Beruflich Dokumente
Kultur Dokumente
The Creel Pone project came to a halt in the late summer of 2009 with
the 99th instalment, Reinhold Weber's Elektronische und phonetische
Kompositione (the "100" in the gold seal referred both to the plan to
put out one hundred immaculate releases and to the approximate
number of copies of each reissue made). Creel Pone may reactivate at
some point, but, according to Whitman, it has most likely reached its
"natural end".
Surveying the Creel catalogue as a curated body of work, two things
emerge. One is that, as much as it was an idealistic international
movement dedicated to opening up a new frontier of sound for
humankind, the post-War electronic surge was also a craze that
convulsed composers across the globe. Every developed nation (and
quite a few developing ones) simply had to have its own electronic
music research centre. Even the Catholic University of America had a
resident concrete composer, Professor Emerson Meyers, whose 1970
LP Provocative Electronics was resurrected as Creel Pone #77.
Whitman compares the runaway evolution of the music and the
faddish excitement of its makers to the techno and jungle scenes he
was immersed in during the Nineties: empowered by new technology,
a swarm of second-division producers pick up on the breakthroughs of
a few innovator- producers, ripping them off but in the process
intensifying and mutating the innovations. "You'll hear a technique
that's invented in 1954 in Japan going out to Berlin, then to Spain...
trademark sounds that become part of this general lexicon of
transformation, individual composer's tricks that enter this grand pool
of ideas." Early electronic music, then, was about scenius as much as