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Vinyl Vibrations with Brian Frederick podcast

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by Brian Frederick

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Exploration into sounds and grooves from artists that produced their works on vinyl records

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5/5/2018

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February 26, 2026

Camille Saint-Saens, Composer VV033

<a href="#_Toc222912942">Today ON VINYL VIBRATIONS I FEATURE THE MUSIC OF the MULTI-TALENTED, Camille Saint-Saens.</a> <a href="#_Toc222912942">M1 Saint-Saens: Symphony No.1 in E Flat, Op 2, III Adagio, (Saint-Saens 1853), Capitol Records/Angel, 1973 (10:00) </a> <a href="#_Toc222912943">M2 SAINT-SAENS: Symphony No.2 in A Minor, Op 55, II Adagio, (Saint-Saens 1859), Capitol Records/Angel, 1973 (3:59) </a> <a href="#_Toc222912944">M3 Symphony No.2 in A Minor, Op 55, IV Prestissimo, (Saint-Saens 1859), Capitol Records/Angel, 1973 (7:19) </a> <a href="#_Toc222912945">M4 Saint-Saens: Symphony No.3 in C Minor Op 78 (Organ Symphony), Philadelphia Orchestra, I Allegro Moderato, Poco adagio, (Saint-Saens 1886) Columbia Records, 1963 (9:00) </a> <a href="#_Toc222912946">M5 Saint-Saens: Symphony No.3 in C Minor Op 78 (Organ Symphony), Philadelphia Orchestra, II Maestoso, Allegro, (Saint-Saens 1886) Columbia Records, 1963 (7:20) </a> <a href="#_Toc222912947">M6 The Swan – The Carnival of the Animals XIII, (Saint-Saens 1886), Silhouettes -Virgil Fox/Organ” Capitol Records, 1960 (2:39) </a> Saint-Saens lived from 1835 to 1921, and was born in PARIS. He was a composer, organist, conductor and pianist of the Romantic Era, that’s music that was featured throughout the 19th century. He was a musical prodigy, of course. He had perfect pitch. A grand aunt taught him some piano basics at three, and he was a music pupil at the age of 7. He gave informal performances at the age of 5, and his public debut was at age 10 performing the music of Mozart and Beethoven. He and studied at the Paris Conservatoire starting at age 13 to age 18. His first “job” was a ORGANIST at the Saint Merri Church – 26,000 parishioners. That sounds like a typical trajectory for a young musical prodigy. But, unlike other music students, Saint-Saens had a broad focus. He was a multi-tracker of the day, with varying and distinguished interests such as the study of Latin, Greek, Divinity and Mathematics. He was talented amateur Astronomer throughout his adult life.   In today’s podcast I review portions of 4 SAINT-SAENS COMPOSITIONS, pieces composed between 1853 and 1886, or when Saint-Saens was from the age of 17 to 50. We will hear 6 movements from 4 works – those 4 works are <ol> <li>Symphony No. 1</li> <li>Symphony No. 2</li> <li>Symphony No. 3</li> <li>Carnival of the Animals</li> </ol>

