Art of Moog

Art of Moog performs Bach, live, on synthesizers.

Intro:

Rehearsal:

Live:

Debut

Art of Moog’s official debut took place in April, as part of the 2018 Bach Weekend at Kings Place, London, UK.

‘It was a delightful hour spent revisiting the past… This re-creation of pioneering work – in spite of the attention to detail paid to Bach’s ornamentation informed by post-Carlos discoveries of performance practice – invited a lighthearted, joyous reaction.’
MusicOMH 4.5* full review

‘I think it’s utterly inconceivable that Bach wouldn’t have been all over a Moog (or any other really good synth) were it possible to spirit one back into the 18th century. It would have been yet another sound palette for him to exploit, not so fundamentally different in complexity from the bold timbres of a Silbermann organ but extending into wild sound-worlds quite inaccessible to acoustic instruments. The limitless potential for colour, contrast and clarity is perfect for this music.’
AoM director Robin Bigwood’s BBC Music Magazine blog post.

Stay tuned for more concert dates…

About

Bach on synths has been done before – Wendy Carlos’s seminal Switched-on Bach notches up its 50th anniversary in 2018. But Art of Moog is all about genuine live performance, by UK players who are also harpsichordists and historically-informed specialists, steeped in baroque tradition.

Robin Bigwood staring at control panel of a Moog SUB37 synthRobin Bigwood (director, programming)

Robin’s love of synths dates back to childhood days listening to Jarre, Vangelis, Tomita and Carlos, and lusting after a Moog Prodigy in a shop window in Bath. Drawn to the musically quirky ever since, he got his harpsichord chops down at the Royal College of Music in London, and now feels equally at home with keyboard instruments plucked, hammered and phat (cough). One day he hopes to own a Yamaha CS-80, and a house big enough to put it in.

Portrait of Martin Perkins, smilingMartin Perkins (synths)

Martin grew up in the age of the Yamaha DX7, wishing he could afford an E-mu Emulator, but only managing a Casio PT-1. Whilst studying at Birmingham Conservatoire, his interest in unusual keyboard instruments led him down the murky road to early music, and he is now more often to be found playing harpsichord or fortepiano than anything which needs mains electricity. He makes a gracious exception when it comes to this lot.

Steven Devine standing, playing, behind bank of synthesizersSteven Devine (synths)

Steven spent his formative years at Chethams School of Music avoiding taking the piano seriously by playing anything else.  This led to some very serious wasted time with a Yamaha DX7 and also trying to make an Atari ST talk to it.  Eventually the harpsichord room, which was much nicer than the electronic music studio, became a more regular haunt and now Steven divides his time between conducting all sorts of repertoire and playing harpsichord, early piano and organ for all sorts of people and groups.

Annabel Knight playing recorder, with headphones and microphonesAnnabel Knight (EWI)

One minute specialising in historical performance on recorder and baroque flute, the next hurled kicking and trilling into the world of oscillators and bite sensors, Annabel makes up the perfect number for any self-respecting synth group. Specialisms include phenomenal lyricism,  a wicked delayed vibrato, and generating inexplicable MIDI CC message streams.

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