Else Marie Pade (2 December 1924 – 18 January 2016) was a Danish composer. … Read Full Bio ↴Else Marie Pade (2 December 1924 – 18 January 2016) was a Danish composer. She was educated as a pianist at the Kongelige Danske Musikkonservatorium (Royal Danish Academy of Music) in Copenhagen. She studied composition first with Vagn Holmboe, and later with Jan Maegaard, from whom she learned twelve-tone technique. In 1954, she became the first Danish composer of electronic and concrete music (Bruland 2001). She worked with Pierre Schaeffer, Karlheinz Stockhausen and Pierre Boulez.
Pade was born in Aarhus. In her childhood, she was often bedridden with pyelonephritis. She listened to the outside world and created "aural pictures" out of the sounds. These sounds, real sounds, became the basis of her actual musical works. As a protected child, she came with her mother outside of town and went to the theatre. The first music lessons took place in the home where the mother tried to teach her piano playing, but when she did not bother practising scales, she got her mother's piano teacher, Miss Moller. Later she had music lessons at the People's Music School in Aarhus, where the director, Edoard Müller, a music agent in N. Kochs School, had witnessed Pade's talent and offered her music education at the People's Music School. Pade replied that they could not afford it, and then Müller called the parents and established a system. Else gained insight into jazz thanks to the People's Music School. She borrowed a portable gramophone from a friend and heard New Orleans jazz. When she was about 16 she began playing in a jazz band, "The Blue Star Band", which played at school dances and associations. Pade later took piano lessons with Karin Brieg. (Bak 2008, 20).
It was through Brieg that she came into the Danish Resistance. One day Else spat at a column of German soldiers who marched in Aarhus' city center. A soldier stepped out of line and ran after her, but Else knew the city and escaped, taking the tram to Brieg who lived in Klintegården. Brieg said that if she were to resist, she had to join the Resistance, and so Pade joined a women's group with her. Pade began by distributing illegal newspapers after 20 August 1943, and in 1944 she received training in the use of weapons and explosives. She joined an all-female explosives group aimed at identifying the telephone cables in Aarhus with resistance organiser Hedda Lundh.
On 13 September 1944, Pade was arrested by the Gestapo. Through a prison window she saw a star flash and heard music coming from inside herself. Next morning she scratched the tune into the cell wall with a buckle from her girdle. It was the song "You and I and the Stars". She was sent to Frøslevlejren, where she began composing, and decided to train in music. In Frøslevlejren the prisoners held song evenings to keep their spirits up. The songs included Pade's songs and other songs arranged by Karin Brieg. These works were released on CD on the occasion of the 60th anniversary of the liberation: Songs in the Darkness: Music Frøslevlejren 1944–45.
After the war, she read at the Conservatory of Music, first as a pianist, but because of the after-effects of her stay in Frøslevlejren she could not do this and trained instead as a composer. In 1952 she heard a Danmarks Radio programme on Musique concrète and its creator Pierre Schaeffer. It reminded her of her own childhood conception of sounds and timbres. Via family in France, she contacted the French radio RTF and Schaeffer. She got the chance to see studies on RTF and Pierre Schaeffer had his workshop and got an appointment to get sent home material. In the same year she read Schaeffer's book À la Recherche d'une musique concrete (On the trail of concrete music).
This, inspired by Pierre Schaeffer, became Denmark's first concrete and electronic music work: A day at Bakken. After having posted a synopsis for DR, as Jens Frederik Lawaetz read, she agreed to make background music for a TV show for the new Danish television. The background music was Denmark's first practical musical work created by many recordings from Bakken, in which she was assisted by technicians from DR.
Her interest in the new music caused her and many other composers to travel to Darmstadt and follow Stockhausen, Ligeti and Boulez's courses. Pade participated in 1962, 1964, 1968, and 1972. Stockhausen has used her Glass Bead Game as an example when he lectured on electronic music.
https://www.facebook.com/pages/Else-Marie-Pade/30016495426
http://www.dacapo-records.dk/en/artist-else-marie-pade_1.aspx
Pade was born in Aarhus. In her childhood, she was often bedridden with pyelonephritis. She listened to the outside world and created "aural pictures" out of the sounds. These sounds, real sounds, became the basis of her actual musical works. As a protected child, she came with her mother outside of town and went to the theatre. The first music lessons took place in the home where the mother tried to teach her piano playing, but when she did not bother practising scales, she got her mother's piano teacher, Miss Moller. Later she had music lessons at the People's Music School in Aarhus, where the director, Edoard Müller, a music agent in N. Kochs School, had witnessed Pade's talent and offered her music education at the People's Music School. Pade replied that they could not afford it, and then Müller called the parents and established a system. Else gained insight into jazz thanks to the People's Music School. She borrowed a portable gramophone from a friend and heard New Orleans jazz. When she was about 16 she began playing in a jazz band, "The Blue Star Band", which played at school dances and associations. Pade later took piano lessons with Karin Brieg. (Bak 2008, 20).