February 16, 2026

JEAN-LUC PONTY – VIOLIN VV032

<a href="#_Toc221975621">M1 “Idiot Bastard Son”, King Kong Jean-Luc Ponty Plays the Music of Frank Zappa, (Frank Zappa) World Pacific Jazz Records, 1970 (4:00). </a> <a href="#_Toc221975622">M2 “Twenty Small Cigars”, King Kong Jean-Luc Ponty Plays the Music of Frank Zappa, (Frank Zappa) World Pacific Jazz Records, 1970 (5:35). </a> <a href="#_Toc221975623">M3 “Bowing-Bowing”, Jean Luc Ponty-Stephane Grappelli (Jean-Luc Ponty), Inner City Records, 1976, recorded 1973, (6:28) </a> <a href="#_Toc221975624">M4 “Valerie”, Jean-Luc Ponty-Stephane Grappelli (Jean-Luc Ponty), Inner City Records, 1976 (7:00) </a> <a href="#_Toc221975625">M5 “Upon The Wings Of Music”, Upon The Wings of Music, (Jean-Luc Ponty), Atlantic Recording/Warner Communications, (5:24). </a> <a href="#_Toc221975626">M6 “Now I Know”, Upon The Wings of Music, (Jean-Luc Ponty), Atlantic Recording/Warner Communications, (4:25) </a> WELCOME TO THIS EPISODE OF VINYL VIBRATIONS – musical exploration into sounds and grooves from artists whose works are produced onto vinyl records. The Vinyl Record has stood the test of time- – Vinyl is durable and delivers stunning sound. With Vinyl Records, we capture a rich period in music history including pop, rock, jazz, and classical genres. In each show I explore a topic in the artist’s music that makes their work unique and timeless. From these podcasts, the actual vinyl LPs played in this show go back to the 1950s – I am enjoying these discs some 70+ years after their production date. Tangible music, always available great quality. … I’m your host, Brian Frederick. WELCOME to this episode of Vinyl … Vibrations. ABOUT TODAY’S PROGRAM <h1 class="wp-block-heading"><a>ABOUT THE ARTIST</a></h1> Today our featured artist is Jean-Luc Ponty – He is a French JAZZ-ROCK and JAZZ FUSION violinist and composer, born in 1942. Ponty graduated from Conservatoire National Supérieur de Musique de Paris with the PREMIER PRIX the first prize, a great accomplishment. Then he was hired by Orchestra Lamoureux. He also had a side job playing in a college jazz band and he evolved and developed a jazz interest. In his 20’s, Ponty went on to play at jazz clubs in Paris as the “JAZZ FIDDLE” role. Ponty was at the right time and the right place. In 1965, the VIOLIN did not have a place in the jazz world or in the jazz sound. Ponty has a unique sound, and he has made a huge impact in JAZZ-ROCK and in JAZZ FUSION. (pause) One characteristic of Ponty’s style is his spared use of vibrato. His style favors powerful long notes, with just a trace of vibrato.. Another characteristic is that he plays the electric violin, and thirdly, he uses effects processing. He is truly a modern and pioneering violinist with his jazz and fusion roots starting in the 1960s. In the1970’s he collaborated as sideman with FRANK ZAPPA- and with CHICK COREA- and with the MAHAVISHNU ORCHESTRA- resulting in 18 sideman records between those three groups. Before that PONTY had many recording accomplishments – with 8 recordings as LEADER going back to 1964 when he released his premier record [JAZZ LONG PLAYING]  In 1967 he played at the MONTEREY JAZZ FESTIVAL, and this landed him a recording contract with the WORLD PACIFIC label.  In 1970, he was working with Frank Zappa on the KING KONG album, and working with Elton John on the HONKY CHATEAU album. I was lucky and thrilled to see PONTY live in 1972 at  the BROWN SHOE, a bar in the Chicago Old Town neighborhood. He played an electric violin, and had floor pedals with basic effects, and played a mind-boggling 45-minute set of ROCK FUSION music. That was during his MAHAVISHNU-ZAPPA-COREA days. I had my proof, he was the real thing. And now, let’s go into the music of Jean Luc Ponty. In today’s podcast I review three records of Jean Luc Ponty AS LEADER, his early years, 1970 to 1975. <ol class="wp-block-list"> <li>King Kong Jean-Luc Ponty Plays the Music of Frank Zappa 1970</li> <li>Jean-Luc Ponty-Stephane Grappelli 1973</li> <li>Upon The Wings of Music 1975 </li> </ol>

