Wendy Carlos, the first trans composer to score the cult film “A Clockwork Orange” with modulars

– Wendy Carlos composed part of the soundtracks for “A Clockwork Orange” and “The Shining”

– Innovative composer who left her mark on Stanley Kubrick's films and the music industry in general

– The Madrid collective OX Techne closes the season on June 30th in celebration of Pride in Madrid, thus remembering one of the most important producers for the world of electronic music and cult cinema.

Wendy Carlos was a revolutionary in every aspect, because in addition to leaving her mark on cinema with her musical compositions, she had to accept her true identity as a transgender woman in the uncompromising 70s. It is for all this that the OX Techne collective pays tribute to this splendid composer, pioneer and revolutionary, with the staging of his next event taking place in Madrid on Friday, June 30.

More information about the OX Techne event on Resident Advisor (Click here) 

Wendy Carlos was born in 1939 in Pawtucket, Rhode Island. Her passion for the piano began at the age of 6 and led to her learning everything related to electronic music. The latter began during her college years with electronic music pioneer Vladimir Ussachevsky. She later met engineer Robert Moog, creator of the synthesizer, to whom he suggested that he add the first touch-sensitive keyboard and other important modifications to his invention, as it would end up revolutionizing the world of music.

The Moog was present in the pop revolution of those years and in the creation of progressive and electronic music. Tangerine Dream, Kraftwerk and the latest albums of The Beatles They owe much to the creation of Moog.

“I have seen very few people adapt to an instrument as naturally as she did to the synthesizer. She seemed to have a divine gift” (Robert Moog, 1967)

Carlos herself took that electronic sound to another dimension. With her album “Switched-On Bach”, a reinterpretation of Johann Sebastian Bach's work, sold more than 1 million copies, becoming the best-selling classical album of the decade. It was also her first collaboration with singer and producer Rachael Elkind, who also worked for Columbia Records. From that moment on, she would become a great partner and friend. But this was just the beginning and, at the same time, her entry into the universe “kubrickian”

“A Clockwork Orange,” a futuristic vision in a classic world

After her success “Switched-On Bach,” Wendy began her new job (1971): creating the first “vocal” electronic piece. The piece selected was Beethoven’s Ninth Symphony. During the time Wendy and Rachel Elkind were working on the piece, a friend gave them a copy of Anthony Burgess’s “A Clockwork Orange,” published in 1962. The composer devoured the pages of that book and was surprised to see how well the composition she had in hand fit with the beginning of Burgess’ story. The novel became her main influence for the song titled “A Clockwork Orange.” “Timesteps”.

It seemed like fate… Stanley Kubrick announced that he was in the middle of production on an adaptation of Burgess’ novel. Wendy was convinced that what she had created was more than perfect for the film.

They quickly contacted Kubrick's agent through their friend and literary agent, Lucy Kroll. It was a matter of days… The filmmaker asked them to travel to London to be part of the film.

Finally, his compositions were part of “A Clockwork Orange”, although Kubrick decided at the last minute to change some of his analog electronic musical contributions for classical versions of the songs.

“Rachel Elkind and I were never completely satisfied with the result”, Carlos confessed in 1998.

He regrets that his compositions were later cut and modified, although he is glad that they pioneered the use of Dolby for the first time in the history of cinema.

“Some of our tracks for the film were left out at the last minute and as they were among the best things we had done for the project, it was quite frustrating”, he recalled.

Regardless of the film, Wendy was able to release her own album with all the compositions she created for the production although, in the end, not all of them were used.

“We worked on assembling our music as best we could to give a fair account of everything we had done for Kubrick, including the complete “Timesteps” and an energetic synthesized version of Rossini’s “La Gazza Ladra””

Despite those little bitter experiences, both would work together again in another film, as is “The Shining”.

As of today, Wendy Carlos continues to be a reference and inspiration for many, on a personal and professional level, as it is for the electronic vinyl collective OX Techne.

As Tribute to Wendy Carlos on Pride Day in Madrid 2023, the next one Friday, June 30th An evening awaits us Nocturnal overflowing with Electronic music, vinyl and lots of dancing.

You can purchase your advance ticket at the following link – Advance tickets // OX Techne Friday, June 30 

https://soundcloud.com/ox-techne/sets/ox-live?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing