agm digital arts GmbH - art despite technology

ANTHONY GUSTAV MORRIS

EIMY
Anthony Gustav Morris, (as the name might suggest), was born of mixed-nationality parentage, (Father Welsh, Mother German), in a small suburb of Romford in Essex which is a suburb of London. This was all beyond his control and being branded an “Essex Lad” for the rest of his life is not something he can change.

After attending "not the best educational establishments in the area", he left secondary school at the age of 15 to continue studies at better ones.

Acoustic folk guitar was his first instrument and enough drums to annoy people. He picked up an old French Horn at school and began taking more of an interest in musical subjects than academic ones.

At the age of 17, having proven to be a modest instrumental prodigy (through having lessons with a very nice Horn teacher called John Winch), Anthony was accepted into Trinity College of Music in London studying with John Burden. He won joint first prize in the college brass competition in his first term (and promptly felt that he had alienated himself from many of the other students). The diploma (Licentiate of Trinity College London, L.T.C.L.) was achieved in the third term of the normally six term course.

Whilst at Trinity, Anthony paved the way to establishing the electronic music department with his composition teacher Richard (Tony) Arnell.

Almost accidentally meeting a German Horn player called Clemens Dannhausen whilst he was on tour in the unlikely destination of Essex, he made a visit subsequently to Germany having discovered that he was no less not only the solo horn player at the Mannheim Opera but had also been "Siegfriedrufbläser" in the orchestra of the Bayreuth Festival. Dannhausen arranged for Anthony to attend a summer course in Bayreuth that year and he was allowed to stand in the orchestra pit for the complete Ring Cycle under Horst Stein. This changed Anthony's attitude to horn playeing and wanting to be a musician.

Anthony heard the Vienna Philharmonic in concerts in London he subsequently decided to leave England and study in Vienna. The choices at that time were fairly simple, either unemployment or unrelated employment or have the logical courage to further studies elsewhere. … continued below…
I wish to thank for all you have done for me and for my endeavors in Venice and in Vienna. This sounds very formal but I really want you to know how grateful we all are to you. Yesterday we went through the multimedia exhibition again and there were people from the government and the board of directors of the Center...... Everyone admired the exhibition and I realized again how much of it we owe to you. ....I am looking forward to working with you again.
Nuria Schoenberg-Nono, regarding Arnold-Schönberg "Wer Ich Bin - Who I am" Exhibition Vienna
Auditioning to get a place at the Vienna Hochschule für Musik und Darstellende Kunst, Anthony’s horn teacher was Prof. Josef Veleba of the Vienna Philharmonic.

Funding soon ran out, but income from playing brass trios with fellow students on the street and performances of “La Bohéme” in the theatre in nearby St. Pölten managed to keep him to the end of two terms there.

Anthony auditioned at the Cologne Highschool for Music and was accepted into the prestigious class of Professor Erich Penzel. Again funding his studies through extra-work in some local and more remote orchestras (which included incidentally some of Europe’s best, Deutsche Oper am Rhein, Stadttheater Wupperthal, Offenbachtheater Köln, Stuttgarter Philharmoniker, Kammerorchester Junge Preisträger, Tibor Varga Festival Orchestra Sion), he saved enough money to return for another two terms at Vienna.

Anthony moved back to Germany for a term at the Richard Strauss Conservatoire in Munich and won the audition for a full-time position in the 98-man Brucknerorchester in Linz, Austria. He was at this time the only British Horn player to play the Viennese style of instrument professionally (Wienerhorn).

Spending 4 years in Linz as an orchestral player, Anthony enjoying large scale repertoire. Alongside his work in the orchestra he was composing and learning about the first generation of Computer Musical Instruments that were emerging into studio usage.
The ARS ELECTRONICA FESTIVAL in Linz saw Anthony alongside the best in this field playing live horn (coupled with pitch to voltage converters), Kurzweil, Fairlight and PPG CMI’s in front of an audience numbering 10,000 in Linz Cathedral during Hubert Bognermayer’s “Sermon on the Mount” in 1984.

Anthony left the orchestra in Linz after four years in 1985 and headed back to England for a career in commercial composition as well as playing in the Orchestra of Kent Opera.

The company AGM was formed at this time and Anthony wrote numerous compositions for industrial projects ,AV shows as well as other works for Channel 4 TV, Video Arts TV and other major clients such as the UK National Grid Company and also gained recognition as an event producer.
At this time there was no suitable commercially available surround sound processing equipment for large scale events. Anthony collaborated with several friendly engineers to create systems that allowed sound to be programmed in surround sound and replayed in large environments. The largest processor probably to be used in a substantial AV event was used by AGM already in 1987 (16 channels with overhead effects channel) in the opening of the Graphite Microsystems manufacturing facility in Landgraaf, Holland.

Anthony became increasingly interested in surround sound and made several other related devices and products at this time. Anthony consulted on the creation of the Virtual Room at Touchdown Studios Munich in 1990 which generated the creation of the AGM MR1 microphone recording system as well as a studio decoder system that managed 8 surround channels in a studio.

These systems are even now considered to be ahead of their time and such developments have stood Anthony in good stead as a person able to predict future developments accurately enough to be interesting to his clients. Installations have included the surround sound effects system at the newly renovated Glyndebourne Opera House and more recently at the exhibition "Arnold Schönberg - Wer Ich Bin" in the Arnold Schönberg Center in Vienna that Anthony co-directed with Schönberg's daughter Nuria.

AGM had moved in 1992 all of the company operations to Germany and in 2010 agm digital arts GmbH remains in Germany with a subsidiary in Dublin, Ireland.

AGM continued to produce hardware and software designs for professional audio processing. The AGM TSS “Three Speaker Stereo” device is used in several dozen feature film post production studios to process stereo sound into three channels. A new software version has been released.

He as also acts as a "Web consultant", GUI evaluation expert and project manager for several large web developments (see other news postings) and remains a valued consultant to several major companies. Past clients have included ICL Fujitsu, DTS (Digital Theatre Systems) and a few other rather large companies that can’t be mentioned.

Anthony continues his career as composer and Audio Visual Events Producer. He managed the Schering “Image 100” event in Berlin in with a stunning 19-Meter-wide screen, show and surround sound system.

The Austrian State Theatre in Innsbruck commissioned a ballet score from Anthony in 1998 and in 2001 Anthony wrote and produced the music for the Malaika Kusumi Ballet Theatre Frankfurt performances of “Winter”.

Anthony has now established a base for himself in Garmisch-Partenkirchen again and has composed several works including a new ballet score, several concertos and also lighter pieces for chamber ensembles (please see the other pages related to these projects).

Alongside his composing, Anthony acts as a consultant to some rather clever clients and has recently published his first book of short stories.

Please feel free to contact Anthony if any questions arise and any interest is shown in potential services or if you need a shorter and more