February 5, 2026

Johanne Sebastian Bach - the Clavier - VV-031

SONGS in this podcast episode: <a href="#_Toc220932189">M1 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) </a> <a href="#_Toc220932190">M2 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20). </a> <a href="#_Toc220932191">M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40). </a> <a href="#_Toc220932192">M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) </a> <a href="#_Toc220932193">M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55). </a> <a href="#_Toc220932194">M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06). </a> <a href="#_Toc220932195">M7 JESU, JOY OF MAN’S DESIRING, JS BACH, 1723, BWV 147 (2:56) </a> <a href="#_Toc220932196">M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) </a> PROGRAM NOTES Johann Sebastian Bach was a German composer and organist from the late Baroque period. He was born in Eisenach, in what is now central Germany. Bach lived from 1685 to 1750, The Baroque period was a 150-year period in music, dating from 1600 to 1750. Baroque music is Western Classical Music that followed the Renaissance period. Baroque music features drama, ornamentation, major and minor tones, and was presented in new ways – – like the Opera, Concerto, and Sonata, Baroque composers included BACH, HANDEL, VIVALDI. <a href="#_Toc220932197">M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27). </a> Bach probably used the CLAVICHORD to compose most of his music. The Clavichord is small, lightweight and would not disturb people. The clavichord was very temperamental, because it required tuning before each play, just like a violin or guitar. The keyboard instruments of the day were referred to as a general category: the “KLAVIER”….these included HARPSICHORD, CLAVICHORD, ORGAN and PIANOFORTE. Bach’s favorite KLAVIER instrument was the LAUTENWERK or LUTE HARPSICHORD with animal gut strings. The writing of music was in support of GOD and KINGS. Over time, Baroque Music evolved into what is today known as the modern Orchestra. Bach was a prolific composer, writing hundreds of pieces for solo instruments, particularly the organ. He also wrote pieces for orchestra and choir. Bach is MOST known for writing two or more melodies or voices against each other. Also called point against point, or, Counterpoint. Bit Bucket A BWV catalog number is a unique identifier for musical works composed by Johann Sebastian Bach, standing for <a href="https://www.google.com/search?q=Bach-Werke-Verzeichnis&rlz=1C6CHFA_enUS825US825&sca_esv=57807b6d00ff88ff&source=hp&ei=aMh_aeMXtf6m1A_o0K7xAQ&iflsig=AFdpzrgAAAAAaX_WeCSsDSC4KdDPjeMohqXRVLHH5kCL&ved=2ahUKEwi3j-6CobmSAxUym4kEHes9GmwQgK4QegQIARAC&uact=5&oq=what+is+a+BWV+catalog+number&gs_lp=Egdnd3Mtd2l6Ihx3aGF0IGlzIGEgQldWIGNhdGFsb2cgbnVtYmVyMgUQIRigATIFECEYoAEyBRAhGKABMgUQIRigATIFECEYoAEyBRAhGKsCMgUQIRirAkidQVAAWPI-cAB4AJABAJgBnwGgAYIYqgEEOS4xObgBA8gBAPgBAZgCHKACnhnCAgsQABiABBiRAhiKBcICCxAAGIAEGLEDGIMBwgILEC4YgAQYsQMYgwHCAg4QLhiABBixAxjRAxjHAcICEBAuGIAEGNEDGEMYxwEYigXCAg4QABiABBixAxiDARiKBcICBRAAGIAEwgIREC4YgAQYsQMY0QMYgwEYxwHCAgoQABiABBhDGIoFwgITEC4YgAQYsQMY0QMYQxjHARiKBcICBBAAGAPCAggQABiABBixA8ICBhAAGBYYHsICCxAAGIAEGIYDGIoFwgIIEAAYgAQYogTCAgUQABjvBcICCBAAGKIEGIkFmAMAkgcEOS4xOaAH7ZcBsgcEOS4xObgHnhnCBwcwLjEyLjE2yAdUgAgA&sclient=gws-wiz">Bach-Werke-Verzeichnis</a> (Bach Works Catalogue). Today I will present 9 compositions, dating from 1710 to 1731, during the time Bach was about age 25 to 45. <h1 class="wp-block-heading"><a>M1 </a>TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20)</h1> Our first piece — TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). an ORGAN COMPOSITION. It is taken from a 1959 album of BACH ORGAN WORKS . The movement is called ADAGIO ….which indicates “At Ease”, or “Slow and Stately”. Tempo is only 66-76 BPM. like the resting heart rate for many people. Great liner notes. HERE IS AN excerpt from the liner