Dov Simens Film School Dvd Torrent
Doris Joo
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The history of the Siemens Studios began in 1955. The company headquartered on Wittelsbacher Platz in Munich as pictured here commissioned a documentary film about their own company. But this industry film was still missing suitable music. As decided by the company directors: For the soundtrack for the film Impulse of our Time (Impuls unserer Zeit) a device for producing electronic sounds should be developed.
Josef Anton Riedl, pictured on the right next to philosopher Theodor W. Adorno, who later recalled that the company was considering more of a classical soundtrack with a choir and orchestra. On the other hand, the company was also open to innovation. After all, there was an in-house research lab dealing with electroacoustics, as well as numerous registered patents for loudspeakers and microphones. The green light was therefore given for the electronic sound design of the film.
At the time, however, internal correspondence revealed there was also another pioneer of electronic music who hoped to be awarded the contract for creating the soundtrack to the Siemens film: Oskar Sala, the developer of the Trautonium.
It was only in February 1958 when the company director finally awarded the contract. Interestingly, however, it was still given to Carl Orff who was living in Diessen am Ammersee with the hope that they could adorn the film with the name of the prominent composer. Still, there was always a certain level of scepticism toward Josef Anton Riedl.
Riedl, pictured here on the right next to sound editor Joachim Neumann (left) and Carl Orff, had always been intensively involved with electronic devices suitable for music production, even in the company's own Labor 345 in Gauting, a suburb in southwest Munich. This is where Riedle created the music for the company film Impulse of our Time (Impuls unserer Zeit), which was finally finished in 1959. The film received distinguished awards, and also received the Deutscher Filmpreis for the best feature-length documentary film.
A 650 square foot area in the basement of a Siemens building on Oskar-von-Miller-Ring was selected as the location. The recording director of the new studio was Joachim Neumann. In 1973, he was replaced by Hansjrg Wicha who, together with composer Peter Thomas, had developed his own electronic instrument, the Thowiphon. The head of the studio was former Gauting lab director Alexander Schaaf. Their aim was to both produce commercial productions for film and records as well as offer artists a space for their compositions and experiments.
... and even the Croatian founder of the Music Biennale Zagreb Milko Kelemen, pictured here on the left next to Riedl, were invited. The crme de la crme could come and go any time they liked. Even Stockhausen worked here, and John Cage himself paid a visit to experiment with sounds. Commercial productions mostly included soundtracks for numerous short, advertising, and educational films. Music for theater productions was also composed here, and the studio created sounds for the Bavarian State Opera, German Theater, and Munich Chamber Orchestra. In 1962, it even produced an LP with dance music.
Still, as successful and fruitful as the work may have been, the company pulled the plug on the Studio for Electronic Music in 1963. The profitability, the high costs, and the clear financial returns might have been some of the decisive reasons for the declining interest. There had been numerous requests from television companies and radio broadcasters in particular at home and abroad for whole studio facilities or even individual composers, and yet Siemens still closed up shop.
On the lookout for a new site, they eventually discovered the Ulm School of Design where both filmmakers Alexander Kluge and Edgar Reitz had founded their own Institute for Film Design which they ultimately wanted to move the Munich studio to. However, it didn't move until 1966. Shortly after, the school was beset with financial difficulties and the studio never reached its prime early years ever again.
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