Uploaded April 2026 | Updated September 2026, 2 weeks ago
Three Synchronisms, for instruments and electronic sounds (1963-65)
No. 1 for Flute (1963) - Harvey Sollberger, flute
No. 2 for Flute, Clarinet, Violin, Cello (1964) - Sophie Sollberger, flute; Stanley Drucker, clarinet; Paul Zukofsky, violin; Robert L. Martin, cello; Efrain Guigut, conductor [4:21]
No. 3 for Cello (1964-65) - Robert L. Martin, cello [10:21]
Concerning the Three Synchronisms recorded here, Mr. Davidovsky notes that ‘‘They belong to a series of short pieces wherein conventional instruments are used in conjunction with electronic sounds. The attempt here has been made to preserve the typical characteristics of the conventional instruments and of the electronic medium respectively — yet to achieve integration of both into a coherent musical texture.”
“In the planning and realization of these pieces,” Mr. Davidovsky notes further, “two main problems arise — namely proper synchronization (a) of rhythm and (b) of pitch. During the shorter episodes where both electronic and conventional instruments are playing, rather strict timing is adhered to. However, in the more extended episodes of this type, an element of chance is introduced to allow for the inevitable time discrepancies that develop between the live performer(s) and the constant-speed tape recorder.
“To achieve pitch coherence between the conventional instruments which use the 12-tone chromatic scale and the electronic medium which is non-tempered, use is made of tonal occurrences of very high density — manifested for example by a very high speed succession of attacks, possible only in the electronic medium. Thus, in such instances — based on high speed and short duration of separate tones, it is impossible for the ear to perceive the pure pitch value of each separate event; though in reacting, it does trace so to speak a statistical curve of the density. Only in a very few instances have tempered electronic pitches been employed in the Synchronisms. Throughout all three pieces, the tape recorder has been used as an integral part of the instrumental fabric.” [CRI204 Stereo]
Art by Jarmo Mäkilä
Three Synchronisms, for instruments and electronic sounds (1963-65)
No. 1 for Flute (1963) - Harvey Sollberger, flute
No. 2 for Flute, Clarinet, Violin, Cello (1964) - Sophie Sollberger, flute; Stanley Drucker, clarinet; Paul Zukofsky, violin; Robert L. Martin, cello; Efrain Guigut, conductor [4:21]
No. 3 for Cello (1964-65) - Robert L. Martin, cello [10:21]
Concerning the Three Synchronisms recorded here, Mr. Davidovsky notes that ‘‘They belong to a series of short pieces wherein conventional instruments are used in conjunction with electronic sounds. The attempt here has been made to preserve the typical characteristics of the conventional instruments and of the electronic medium respectively — yet to achieve integration of both into a coherent musical texture.”
“In the planning and realization of these pieces,” Mr. Davidovsky notes further, “two main problems arise — namely proper synchronization (a) of rhythm and (b) of pitch. During the shorter episodes where both electronic and conventional instruments are playing, rather strict timing is adhered to. However, in the more extended episodes of this type, an element of chance is introduced to allow for the inevitable time discrepancies that develop between the live performer(s) and the constant-speed tape recorder.
“To achieve pitch coherence between the conventional instruments which use the 12-tone chromatic scale and the electronic medium which is non-tempered, use is made of tonal occurrences of very high density — manifested for example by a very high speed succession of attacks, possible only in the electronic medium. Thus, in such instances — based on high speed and short duration of separate tones, it is impossible for the ear to perceive the pure pitch value of each separate event; though in reacting, it does trace so to speak a statistical curve of the density. Only in a very few instances have tempered electronic pitches been employed in the Synchronisms. Throughout all three pieces, the tape recorder has been used as an integral part of the instrumental fabric.” [CRI204 Stereo]
Art by Jarmo Mäkilä
