Last week, in the course of some trainspotting research into the minutiae of whatever Moog set-up Moroder used on his seminal basslines1, I happened upon this hilarious description of Moroder’s first introduction to the wonders of electronic synthesizers (emphasis mine):

“In 1970, an engineer I knew, called Robbie, introduced me to a classical composer in Munich who had this incredible new instrument.

It was a humongous machine with cords everywhere, and he played me this composition which just consisted of a bass tone that kept changing every half minute. That was his composition! He was using this huge machine to create what was known as ‘musique concrete’.

There were no rhythms, no effects, and it wasn’t too interesting, but then, when he wasn’t around, Robbie took me aside and said, ‘Look, with this synthesizer you can create more than just a low note.’ He showed me a few things and I thought, ‘Wow, this is great!’

Having suffered through my fair share of unbearably tedious musique concrète performances over the years, I can only marvel at the unlikely musical result of that encounter.

  1. I know: I have fascinating hobbies []