notes on that album – – QUOTE “OUR BACH” said the obituary notice, “was the greatest organ and clavier player that ever lived”. Though it may seem strange to us now, Bach’s genius during his life was recognized only as a master of the organ—not as a composer. It was actually over a hundred years after his death that his works revealed him as a unique and mighty composer. His reputation as an organist brought many invitations to test new organs and advise on the construction of them. UNQUOTE As with most of his organ works , there is no autograph or manuscript score from Bach, his organ work manuscript copies are lost. This song has a CONCERTO style and rhythm. We will hear the 2nd or ADAGIO movement. . It is all very calm and beautiful and pastoral and serene…until Bach pulls out all the stops in the last minute of this ADAGIO movement. He is really rocking the walls and windows of that church. Without any further adieu, here is TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). PLAY M2 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M2 MUSICAL CREDIT: This Bach organ work was recorded on the Luneburg Organ at St. Johanniskirche, in the town of Luneburg, in northern Germany, the organist is Professor Michael Schneider. This LP was produced and released on the SOMERSET label here in the US in 1959 The album title is BACH The Majesty of the Luneburger Organ. <h1 class="wp-block-heading"><a>M2 </a>NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21)</h1> <a>Our next piece is the most famous church cantata written in 1714 for THE FIRST SUNDAY IN ADVENT. NUN KOMM DER HEIDEN HEILAND or in English “NOW COME, SAVIOR OF THE HEATHANS” A HEATHAN is a person with no religion, i.e., a PAGAN. In this chorale, Jesus is asked to … come and save the pagans. </a> In 1714, Bach would have been 29 years of age. It turns out that this song goes back almost two centuries before BACH’s time. It’s based on a LUTERAN CHORALE with words written by Martin Luther for the 1523 first Advent Sunday. For centuries, this was the first hymn for the first Sunday of ADVENT. What I will play next is an arrangement for as modern symphony orchestra (the Philadelphia Orchestra) and it is definitely JS BACH heard in those phrases. But it is a large orchestra – – Conducted by Leopold Stokowski. This is an extremely restrained, demure, and understated interpretation of a Bach piece the most restrained I have ever heard. The recording you will hear next is performed by the Philadelphia Orchestra, with conductor Leopold Stokowski. This recording is on a Vinyl LP titled THE SOUND OF GENIUS, produced by COLUMBIA MASTERWORKS, in 1960. It was one of many records that were shipped by mail to members of the Columbia Record Club. My parents were enthusiastic members. A new disc would arrive in the mail every month, such as this LP of classical music. Without further delay here is NOW COME, SAVIOR OF THE HEATHANS PLAY M1 SHOW PLUG – SHOW PLUG – DON’T TOUCH THAT DIAL ! ! That was…M1 NOW COME, SAVIOR OF THE HEATHANS” MUSICAL CREDIT: <ul class="wp-block-list"> <li>Arranger and Composer JS Bach, sometime between the years 1708-1717</li> <li>Performance: Philadelphia Orchestra, conducted by Leopold Stokowski.</li> <li>Album: The Sound of Genius Limited Edition LP (1960) Members Only !</li> <li>Label: Columbia Master Works</li> </ul> BIT BUCKET This piece also is based on a song listed in the ZAHN Lutheran chorales catalog. ZAHN 1174 <h1 class="wp-block-heading">M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40)</h1> The next three pieces are called TWO PART INVENTIONS, composed by JS Bach around 1720 The inventions were composed for use in instruction of Bach’s oldest son WILHELM FRIEDEMANN BACH who was 12 years old. Today, these inventions are introduced to music students in school grades 4-7. Learning the Two-Part Invention requires ROTE learning, practicing over and over until the two hands work completely independently of one another. The inventions teach, among other things, the use of COUNTERPOINT. Bach is MOST known for writing two melodies against each other. Also called point against point, or, Counterpoint. That is the feature of these inventions, in each one there are TWO PARTS, left and right hand parts. COUNTERPOINT is found mostly in Bach’s FUGUES and in his INVENTIONS. Perhaps a brief demonstration is in order. Here is an excerpt from one of Bach’s inventions. <ul class="wp-block-list"> <li>FIRST the right-hand part or first point – the melody</li> <li>SECOND the left-hand part or second point – the bass line</li> <li>LAST both parts played in counterpoint.</li> </ul> In some of Bach works, the roles reverse, <ul class="wp-block-list"> <li>The left hand plays the first point – the melody</li> <li>And the right hand plays the second point – the bass line</li> <li>Could you do this by crossing hands on the keyboard – yes, but, the roles are reversed, so no cross-hand playing.</li> </ul> I will now play WENDY CARLOS’s rendition of three BACH TWO-PART INVENTIONS from her 1969 recording titled “SWITCHED ON BACH” .. I will play all three, back-to-back. Each one is short – – average length ONE MINUTE EACH! PLAY M3 PLAY M4 PLAY M5 Credits: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED <h1 class="wp-block-heading"><a>M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30)</a></h1> And now….. PLAY M4 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M4 MUSICAL CREDIT: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED <h1 class="wp-block-heading"><a>M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55)</a></h1> PLAY M5 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M5 We heard three inventions – – <ul class="wp-block-list"> <li>Bach’s 2-PART INVENTION in F MAJOR</li> <li>And the 2-PART INVENTION in B-FLAT MAJOR</li> <li>And the 2-PART INVENTION IN D MINOR</li> </ul> Each invention is very different than the other. Not just a key change like the work title would suggest ! Bach stated that he wrote his inventions “to be models of composition” in other words, to enable the student to form ways of developing musical ideas and “acquire a strong taste of composition” Bach wrote the inventions, one for of the notes A to G and one for each minor and major key. Today these inventions are over 300 years old ! MUSICAL CREDIT: <ul class="wp-block-list"> <li>Composer JS Bach</li> <li>Estimated dates between 1720-1723</li> <li>Performer – Wendy Carlos – early prototype Moog Synthesizer</li> <li>Arranger and Recording Engineer – Wendy Carlos on MOOG SYNTHESIZER in 1968.</li> <li>Record and label: Switched-On Bach, Columbia/CBS</li> </ul> BIT BUCKET <h1 class="wp-block-heading"><a>M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06)</a></h1> Next is Bach’s “The Well-Tempered Clavier” written in 1722. He was 37. The title page to the Well-tempered Clavier song book reads : “The well-tempered Clavier, or Preludes and Fugues, through all the tones and semitones, both the [major] and [minor]. For the profit and use of the studious musical young…” Bach wrote these preludes and fugues in all keys in the chromatic scale … 12 major and 12 minor keys I have the version in D MAJOR. It’s two sections – the prelude, and the fugue <ul class="wp-block-list"> <li>The Prelude is the introduction. LISTEN FOR the Stride Piano on the left hand !! It’s a short 1:10.</li> <li>The Fugue is the second section. It’s slower but with a more Bold left hand. Also short at 1:54.</li> </ul> And now….PRELUDE & FUGUE No. 5 D-Major fromThe Well-Tempered Clavier PLAY M6 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M6 PRELUDE & FUGUE No. 5 D-Major from The Well-Tempered Clavier MUSICAL CREDIT: <ul class="wp-block-list"> <li>Composer JS Bach and the autograph date is 1722</li> <li>Pianist: Vasso Devetzi</li> <li>Label Festival Classique (1978)</li> </ul> <h1 class="wp-block-heading"><a>M7 JESU, JOY OF MAN’S DESIRING, JS BACH, 1723, BWV 147 (3:22)</a></h1> Our next song is Jesu, Joy of Man’s Desiring This song was also composed by JS Bach in that same year of 1723 – – prolific at age 38. This was written for the Christian Feast of the Visitation- celebrated at the end of May in Western Christianity. The song is a Lutheran hymn. … a CANTATA and it has a CHORALE or chorus piece repeated twice within this cantata. There are many arrangements and versions because this song is one of Bach’s most beautiful, well-known, and popular. The version we will hear next is arranged for SOLO PIANO. the pianist is Leon Fleisher. And Now, Here is Jesu, Joy of Man’s Desiring – Bach 1723 PLAY M7 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M7 Jesu, Joy of Man’s Desiring MUSICAL CREDIT: <ul class="wp-block-list"> <li>JS Bach composer 1723</li> <li>Performance: Leon Fleisher – Pianist (courtesy of EPIC records)</li> <li>Album THE SOUND OF GENIUS VOLUME 3 </li> <li>Label Columbia, 1962 (3:22)</li> </ul> <h1 class="wp-block-heading"><a>M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37)</a></h1> Here is another Chorale recording titled Chorale Prelude VACKET OFF “Wachet Auf”, which translates to SLEEPERS, WAKE! This hymn was transcribed from a Lutheran hymn written in 1599 by written by Phillippe Nicolai. This Cantata is truly a work from the middle ages. In 1731, Bach took this hymn and created a 7-movement cantata, we will hear the first movement or PRELUDE”. This cantata is sung in church on the Trinity Sunday. Today this piece is very popular piece in general…it is POPULAR CLASSICAL MUSIC. J.S. Bach wrote 46 of these cantatas for church, in all. ODD FACT about this song… it was performed only once by Bach, in Leipzig that year. And now the FIRST MOVEMENT from VACKET OFF …the Prelude PLAY M8 SHOW PLUG – DON’T TOUCH THAT DIAL ! that was M4 The Chorale Prelude “Wachet Auf”, also known as SLEEPERS, WAKE! Song credits M4 Credits: <ul class="wp-block-list"> <li>Hymn by Phillippe Nicolai in 1599</li> <li>Transcribed by JS Bach in 1731</li> <li>Performance: Wendy Carlos – on an early prototype Moog Synthesizer</li> <li>Wendy Carlos arranger and recording engineer</li> <li>Album: Switched-On Bach</li> <li>Label: Columbia/CBS, 1968</li> </ul> <h1 class="wp-block-heading"><a>M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27)</a></h1> Our next AND LAST piece is from the Switched-On Bach album and s titled AIR ON A G-STRING. This title comes from Johann Sebastian Bach’s Orchestral Suite No. 3 in D major, written almost 300 years ago. So what is the meaning of the song title Air on a G-String? Well, Bach composed this as an orchestral suite in 1730. 141 years later, August Wilhelm arranged the second movement for SOLO VIOLIN and he did something unique. He transposed the song down from D so that the entire piece could be played on one string of the violin, the G-String, which is the lowest register on that instrument. Here is an example of what this sounds like on the Violin G-String, thjs example with piano accompaniment—pardon the scratchy sound, is from an old 78 RPM disc in 1935. Play example – Jacques Dumont (Violin) Bach Air On The G String with Andre Collard (piano) We went from Bach’s orchestral piece, to Wilhelm’s transcription for solo violin, to Wendy Carlos modern interpretation with her MOOG Synthesizer. Now here is Wendy Carlos’ arrangement of Air on a G String, from her debut album, SWITCHED-ON BACH, in 1968. PLAY M9 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M9 MUSICAL CREDIT: <ul class="wp-block-list"> <li>Composer JS Bach 1730</li> <li>Performance Wendy Carlos on early prototype MOOG SYNTHESIZER</li> <li>Arranger and Recording Engineer: Wendy Carlos </li> <li>Album: Switched-On Bach</li> <li>Label: Columbia/CBS, 1968</li> </ul> END OF PROGRAM VV-031

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