, and the sound of the voice continuously merges into the electronic sound. The electronic sound tries to sound like the voice and the voice tries to sound like the electronic sound. There are the following sound sources: My own voice recorded through the Sennheiser MD 421N microphone, a converted electric piano for percussive and also for sustained sounds, a converted graphic equalizer from RIM, where the filter quality of each individual channel could be adjusted, a Synthi A from EMS. The Synthi A, several tape recorders and a simple mixer were used for sound manipulation. In this piece, the sound melodies dominate. They were created by the juxtaposition of differently filtered sound sections with different lengths by tape montage. The result is a ’stepped’ filtering. In addition to the graphic equalizer mentioned above, the low-pass filter of the Synthi A was also used for filtering. It was mainly used for continuous filtering (as opposed to stepped filtering). Slowly sung vowels (a, e, i, o, u, ̈a, o ̈, u ̈, …) can be heard from the voice. From synthi A one hears amplitude-modulated noise, mixtures of different generators (e.g. triangle wave mixed with noise) and mixtures of microphone recordings of the voice with generators (e.g. voice mixed with noise or voice and sine tone via ring modulator), from the electric piano one hears clusters, fast tone sequences and long-drawn-out single tones. All tones from the electric piano are filtered in different ways. The following techniques were also used: Glissando sounds were created using tempo changes on the reproducing tape machines. Percussive sounds were made with the voltage controlled amplifier (VCA in Synthi A). Orchestral effects, a whole choir and also echo effects were created by simultaneous or time-shifted playback of sounding material with several tape machines. Apart from the explained sound melodies, there are also pitch melodies. Both types of melodies are short and highly recognisable, and they repeat themselves several times. As a climax, there is a third type of melody: a rapid succession of tones, sounds and noises that continuously merge into a synthesiser voice and sound like a human scream at the end.
(KR, September 2021)

Side A
Prélude pour la fraternité – Präludium für die Brüderlichkeit (1989) 18:30

Side B
Electronic Vocal (1978) 14:53
Überrauschungen (1972) 4:54

Prélude pour la fraternité – Präludium für die Brüderlichkeit is a piece from 1989, made with a computerprogram designed by Klaus Röder, named ‘PLAYTX’. The program worked in conjunction with a Yamaha TX802. The piece was commissioned by Gmeb.
Electronic Vocal, is a piece from 1978 for manipulated voice and electronics.
Überrauschungen is the first electronic piece by Klaus Röder, made with the CBS Buchla Synthesizer, Robert-Schumann Institute, Düsseldorf in 1972.

All music Klaus Röder.
Mastering, production, vinylcut Astres d’Or

Electronic Vocal (excerpt 1)
Electronic Vocal (excerpt 2)

Artwork description: Drawings by Klaus Röder
Music Score for unpublished piece Glasglockentanz (1983) (start score: from 25/25 – to End score 1/25)
Pencil, Marker, Colormarker and Stickers on Graphpaper.

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Price:
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KLAUS RÖDER ~ ETÜDE FÜR KLANGWANDLERORCHESTER (1984), CLOCHES IMAGINAIRES (1983), ZWEITER TANZ (1976), DRITTER TANZ (1976)

LP (180 Gram)
Original Artwork by Klaus Röder
Numbered edition of 25 ex.
d’or056

Klaus Röder Born on 7 April 1948 in Stuttgart, married, 3 children. Violin lessons at the age of 10, later piano and guitar, from 1968 studies in ‘Bild und Ton’ engineering at the Hochschule Düsseldorf and composition with Milko Kelemen and Günther Becker, guitar with Dieter Kreidler at the Robert-Schumann-Hochschule Düsseldorf. During his studies he was a member of various bands (free jazz, rock, pop). 1972 to 2020 teacher for guitar at the music school in Langenfeld. Graduated with a diploma in electronic music composition. Since 1975 own studio in Solingen.

1970 Participation at the Darmstadt Summer Courses for New Music (scholarship).
1984 first experiments with computer music at the Institute for Communication Research and Phonetics at the University of Bonn with programmes for sound synthesis and sound analysis for the Kontron computer PSI 80.
Participation in courses on computer music: 1985 at the Groupe de musique expérimental de Bourges and 1988 at the Technical University of Berlin.
2002 Participation at the Stockhausen Courses in Kürten.

