Electronic & Instruments

Can you think of any compositions (pref. by well-known composers) that use electronics in only some of the movements, with the rest of the movements only acoustic?

Like Electroacoustic pieces or "Tape" pieces?

I know Steve Reich's Different Trains

I know more but not off the top of my head.

I will not kiss your F***ing flag by Marco Stroppa, Music for Slow Sweep and Baritone by Alvin Lucier, Hist Wist by Marco Stroppa, New York Counterpoint Steve Reich, Electric Counterpoint Steve Reich.

There are quite a lot of them out there look at spectralism seen as there is a not more pieces being written for instrument and electronics.

Can you think of any compositions (pref. by well-known composers) that use electronics in only some of the movements, with the rest of the movements only acoustic?

It already starts with the (probably) first use of electronic sounds and traditional instruments combined in a piece (even before Maderna's Musica su due dimensioni): Varèse's Déserts (1954), in which four instrumental parts are set apart by three tape-interpolations. The instrumental parts and the tape parts are clearly separate and could be seen as "movements" (although the piece can also be played without the tape interpolations, in which case it becomes an undivided whole.)

Then there are of course the big (music-theatre) pieces, like Stockhausen's "Licht" or Nono's "Prometeo". The question here is also how far we extend the usage of "electronics"? If we include any use of a radio, or any use of an electric guitar, for instance, then the list gets a lot bigger. Other music-theatre pieces, such as Lachenmann's "Mädchen mit den Schwefelhölzern" and Zimmermann's "Soldaten" would then also have to be included.

There are of course also many pieces that don't consist of separate movements, but in which either electronics or the acoustical instruments don't play for extended periods.

And pieces, such as many of Cage's, that leave the instrumentation very open, so that they -can- be performed in the way you described, or not.

The question here is also how far we extend the usage of "electronics"?

I am actually specifically thinking of using recorded samples BUT only at the very end. Not like Different Trains which uses recorded samples throughout. Something like Respighi's Pines of Rome... most of it is purely acoustic then at the end just a recording of a nightingale. Can anyone think of similar examples from the literature?

Look at some pieces from the school called Musique Concrete which is an artistic movement which combined normal sounds to the orchestra

Yeah, but since the electronic treatment of samples is the core concept of Musique Concrète, most of it either is purely "electronic", or uses electronics throughout alongside instruments. (With certain exceptions like the mentioned Déserts, in which the electronic parts clearly are "Musique Concrète".) But off the top of my head I can't think of anything that only uses tape-sounds at the very end of the piece - although I'm sure there are quite a few such pieces.

to be honest most composers that have experimented with electronics did it through out the piece so actually musique concrete could be your best option.