In the 1950s, the development of electronic music went through two directions. One movement, around Pierre Schaeffer, worked with everyday ambient sounds. These sounds recorded on tape were then processed with scissors and glue into sound collages (musique concrete). These techniques already seemed almost primitive compared to the method of analogue studios, such as in Cologne, where the circle
… around Werner Meyer-Eppler opened up a new sound universe. Both movements were influenced by Else Marie Pade, who was one of the pioneers of electronic music in Denmark. She did not lack recognition within the international avant-garde. Two of her works, Syv Cirkler (Zeven circles, 1958) and Glasperlespil (Bead Game, 1960, after Hermann Hesse) were used as examples in their lectures by Stockhausen and Boulez. In her own country, however, Pade was completely ignored at the time, in which her position as a woman may also have played a role. Unfortunately, because her social involvement (she was part of the resistance during World War II) and love for stories offered enough possibilities for a wider recognition. For example, in the 1970s she worked in the Copenhagen hospital on a project in which 'musique concrete' was used to stimulate the imagination of mentally handicapped children. Pade also provided the accompanying music for radio programs about Andersen's Little Mermaid and the life story of Teresa van Avila. Pade's oeuvre is in the archives of the Danish Radio. The present CD is therefore the first release with her work. The program includes Syv Cirkler, Faust and Glasperlespil II. (HJ)more