In addition to compositions for acoustic instruments (including ‘experimental’ instruments), he has written a large number of works of electroacoustic music (contemporary classical music), including 80 works for audio carriers (tape music).

1980 Award for Composition in Düsseldorf and Invitation to the ISCM World Music Days in Tel Aviv. In the same year he received a first prize for his composition ‘ Mr. Frankenstein’s’ Babies’ at the Concours international de musique électroacoustique de Bourges. Some years later he received in Bourges the ‘Euphones d’or’.
1988 1st prize at the Computer Music Courses Berlin for the composition ‘Kontra C’.

Klaus Röder was member of Kraftwerk in 1974 during the Autobahn LP.

Klaus Röder Website

Etüde für Klangwandler-Orchester (text from 1984) This piece represents an attempt to reproduce electronic music authentically. Loudspeakers are primarily designed to reproduce music or speech, not to produce their own sounds. On the contrary, a loudspeaker that produces additional tones or sounds, i.e. that distorts, is bad. The best loudspeaker is the one that is most faithful to the original, i.e. the one that can best imitate the original. The original can be either instrumental music or electroacoustically produced or processed music specifically designed for loudspeaker reproduction, as is the case with most light music. But the original can also be electronic serious music. Here, too, the aim is to reproduce tones, sounds and noises as they exist on the sound carrier (usually tape). A distinction must be made between music composed specifically for sound carriers (radio playback, records) and music intended for playback in the concert hall. In the case of the former, loudspeaker (or headphone) reproduction is the appropriate means, because the music was created for this purpose. With the latter, however, the performance over loudspeakers in the concert hall often seems like a reproduction, not an original performance, because it is merely the faithful reproduction of a tape. Nothing happens during the performance, and it is questionable whether the word performance is appropriate at all, since actually only what already exists is reproduced. For this reason, I am trying for the first time to use the so-called Echonic Sound Transducers II to create electronic music. Attached to certain objects, they create a sound spectrum that is determined by these objects. Since these are enamelled tin keys, the inherent resonances of these bowls, for example, are reproduced in an amplified way. Filling in water, inserting objects, etc. each drastically changes the characteristic of such a special loudspeaker, which deserves to be called a musical instrument, since tones, sounds and noises are produced with it during the performance – i.e. live. Although their origin comes from the tape, they only exist there in simple basic forms of vibration such as sine tone, impulse or noise, and in this form they are by no means the final music, but only the raw material to be formed, similar to the vibrating string on the violin or the vibrating column of air on the flute, which is also only made into music by being played by the musician. The difference to the traditional musical instrument is, among other things, that the latter demands a lot of concentration from the musician to play at the right time, whereas the player of the sound transducer instrument can fully concentrate on the interpretation of the music, i.e. on articulation, phrasing etc. The piece is performed by eight players according to the score. Since there is some freedom in the way of interpretation, the sonic experience is largely determined by the virtuosity of the performance and the interplay of the musicians. The composition is intended exclusively for such a performance. The vibrations present on the tape are not intended for reproduction via normal loudspeakers!
(KR)

Side A
Etüde für Klangwandlerorchester (1984) 22:47

Side B
Cloches Imaginaires (1983) 13:16
Zweiter Tanz (1976) 1:12
Dritter Tanz (1976) 1:12

All music Klaus Röder.
Mastering, production, vinylcut Astres d’Or

Klaus Röder ~ Etüde für Klangwandlerorchester (excerpt)
Klaus Röder ~ Etüde für Klangwandlerorchester (excerpt 2)


Artwork description: Artwork by Klaus Röder
Original manuscripts with text and drawings (no prints). Pencil and color marker on graph paper.
Date of artwork: Approximately 1980-1984
Details: (From correspondence with KR)
“circuit diagrams and assembly plans for devices (electronic musical instruments) which I have built myself and which I have used to produce my electronic compositions (1 to 10, 14, 15, 21 and 22)” “designs for glasglockentanz (11, 12, 13, 16, 17, 18, 19, 20, 23, 24, 25)”.




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Price:
120 euro
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