It was through Brieg that she came into the Danish Resistance. One day Else spat at a column of German soldiers who marched in Aarhus' city center. A soldier stepped out of line and ran after her, but Else knew the city and escaped, taking the tram to Brieg who lived in Klintegården. Brieg said that if she were to resist, she had to join the Resistance, and so Pade joined a women's group with her. Pade began by distributing illegal newspapers after 20 August 1943, and in 1944 she received training in the use of weapons and explosives. She joined an all-female explosives group aimed at identifying the telephone cables in Aarhus with resistance organiser Hedda Lundh.
On 13 September 1944, Pade was arrested by the Gestapo. Through a prison window she saw a star flash and heard music coming from inside herself. Next morning she scratched the tune into the cell wall with a buckle from her girdle. It was the song "You and I and the Stars". She was sent to Frøslevlejren, where she began composing, and decided to train in music. In Frøslevlejren the prisoners held song evenings to keep their spirits up. The songs included Pade's songs and other songs arranged by Karin Brieg. These works were released on CD on the occasion of the 60th anniversary of the liberation: Songs in the Darkness: Music Frøslevlejren 1944–45.
After the war, she read at the Conservatory of Music, first as a pianist, but because of the after-effects of her stay in Frøslevlejren she could not do this and trained instead as a composer. In 1952 she heard a Danmarks Radio programme on Musique concrète and its creator Pierre Schaeffer. It reminded her of her own childhood conception of sounds and timbres. Via family in France, she contacted the French radio RTF and Schaeffer. She got the chance to see studies on RTF and Pierre Schaeffer had his workshop and got an appointment to get sent home material. In the same year she read Schaeffer's book À la Recherche d'une musique concrete (On the trail of concrete music).
This, inspired by Pierre Schaeffer, became Denmark's first concrete and electronic music work: A day at Bakken. After having posted a synopsis for DR, as Jens Frederik Lawaetz read, she agreed to make background music for a TV show for the new Danish television. The background music was Denmark's first practical musical work created by many recordings from Bakken, in which she was assisted by technicians from DR.
Her interest in the new music caused her and many other composers to travel to Darmstadt and follow Stockhausen, Ligeti and Boulez's courses. Pade participated in 1962, 1964, 1968, and 1972. Stockhausen has used her Glass Bead Game as an example when he lectured on electronic music.
https://www.facebook.com/pages/Else-Marie-Pade/30016495426
http://www.dacapo-records.dk/en/artist-else-marie-pade_1.aspx
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Faust Suite: Epilog
Else Marie Pade Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Dimitris Papadimitriou
Great compilation. Faust is a masterpiece.
Her early electronic/ tape works anticipate, in a sense, the later Cosmic / experimental ambient krautrock scene.
Colin Budd
What I’ve come to love about Else Marie Pade’s work is her sense of dynamics and placement in space, and her timing. The way each element is introduced and retracted is ear pulling to the point of creating extra-aural sensations I can’t adequately define. All I can say is I feel some kind of sudden physical headspace shift that is exhilarating and then just as quickly gone. She has given me a far greater appreciation of what can be achieved with movement in the mid range and how exacting you can be with the volume levels of every component. And her selection and matching of voices against each other is nothing short of exquisite to my ears. A fan is born.
Ludwig SMODILLA
Me too !
Karmagally
i felt the same way about headspace shift, definitely she knew what wanted to accomplish here
Dollysplit
@Obineg that's an incredibly interesting point. I would appreciate if you would elaborate on that, at all?
I would be curious to discuss how a different/better approach to the typical ADSR/VCA setup would look, in your eyes?
Obineg
"ADSR" has destroyed that in the 70ies. people no longer took control over amplitude and stopped seeing it (and intonation for thaht matter) as compositionally element.
Orbis
A refreshing and unique sounds treatment
uglybob26
I came across her work on a world service documentry over 20 yrs ago (pre internet) I had her name written down on a post it stuck to my wall in my studio, but i made a mistake and had her surname down as Pell not pade. I still have the post it. Now I am studying composition and I have just been reunited with her work. Ah the joy of the interwebs. I still find it fascinating, its almost impossible to belive it was created so long ago.. Shame she doesn't have the recognition that other artist of the time have. Forget Cage, schaffer et al....this is so future
Mädchen June
Great Sound!
Ludwig SMODILLA
Best film music I ever heard