For the 40th anniversary this classic of german electronic music is released with new interpretations by Steve Baltes, Thorsten Quaeschning, Paul Frick, Keidler, Pyrolator, Love-Songs, Stefan Lewin, Camera and Tellavision. Synthesist is the first solo album by Ashra drummer Harald Grosskopf. It is one of the classics of German electronic music, comprising eight instrumentals composed in the tradition of the so-called Berliner Schule / Berlin School (Klaus Schulze, Tangerine Dream). Originally released 1980 on Sky Records.
Harald Grosskopf is a legendary drummer who was among the first (if not the first) to play drum together with sequencers. He was a regular guest on albums by Klaus Schulze in the second half of the seventies. After he’d joined Ashra, the band headed more into a rock direction, never forgetting their electronic roots. Steve Baltes became a member of Ashra in the nineties. His electronics gave the pioneers a modern approach. Axel Manrico Heilhecker is considered on of Germany’s leading guitarists. They already work together as Sunya Beat (Harald and Axel) and N-Tribe (Harald and Steve).
"Four Times Three" (4x3) is released under their own names. The four tracks on "Four Times Three" all have traces of the great classic Ashra albums…
Already an obscure record when it was initially released in 1980, Harald Grosskopf's Synthesist has become something of a cult item, the kind of album that inspires devotion in aficionados of early electronica and German music. Grosskopf himself has kept steadily busy as a solo musician and session drummer since the late '60s, being associated with early lineups of the Scorpions and Wallenstein and working with Lilli Berlin and Cosmic Jokers, among many others. But despite his long underground career, his debut solo Synthesist may ultimately stand as his defining work and as a key representation of the path of electronic music.
Johann Christian Bach's op 17 sonata's were written considerably later than the op 5 and therefore display a more mature style. The op 5 published for harpdichord or fortepiano were keen to dazilingly exploit the possibilities of the the new piano, the op 17 were written when the piano was more comfortably established (Broadwood was now producing pianos almost exclusively the last harpsichord being produced in 1783), and therefore do not strive to employ such fantastic devices such as extreme contrasts of dynamics and orchestral effects as their predecessors.