RAVEL Satelite (CET time)
VERDI Satelite (CET time)
20:05 - 20:30: RNE (Spain) - Live from Madrid
Duda Dadá (TransNATIONAL TransDADA)
Leopoldo Amigo - Miguel Molina
RNE's contribution to TransDADA Express (ABP 2006, Ars Acustica / EBU)
If something taught Dada to us it was the doubt ("duda", in Spanish), the distrust of all dogmatism, convention or unique imposed thought; by that is not strange to us that they got to refuse themselves affirming that the authentic DADA is ANTI-DADA, because even their same attitude it could become dogma, as the museums already made.
Our gift for this Art's Birthday 2006 is to show in one hand the DADA DOUBT (DUDA DADÁ, in Spanish) in our present society, where the power is becoming from national to global transnational company, but not less destructive by that; and on the other hand showing the DADA SINCERITY (SINCERIDAD DADÁ, in Spanish) offered to us when listening the new unconventional languages (approaching us to praxis of the life). For the accomplishment of this "gift" we will use as the creative DADA methods as the chance, ready-made, public provocation, phonetic poetry, absurd sense of humor, simultaneity, grotesc critic, use and manipulation of mass media..., and why not?, also of a renewable and healthful ANTIDADA view.
Leopoldo Amigo - Miguel Molina
With the collaboration of:
UPV Radio (Polytechnic University of Valencia, Spain)
LEOPOLDO AMIGO (Cuenca, Spain, 1956)
Teacher of Sound Art Workshops in the Polytechnic University of Valencia and in the SGAE of Valencia (Spain). Technical director and founder of the Gabinete de Música Electroacústica of Cuenca (Spain). Investigating visitor in the University of Northwestern in Chicago Illinois and in the University of the State of Michigan in Kalamazoo (USA). At the moment composer and technical assistant in the Radio and Television of the Polytechnic University of Valencia (Spain).
MIGUEL MOLINA (Los Teatinos-Cuenca, Spain, 1960)
An intermedia artist who relates sculpture, audiovisual, sound art, performance and public art. Presently he is an Art teacher of Sculpture Department at Universidad Politécnica de Valencia (Spain). Director of R&D group Laboratory of Intermedia Creations (LCI) that it has made the exhibition and publication of the catalogue and double-CD "Noises and Whispers in Avant Gardes: Early Sound Art Works 1909-1945" (UPV-Allegro Records, 2004) with the sonorous work recovery of the Futurism, Dada, Cubofuturism, Bauhaus, Ultraism, Postism... Recordings: "Political Show" (Cassette, Esfera Azul, 1996), "Música Electroacústica Espaola Vol. 1 (CD AMEE, 1997), "Masclet Virtual" (CD Levante, 1998), "RAS 7 revista de arte sonoro" (CD. Centro de Creación Experimental, 2004).
20:30-21:00: ORF (Austria)
Information to be announced by ORF/Vienna.
Alvin Curran: Art's Birthday 2006.
Program notes for the Baden-Baden event ================================================================
Art who?? Art Blake, Art Carney, Art Tatum, Art Rubenstein, Art
Schopenhauer, Art Rimbaud, Art Speigelman, Art Conan-Doyle, Art Schnabel,
Art Ashe? King Arthur? Happy birthday anyway, Art!
Artistically speaking, is there anything shocking left to do? may I amplify
the bacteria on my testicles or write music with my own droppings? may I
insert a microphone in to a living monkey's brain to better study the
protoneurology of spoken-language; may I boil a live Lobster and prepare a
sauce of microtonal trombone spit; may I consider murdering (live, on TV of
course) the 3rd bassonist in the Symphony orchestra simply because he or she
is never heard anyway...
What city, just tell me one, has a monument to the Unknown Avant Garde
Artist? To the poor irreverent poet of streets and gibberish - the poet who
vomits visions of deadly mushrooms in society's face, while society politely
applauds. Have we been duped? are we all simply writing demented pop-songs
for the Bourgeoise? Do they pay us to thrill them with unthinkable thoughts
and lead them like personal-trainers to the precipice. What has the troubled
brew of all these upstarts, lunatics, and raving dog-chasers gotten us? An
Ursonata and a Urinal. Myths, lies, defamation, memory loss, and fame and
remarkably a world-wide following dedicated to subversion and disorder.
People still have meat-eating teeth and scary facial expressions, very loud
military drums; many continue to savagely destroy and plunder everyone and
everything in their paths. So I ask, Art what? Avantgarde where? Ars Dadium,
why? and after all the world's endless tragedies and failed rebels, I ask
again: may I still have my Utopian dreams and may I please wake and desire
to revolutionize society with gentle drips of water from my noise archive?
Yes now! in these times of global-babel, airport shopping, Internet flu,
cell-phone war and iPod gruel. May I what if whenever will ABC stand for
Artaud, Ball, Cage; Apollinaire, Balla, Cowell; Arp, Beuys, Chiari; Antheil,
Batman, Corso... so Duh? that when children learn to read they can quickly
get to "D" - to Duchamp- to Joyce and Rejoice to Philadelphia, Providence
and beyond as in Cage's own "an alphabet" and finally to Zed and Zev the
absolute last stop on this tram-line. Everybody out! Out is where real-time
begins. Here, the Transdada Express stops for a Vodka, burps, and takes on
atomic fuel. Hand me a Dumbeg and a Santur, I will show you the place - the
geographical point between east and west where Scelsi lived in Rome, just
opposite the Zurich Bahnhof which some say is the real center of the world -
from which everything comes and everything goes.
It was three years ago that Alowys stepped out of the Cafe Voltaire and
walked into the Zurich Bahnhof pushing his luggage cart and yodeling his
heart out; could I stand there dumb and not let my life be changed, could I
not let those pure cow-pie harmonics carreening off the high walls and glass
roof not enter into my FAKE BOOK.. this was a once in a lifetime gift, just
like blowing into Scelsi's long tibetan horn..a whole reincarnation in a
public place- such was this story.. This, my babble comes from a reflection
on being part of this contentious uproar of hope and discontent which surely
since the beginning of time has inspired poets and musicians and painters
actors and dancers to represent ideal places and transcendent times, beyond
the sweat, the space, joy, pain and stench of life and death. Hence my own
rambling rant, my own necessary reality check on Art's Birthday.
True, I am one of those fools - a lumpen court-jester of the world who makes
rabbits jump out of loudspeakers and rivers dissolve into hard-disks. Yes,
this is what I do. So tonight in Baden-Baden like every night I will sit at
a keyboard, just like Bach and Mozart, Beethoven and Thelonius Monk and
Kurt Schwitters and I will play the story of my life - helterskelter
aggregates and sequences of found sounds - that form a spontaneously made
Alphabet of liberation, so that both you and I never forget that we can exit
from this platform, leave this train station whenever we want - a vocabulary
of objects, accidents and memory, perched gently on a bed of cow bells,
Elk's mating calls, John Cage's softly spoken words, the exquisite choral
sound of the SWR Chamber Choir, the sound of tin cans rolling, shofars
blaring, lost mountain tribes of Swiss yodelers, the sound of Merce
Cunningham whistling and dancing, the calls of children, the skidding auto
wheels, train brakes squealing in frequencies heard only by bats, one
million geese taking flight, slowed down basket balls, lions roaring,
backward rappers, tricksters honking on saxophones, my mother's out of tune
piano, birds and bees, bells and fog-horns, rattle snakes and roulette
wheels, shofars and cooking beans, it's all there on my midi-Dada-keyboard
connected to my Dada-Laptop and comes to life through my Dadafingers..
during this brief radio-voyage on the TransDadaExpress.
nov, 22 2005
the making of a contemporary music maker
Democratic, irreverent and traditionally experimental, Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms.
Curran's music-making embraces all the contradictions (composed/improvised, tonal/atonal, maximal/minimal...) in a serene dialectical encounter. His more than 100 works feature taped/sampled natural sounds, piano, synthesizers, computers, violin, percussion, shofar, ship horns, accordion and chorus. Whether in the intimate form of his well-known solo performances, or pure chamber music, experimental radio works or large-scale site-specific sound environments and installations, all forge a very personal language from all the languages through dedicated research and recombinant invention.
THE MAIN STORY
With a fortuitous bang, he begins his musical journey (1965 in Rome) as co-founder of the radical music collective MUSICA ELETTRONICA VIVA, as a solo performer, and as a composer for Rome's avantgarde theater scene. In the 70's, he creates a poetic series of solo works for synthesizer, voice, taped sounds and found objects. Seeking to develop new musical spaces, and now considered one of the leading figures in making music outside of the concert halls -- he develops a series of concerts for lakes, ports, parks, buildings, quarries and caves -- his natural laboratories. In the 1980's, he extends the ideas of musical geography by creating simultaneous radio concerts for three, then six large ensembles performing together from many European Capitals. By connecting digital samplers to MIDI Grands (Diskklavier) and computers, since 1987, he produces an enriched body of work -- an ideal synthesis between the concert hall and all sounding phenomena in the world. In 1990, he begins a visually striking series of sound installations, in collaboration with Melissa Gould. Throughout these years he continues to write a significant amount of music for acoustic instruments.
From 1975-80 taught vocal improvisation at the Accademia Nazionale d'Arte Drammatica (Rome) and since 1991 has been the Milhaud Professor of Composition at Mills College in Oakland, California.
Born December 13, 1938, Providence, Rhode Island. From five years: piano lessons, trombone, marching bands, Synagogue chants, Jazz, and his father's dance bands. Becomes an artist at age 13 in an apple tree at the house of his lifelong friend, poet Clark Coolidge. Hears Spike Jones, the Rhode Island Philharmonic, Satchmo, The Boston Symphony Orcherstra, Art Tatum, Charlie Parker, The Band of America, Thelonius Monk, Gerry Mulligan, Miles Davis, Coltrane, Bartok and Christian Wolff.
Studies composition with Ron Nelson (B.A. Brown University 1960) and with Elliott Carter and Mel Powell( M.Mus., Yale School of Music l963). During summer vacations, plays European crossings with the "Brunotes" on the Holland American Line, in a Greek Dance Band in the Catskills, and in the Dunes Hotel in Las Vegas.
Continues studies and friendship with Carter in Berlin (1964 Ford Foundation Grant), meets Stravinsky, Xenakis, Berio, Yuji Takahashi, Andriessen, Remo Remotti, and above all Rzewski. Goes to Darmstadt, hangs with Babbitt and Earl Brown, hears Stockhausen and Ligeti. Goes to Rome with Joel Chadabe and plays piano in bars on via Veneto, meets Franco Evangelisti and Cornelius Cardew.
In the MUSICA ELETTRONICA VIVA years (1966 -1971 in Rome), performs in over 200 concerts in Europe and the USA with Teitelbaum and Rzewski, Carol Plantamura, Ivan Vandor, Alan Bryant and Jon Phetteplace; and makes significant artistic encounters with: Giuseppe Chiari, Edith Schloss, AMM, Cardew, Steve Lacy, Michelangelo Pistoletto, Steve ben Israel, Anthony Braxton, Simone Forti, Steve Reich, Joan LaBarbara, Michael Nyman, La Monte Young, Trisha Brown, Ashley, Behrman, Gordon Mumma, Alvin Lucier, Larry Austin, Bill Smith, Ketoff, Robert Moog, Nuova Consonanza, MEV2, Meme Perlini, Mario Ricci, Maria Monti, Prima Materia, Ron Bunzl, Phil Glass, Charlemagne Palestine, Terry Riley, George Lewis, Evan Parker, Gregory Reeves, Serge Tcherepnin, Kosugi, Pulsa, Maryanne Amacher, John Cage, David Tudor, Morton Feldman. Scelsi becomes his friend and mentor.
PRIZES AND AWARDS: Bearns Prize, BMI award, NEA (2x), DAAD (Berlin residencies
1963-4 and 1986-7) Ars Acoustica International (WDR), Prix Italia (special award
l988) , Premio Novecento (city of Pisa), Fromm Foundation (Harvard University),
Hass Family Award (San Francisco), Meet the Composer (assistance to many
concerts), Leonardo Award for Excellence (1995), Guggenheim Foundation (2004)
MUSIC PUBLICATIONS AND WRITINGS
Compositions and Articles Written by Alvin Curran
"Homemade", Source-music of the avant garde No.2, Larry Austin,
Composer/Performer Ed., Davis, Ca., July 1967; p.18-41.
"Musica Elettronica Viva-Words...", Source-music of the avant garde No. 3, Larry
Austin, Composer/Performer Ed., Davis, Ca., January 1968; p.24-27.
"Selections from Music For Every Occasion ", The Scratch Anthology, Cornelius
Cardew, London, 1969.
"Magic Carpet" (a sound installation by Paul Klerr and Alvin Curran)
Source-music of the avant garde No.9, Stanley Lunetta, Composer/Performer Ed.,
Sacramento, Ca., 1971; p.45.
"A Guided Tour Through Twelve Years of American Music in Rome", Soundings No.
10, Peter Garland, Soundings Press, Santa Fe, 1976.
"About Giacinto Scelsi", Muzicki biennale, Zagreb 8-14.5.1977; Intl. Festival of
Contemporary Music, Ed. Eva Sedak, 1977.
"Music For Every Occasion" (a selection), Pieces 3, Michael Byron, Ontario,
"Correspondence" p. 3, "Multiple Reflections on MUSICS 15" p. 8, Musics No. 16,
Steve Beresford, Islington Community Press, London, February 1978.
"Correspondence", Musics No. 18, Ingrid Emsden, Islington Community Press,
London, July 1978; p.6.
"Music/Context Seminar", Musics No. 20, Steve Beresford, Spider Web, London,
December 1978; p.20-27.
"MEV, Soup, and History", Musics No. 23, David Collins, Spider Web, London,
November 1979; p.14-15.
"Ultimi pensieri sulla minestra-una ricetta" (SOUP), Almanacco Musica 2,
Bertoncelli/Bolelli , Il Formichiere, Milano, 1979; p.21.
Scores: An Anthology of New Music, Roger Johnson, ed., New York,
New York: Schirmer Books, Macmillan Publishing Co., 1981
"Maritime Rites", EAR Magazine Vol. 2 No. 7, Charlie Morrow, The New Wilderness
Foundation, New York, February/March 1982; p. 11.
"Maritime Riten, Konzerte mit Schiffshornern, Wassermusiken von Alvin Curran"
(Serie "Komponieren heute"), Matthias Osterwold, in: Neue Zeitschrift fur Musik,
2/1998, p. 18-22.
"Monumenti", Frankfurt Feste, 1982.
"For Cornelius" (Part 1 and 2 first version, unrevised), Soundings No.12, Peter
Garland, Soundings Press, Santa Fe, 1982; p.13, 14.
Maritime Rites (descriptive book designed by Melissa Gould), Le Parole Gelate,
"For Cornelius", MusikTexte No.6, MusikTexte, Koln, October 1984; p. 39.
"Waterworks," Ars Electronica, Gutenberg, 1987; p.148.
"Waterworks," Mathias Osterwold, l987
"Lachen oder verschwinden" (Statement on Giacinto Scelsi), MusikTexte No.26,
MusikTexte, Koln, October 1988; p.23-24.
Unpublished Laudatio by Juan Blin in honor of Alvin Curran. Ars Acoustica Intl.
Prize sponsored by the Westdeutscher Rundfunk (Studio Akuschtische Kunst), 1988.
Crystal Psalms, PrixItalia, RAI, Radio Televisione Italiana, November 1989.
"Alvin Curran Says", Ars Electronica Catalogue, Gutenburg, Linz, 1989.
"Maritime Rites - The Lake" Words and Spaces, Smith/DeLio, University Press of
America, Lanham, 1989; p.183-196.
"His Hymn"(score), Schnebel 60, Wolke, 1990; p.292.
"Statement", Joan Jonas Retrospective Exhibition Catalogue, Stedelijk Museum,
Amsterdam, May 1994.
"Music From the Center of the Earth: Three Large-Scale Sound Installations",
Leonardo Music Journal Vol. 4, Roger F. Malina, San Francisco, 1994; p.1-8.
"Die neue allgemeine Praxis" The New Common Practice, translated from the
English) p.35-38, "When my feet felt the path that my eyes could not see"
(score)p.40-47, "Crystal Psalms: Structure Base" p.50, "List of Major Works
1966-1994" p.53, MusikTexte No.53, MusikTexte, Koln, March 1994.
"Music From the Center of the Earth", Zeitgleich, Grundmann/Zimmermann, TRITON,
Wien 1994; p.41-52. (translated in German).
"MEV: Note Sulla Storia Di MEV", Centro D'Arte degli Studenti dell'Universita di
Padova, 7 Marzo 1995.
"Caged Notes"(Radio Broadcast for: Audiobox, RAI, December 1993) Oltre il
Silenzio No.0, Paolo Coteni, Rome, July, 1995; p. 1.
"Der Begriff 'Improvisation" in der neuen Musik" (various quotes from "On
Spontaneous Music") Sabine Feisst, Sinzig: Studio, Verlag Schewe, l997 (Berliner
Musik Studien; Bd. 14)
Veljko Nikolic: Rien san amur
The origin of the project is, as Serbian counterpart to Dadaism, zenithism of the Balkan mastermind (barbarogenious) Ljubomir Micic, whose art manifesto the title was taken from.
Radiophone work is based on phone (sound audio matrix) of the effects from the end of World War I and the beginning of reparation, with all, from this period, known sound civilization symbols, opposed effects of the rich and singing nature of Balkans. And it is made of a sound-play of musical- rhythmical structuralized themes from orchestral suite of Sharpentier (Eurovision music symbol) and Beethoven's IX Symphony - Ode to Joy (music symbol of EU). This work is performed by Percussionist group of the author of "Institute" - on archaic wooden, stone and metal instruments, vocal group of Biljana Krstic "Bistrik" with characteristic vocal flourishes and passages, Dragacevo Brass Orchestra and Royal String-Players of " Saint George", led by Petar Ivanovic - with characteristic Balkan ethno- elements.
Composer and arranger of the project : Veljko Nikolic alias Papa Nik and Mikan Obradovic
Sound engineer: Zoran Jerkovic and Slobodan Stankovic
Director: Arsenije Jovanovic
Editor of the project: Predrag D.Stamenkovic
Duration: with official jingle, announcement and withdrawn, total 15 minutes live realization.
Free networks/radios - Live from various places in the world
Information to be announced by ORF.
"Lullaby" is the title of the piece we are going to present. It's sound composition for (1) a child (pre recorded - it will be twelve past midnight in Moscow), (2) a city -live line from the streets, (3) a world - from satellite and other available sources on line, (4) and a live
sound performer Valeriy Beluntsov playing various sound devices and/or acoustic instrument(s).
Pavel Fajt: Drum Trek
Pavel Fajt (*1957)
musician, percussionist, performer and teacher
1980-87 engagements in theatres in the city of Brno (e.g. Divadlo Husa na provázku)
since 1983 professional musician (bands Nukleus, Maňana, Jeątě jsme se nedohodli)
1983-90 a founding member of Brno-based rock band Dunaj (known as Kolektiv)
since 1985 duo with Iva Bittova
1988 participation in the Mimi Festival in France, playing with guitarist Fred Frith
1989 a project with French guitarist Ferdinand Richard and Iva Bittova
1990 project Joseph Boys with Vladimír Václavek and Marcus Therofal (The Blech)
1991 a tour with The Vogel Europas band and a project with Fred Frith (Music Unlimited 91)
since 1992 duo with American percussionist Jim Meneses (Songs for the Drums)
1994 a project with Anna Homler and Geert Waegeman (Macaronic Sines, Corne de Vache)
since 1993 solo concerts, film and theatre engagements (Ctibor Turba, Christine de Smedt in Belgium)
since 1994 duo with Mikoláą Chadima (Transparent People project)
1995-2001 the band Pluto (1997 Contemporary Music Festival Victoriaville, Canada)
summer 1997 scenic music for the performance Maska (Komedie theatre)
1998-2001 theatre project Hamlet (Nebeský-Prachař-Fajt)
since 1998 duo with Stepanida Borisova (Yakut National Theatre)
2000-2001 The Danubians (Denio, Fajt, Hajnoczy, Kenderesi)
since 2000 duo with Wendy Zulu (Ladakh 5-6-7)
since 2001 solo project DRUM TREK
I have been playing the drum set for many years. I know a lot about it, although I have never made any significant effort to find out more about its historic origins. Nevertheless, a drum set was happily constructed to the needs of jazz music or better to say swing some time between the world wars, surely to save money. Several percussionists were replaced with one who had all the drums and cymbals within reach, sitting comfortably on the stool.He kept the rhythm and remained out of the sight - an ideal solution.
The independence of hands and feet later became the catchphrase for drum sets and was taken to all the way up to the heaven or down to the hell, as you like.
I consider it a historic mistake that rock'n'roll took advantage of jazz skills and the sound of the drum set. Had it not been so, the drum set could have been long forgotten, like the spinet, cither and other instruments.
The opposite is true, though, and we have entered another millennium to the sound of the drum set - ill-advised and being persuaded about its importance.
I, too, have been promoting this erratic belief and for years, fully realising the aforementioned, I have been trying to find a way to use the drum set so that irritates me as little as possible. I set up homemade constructions, record the sound and process it electronically to mix the result with more or less classic sound of a perfectly sounding drum set. My aim over the past few years has been to find a "perfect archetypal rhythm", a proto-rhythm of everything, a rhythm "womb". That is my goal. That is my Drum Trek.
Free networks/radios - Live from Vancouver
Information to be announced by ORF.
Art's Birthday 2006: TransDADAexpress - live in and from Vienna
Kunstradio is celebrating the 1.000.043th Art's Birthday live on air from 8.30 to 10.00 p.m. and from 11.05 to midnight, on site at the ORF Kulturcafe in Vienna and on line: http://kunstradio.at.
Among others, following artists, writers and musicians are participating and contributing to the Viennese birthday party: the Vienna-based girl -trio Schwestern Brüll who dedicate their performance to Raul Hausmann's poems and texts, due to the motto "Only a dead dadaist is a good dadaist", Fritz Ostermayer will explore dadaist voices whilst the artist duo Sergej Mohntau will perform "acoustic palindromes", i.e. songs which can also be listened to backwards, for "Klavierscheitern" ("piano failure") various renowned musicians and composers are invited to give a try playing an instrument they don't really know how to play. The musician Helge Hinteregger is mixing a live 5.1 radio collage of the events and presents in the hour before midnight.
================= VERDI Satelite =================
A live-concert/party from the Modern Art Museum in the city centre of Stockholm with composer and sound-artists ke Parmerud (b. 1953) and Anders Blomqvist (b. 1956) performing live with lap-tops, electronics and synthesizers around the theme of DADA. Also text-sound pioneer Lars-Gunnar Bodin (b. 1935) doing a live sound-poem based around the ideas of DADAISM.
Swedish Radio Ltd. will broadcast 4 hours from a live-party which also will include sound-artists, musicians, composers Dror Feiler, Hanna Hartman, Midaircondo, Hans Appelqvist, Anne Pajunen etc.
This concert/Party is arranged in collaboration with the Swedish Radio P2, The Modern Art Museum, Insitute of Electroacoustic Music in Stockholm and experimental web-channel SR c.
Anders Blomqvist (b. 1956)
Born in Falun on 8th January 1956. He grew up in Uppsala, where he also began "playing rock music at the time when the Music Movement began and in the fruitful climate which this implied. At the beginning of the seventies people began using synthesizers for rock and this, of course, was exciting for me as a pianist, because it opened up a new world of sound."
A group project on 20th century music during the senior grades of compulsory school first brought him into contact with the Electronic Music Studio (EMS) in Stockholm - a "minor revolution and a natural continuation from Hendrix and Zappa". There followed studies at EMS and the Stockholm College of Music, as well as music and film studies at the Universities of Stockholm and Gothenburg. In addition, he has collaborated closely with the concert organization Fylkingen.
Ever since Bertrand R. was played at Young Nordic Composers Festival in Copenhagen in 1981, Anders Blomqvist's electronic compositions have ranked among the most interesting to have come out of Sweden, and he has also harvested international successes, not least at Bourges. Like so many other composers of electro-acoustic music, he has also taken an interest in picture shows, and his fateful Jaguar Revisited (1984) has been repeatedly performed at various festivals and on television. For the 1985 Skinnskatteberg Electronic Music Festival he created an effective Fireworks Music together with pyrotechnician Pär Hultgren.
His more recent tape pieces include Carpe Diem, an intensive, brutal critique of the times. In Lag (1986) he uses both concrete and synthetic material, the latter having a depictive, indeed imitative function, while the function of the concrete sound is more abstract. One of the biggest electronic music ventures in Sweden was the music for the MUSIK art exhibition at the Norrköping Museum of Art in September 1982. Each of the five exhibition rooms was given its own, tailor-made music, partly in the form of a continuous background sound and also in the form of half-hour compositions of more elaborately worked-out material, played through at least six loudspeakers in every room, all day for a week. This comprehensive work was undertaken together with composer William Brunson, and one of the many ingredients used in the composition consisted of the names of the two authors, spelt using the system devised by Hervin, the artist whose work was on show.
Together with ke Parmerud, for the 1987 Skinnskatteberg Festival, he created Termik for two synthesizer players, interspersing improvisations with episodes of strict notation.
Born on 15th July 1935 in Stockholm, he studied traditional composition handicraft with Lennart Wenström 1956-1960. He made his début at Fylkingen 1962. At an early stage he became interested in electronic music, and in addition to his own output Bodin has played an immensely important part in inspiring and promoting the growth of electronic music in Sweden. Together with composer Bengt-Emil Johnson, he directed the Stockholm festivals of text-sound composition, starting in 1967 and was Chairman of the concert organization Fylkingen 1969-1972. He visited the USA as a Composer in Residence at Mills College, California, in 1972. In 1979 Bodin was made Director of the Electronic Music Studio (EMS) in Stockholm, and he was a prime mover in its transfer from Kungsgatan 8 to new, purpose-designed facilities in the Munich Brewery on Söder Mälarstrand.
Lars-Gunnar Bodin's compositions are closely bound up with his profound commitment to humanism, science, ecology, future development etc. During his work he has devoted himself to many different fields of contemporary music: instrumental theatre, text-sound composition, multi-media works and interaction between instrumentalists and tape recordings. Several of his compositions have aroused international attention through their solid craftsmanship, distinctness of profile and forcefulness of expression.
The encounter between language and music has inspired him with several works, and his compositions frequently include phonetic elements. Concern for detail is one aspect of his working methods which is frequently mentioned with respect by his colleagues. This concentration on the micro level does not impede him from building up large-scale, block-like, multi-layer processes.
ke Parmerud(b. 1953)
Born in Lidköping on 24th July 1953. He trained as a photographer 1970-1972 and studied at SAMUS Teacher Education College 1972-1975 and in the Department of Musicology, Gothenburg, where his interest in 20th century was aroused and he came into touch with basic synthesizer equipment and tape-recording techniques. He also studied in Stockholm (The Electronic Music Studio, EMS, and Fylkingen), using advanced equipment. He was the initiator of a research project in the Information Processing and Musicology Departments, to develop software for computerised composition. He has taught theory, ear training and the history of music etc. in the Department of Musicology, Gothenburg University.
ke Parmerud has been a rock musician and once headed a fifteen man group playing Afro-American music. His first compositions were written for the bands he played in. But it is mainly as a forceful composer of electro-acoustic music and multi-media works (especially, perhaps, picture sequences, in which his photographic skills have come in useful) that he has acquired an international reputation. In Time's imaginary eye (for soprano, tape and projector), time and the process of ageing are viewed in the light of Einstein's theory of relativity, and in Floden av glas (shown at the Stockholm Cultural Centre and elsewhere) he has created a brutal multi-media work in a mood of impending doom but also insistence on life. Out of sight his first purely computerised composition, was realised at the EMS and is described by the composer as "a streamlined play of surfaces, stylisations, or if you will simplifications, calculated to obscure the view of the underlying, the complex and unpredictable, the real".
His expressive music has gained appreciation in Europe at large. Thus both Närheter and Kren earned him prizes at the electronic music competitions in Bourges. In his works he consolidates his position as the most dynamic, uncompromising composer of his generation. He is also much in demand as a sound director for concert performances of electro-acoustic music.
Live from Berlin
Art's Birthday 2006 at Deutschlandradio Kultur
an event of the Klangkunst department at Deutschlandradio Kultur and TESLA im Podewil'schen Palais Berlin
project description as at October 27th 2005
Composition and live electronics: Tetsuo Furudate & Georg Klein
Vocal performance: Miho Iwata, die maulwerker (Michael Hirsch, Ariane Jeßulat, Christian Kesten, Steffi Weismann)
Artistical direction: Marcus Gammel
Producer: Götz Naleppa
Live broadcast: "Konzert im Deutschlandradio", 20 - 22.30 CET
Re broadcast: "Klangkunst", Deutschlandradio kultur, 27.1., 0.05 - 1 CET
For the common celebration of Art's and Dada's birthday at EBU, Deutschlandradio Kultur will be facing east: The live performance at the Berlin TESLA (former Podewil) concert space shall hover around the Dada movement in Japan.
Already in the early 1920s, several artists and writers such as Tsuji Jun, Takahashi Shinkichi and Murayama Tomoyoshi took up Dada in the land of the rising sun. Their impulse was carried on in the 1960s by a large dada movement which is most commonly associated with the GUTAI group. More recently, Dada has resonated with the Japanese noise scene - so much so that one of it's senior representatives is referring to dada in his stage name: merzbow.
Particularly interesting - from our point of view - is the connection between Japanese Dadaism and spirituality. Takahashi Shinkichi for instance went on to be a Zen monk after his involvement with Dada. His poetry reveals some striking relations between the artistic movement and Zen: Both share a deep will to tear down popular reality concepts, a radical nihilism, an urge to question everything and anybody. Many parts of Zen literature, such as the Koan or certain Haiku-poems, can look quite similar to Dadaist poetry.
On the other hand, European Dada sports strong spiritual roots, although they tend to be obscured by it's mundane flamboyance. Only think of Johannes Baaders' personality cult or of Hugo Ball's turn to catholic mysticism. Some Dadas were even directly inspired by Buddhist thought, as can be seen in Walter Mehring's text "Enthüllungen" (in Dada Almanach), out of which our working title Dadayama is drawn.
For the live performance on Art's Birthday, we have deliberately approached two very different personalities: Georg Klein and Tetsuo Furudate. Both will be basing their compositions on syllabic material from German and Japanese Dada-poems. Five vocal performers will play with this material live on site. Georg Klein will match up four members of "die maulwerker" (an experimental vocal ensemble founded by Dieter Schnebel) with one particular loudspeaker each - a kind of sound mirror, that echoes, transforms and feeds back their utterances. Tetsuo Furudate has invited Miho Iwata, a Japanese performer living in Krakow, to join his work.
For their concert situation, Klein and Furudate have transposed the title of their performance into a spatial arrangement: "dada" can be translated from German as "therethere" and "yama" means "mountain" in Japanese. According to this, there will be a flat tribune with two symmetrical sides in the middle of the concert space. A single listener coming in has to decide on which side he wants to sit (on flat cushions on the tribune, no chairs).
DADAYAMA will last 60 to 90 minutes, starting around 8.05 PM CET. It will be composed out of harsh cuts between sections from each of the composers and material from the satellites.
After the end of Furudate's and Klein's performance, a mix of satellite streams will lead over to the evening's second live act: rrröstfrisch. Sound-concert for Raoul Hausmann by Valeri Scherstjanoi. This part of the program will be provided by radio TESLA and curated by Andreas Hagelüken.
Born in Tokyo. Started his career in experimental firm and video art in 1981.From middle of 80's,he gradually turned into music through performing art,contributing to the development of the Japanese noise music in ist early period with other pioneers such as Merzbow.
He spreads his activities over Europe since 1998, with many concerts not only CD releases, collaborating with Zbigniew Karkowski,Kasper T. Toeplitz and Leif Elggren.
His experimental noise opera "Othello" premiered at Podwil in Berlin in 2001. He stayed in Berlin as a artist residence of Podewil in 2003. During this period he had premieres of "Wozzeck" at Podewil in Berlin and "Auditory Sence of Mr.Roderick Usher" at Dresdner Zentrums für zeditgenössische Musik (DZzM) in Dresden. "Auditory Senced...." won the BLAUE BRÜKE prize 2003.
He has collaborated with Achim Wollscheid, Lillevän, Akemi Takeya and .....
2004 [The Voice of Lady Madeline Usher]=Festspielhous Hellerau (Dresden) "pr+d+m" / [Greace and Gravity]=Tokyo
Style in Stockholm, Fylkingen (Stockholm) / Sound Art Festival Overgerden (Copenhagen) "m+d" / Perfomance
Festival (Zamosc) "s"
2003 [Auditory Sence of Mr.Roderick Usher]=Festspielhous Hellerau (Dresden) "pr+d+m" /[A Circle of Death]=Mak
Museum (Vienna), 4+4 days Festival (Prague) "d+m" / The Sound Art Festival (Cracow) "s" / [King Lear] =
Podewil (Berlin) "v+s+d" / [Wozzedck]=Podewil (Berlin) "v+m+d+pr" / [Auditory Sence of Mr.Roderick Usher]
radio version = DeutschlandRadio "d+m" / Solo concert in Szczecin "s"
2002 [A Dream Prisoner]=Trantart Festival (Boznerno) "m" / [OTHELLO as a Noise Opera] concert version =
Fylkingen (Stockholm) "m" /Solo Concerts in Arhus and Copenhagen "s" / [Blood and Sand]=Kaizen (Tokyo)"pa"
2001 [World as will]=Goteborg Audio Art Festival "m" / "World as will "=Fylkingen (Stockholm) "m" /
[OTHELLO as a Noise Opera] Podwil (Berlin) "pr+d+m" / Solo concert at Chemnitz. "s"
2000 LEN festival (Barcelona) "m" / ICMC 2000=Podwil, Akademie der Kunste and Maria (Berlin) "pr+m" /
J-Way=Lydmar Hotel (Stockholm) "m"
1998 [Meltdoun in Europe]=Podwell(Berlin), The Queen Elizabeth Hall (London) "s" / 158 Festival (Paris) "s" /
Moderna Museet (Stockholm) "s" / Solo concerts in Copenhagen, Aalborg, Berlin, Plauen and Lyon."s"
1997 [Mertdowen of Control]=The Japan Foundation Hall (Tokyo) "pr+s"
1996 [Autrement qu'tre]=P3 art and environments (Tokyo) "pr+d+m"
1995 Neko mimi=East Gallery (Tokyo) "m"
1994 Psychotronic Driving=Club citta (Kawasaki) "pr+s"
1992 Solo concerts in Nijmegen and Frankfurt. "s"
1989 Solo concert at "Diorama art center" (London) "s"
1988 Underground Museum Festval at oya (Oya) "pr+s"
1987 [Flagnets of Opera]=Parco (Tokyo) "pr+m+d"
1986 [Prelude of the Post Modern musics]=Parco Part III (Tokyo) "pr+s"
1985 Dokidoki Tokyo=Ebis Factory (Tokyo) "s+pe"
1984 Video cocktail=Hara museum (Tokyo) "pr+v+pe"/ Japan Atr Festival in AU=Plan art college (Melboume) "v+s"
1981 Performance Festival in Tokyo=The Tokyo Metropolitan Art Museum (Tokyo) "s+pe" /
The Millelium Art Center (N.Y.) "f"
1981 Contemporary Music Festival at Osaka=Tijin Hall (Osaka) "v+pe"
1980 [context/contact]=The University of Tokyo (Tokyo) "f+pr"
1978 [Oil painting one man show]=Kashiwa Citizens Gallery (Kashiwa) "pa"
=project title by Tetsuo Furudate
m=composition & play music, pr=produce, s=solo concerts, d=direction, v=video, f=film, pa=painting, pe=performance
1992 "L'arr t de mort"(SSE communications 8005)
1994 "Macbeth"(SSE communications)
1995 "Autrement qu' tre" (Les Disques du Soleil et de l'Acier 54040)
1997 "World as Will"with Zbigniew Karkowski (Staalplat STCD 133)
1998 "Neon Green"with Kasper Toeplitz (Les Disques du Soleil et de l'Acier 54060)
2000 "(x).x is not a man or x is mortal"(God Factory)
"Autrement qu' tre II"(Les Disques du Soleil 54064)
2001 "OTHELLO"(Les Disques du Soleil 54077) with Leif Elggren
2002 "World as Will II" with Zbigniew Karkowski (23five Incorporated)
2004 "for the mother and the father" (simlog 018)
Born in 1964 in Öhringen, South-Germany, lives in Berlin.
Study of sound engineering at the Technical University in Munich and Berlin, later on philosophy of religion and ethno-musicology at the Freie Universität Berlin. Assistant from 1991-94 in a project on the visualizing of sound for deaf people at the Technical University of Berlin. Lecturer at Freie Universität Berlin in ethno-musicology on "Music & Religion" in 1999 and 2000.
Since 1996 he has worked freelance as composer, with film music ("amor fati", Internationale Filmfestspiele Berlin 1997), solo works with live electronics, works for ensembles (International Gustav-Mahler-Composition Prize 1999, Austria), and also music for theatre (Peer Gynt with Peter Zadek / Berliner Ensemble, 2004). Studies on computer music and sensor controlled live-electronics at the Electronical Studio of the Technical University of Berlin.
In 1999 founding of comaberlin production of inter-medial art | investigation, development and realisation of sound situations www.comaberlin.de.
He developped an origin concept of site-specific art in public space with sound, including light, texts and video. With his project TRASA he extended the public space by connecting two cities in an inter-medial way.
In 2002: founding of KlangQuadrat / Sound Square, Office for Sound and Media Art, in Berlin with Julia Gerlach for organizing and producing sound and media projects at home and abroad. www.klangquadrat.com.
From 2001 to 2005 chairman of the Berlin Society of New Music. Organization of discussion and concert series on music and art (2002: music&politics, 2003: reflexzonen - music& body, 2003: music&migration, 2005: video concerts) and a jourfixe for contemporary music. www.bgnm.de
Main installation works:
" interactive sound installation transition - berlin junction eine klangsituation, in a sculpture of Richard Serra at the Philharmonie Berlin. With a poem by B. Brecht (2001).
" sound-light-installation Ortsklang Marl Mitte. Blaues Blach. Viel Kunst. Wenig Arbeit. at the railway station of Marl/NRW (German Sound Art Award 2002).
" sound-video-installation Imperial News - Acoustic and visual surfaces out of TV news during the war on Iraq, Heraldry Room in the Red City Hall of Berlin (2003).
" interactive video-sound-installation TRASA warszawa-berlin- a bi-medial contact with internet live-stream between Warsaw and Berlin in two subway stations (Plac Defilad - Alexanderplatz). With poems by Heiner Müller and Wislawa Szymborska (2004).
Awards / Scholarships:
" International Gustav-Mahler-Composition Prize 1999, Austria
" Sound art scholarship of Berlin, 2000
" Scholarship Künstlerhaus Schloß Wiepersdorf, 2002.
" German Sound Art Award 2002, Skulpturenmuseum Marl, NRW, and WDR Köln
" Scholarship Stiftung Kulturfonds 2003.
" Scholarship German Academy Rome (Casa Baldi / Villa Massimo) 2006
EBU Ars Acustica Special Evening - 17th of January 2006 (19-23 GMT)
Art's Birthday 2006: Trans DADA Express
Roma, sede RAI di via Asiago, Sala A
time-slot sul satellite Verdi: 20-20.30
Maurizio Giri (10' c.a.)
per arpa ed elettronica
prima esecuzione assoluta
Lucia Bova, arpa
brano commissionato dalla Federazione CEMAT
Produzione: studio dell'autore
Invenzione per viola e elettronica (6')
Luca Sanz, viola
produzione: Agon, Milano
Michelangelo Lupone (12')
Ciclo Astrale (parte seconda)
per violino, nastro magnetico e live electronics
Produzione: CRM, Roma
Martina Mazzon, violino
Electric Wave (9')
Luca Sanz, viola
produzione: IRMUS, Milano
James Dashow (13'42'')
per arpa ed elettronica
Intermezzi e sipari elettroacustici di Walter Prati
Regia del suono e live electronics, Maurizio Giri e Fabio Cifariello Ciardi
producer: Juraj Duris
Slovak Radio - Devin
Programme devoted to the Year of Slovak Music.
THOSE ENGINES DO LIVE
NEW FORMS - part I. Experimental project.
Poetry in an experimental sound cover. Author's project NEW FORMS created by the formation PSYCHEDELIC CIRKUS devoted to the Art's Birthday 2006.
Performer: Tomáą PSY Gáfrik - Live electronic mix, poetry, sound experiment.
Project - combination of text and music - acoustic practices, collective rhythmical revelry, inimitable motion activities and courageous unaffected presentation of short literary pieces - Cabaret almost Dadaistically playful, but showing the teeth of a sparkling humour, unashamed irreverence and revealing ingenuity. Readings from own works alternate in a quick succession with sounds resembling exotic singing, rhythmical noises, unarticulated cries and interjections. All that accompanied by experimentation with words and their various intonations.
Performers: Koloman Kertész Bagala, Silvester Lavrík, Laco Kerata, Vlado Janček, Karol D. Horváth
"Rock-ization" of radio signals by extraterrestrial beings
Performers: Michal Murin, Michal Snopko
Visual Art Department - Academy of Arts, Banská Bystrica
NEW FORMS - part II. Experimental project - original form of poetry interpretation and innovative way of bass guitar playing in an experimental sound cover.
Performer: Tomáą PSY Gáfrik - Live bass, electronic, poetry, sound experiment.
R.G.B - NOISE
Psychedelic piano of digital era, noise subjectivization
Performer: Erik Bartoą, Matej Minarovič
Visual Art Department - Academy of Arts, Banská Bystrica
Experimental electronic project on the folk music tunes of the Čičmany village by young composers.
Electroacoustic music and live performance
Stano Palúch - violin
Igor Jančár - laptop
Michal Lichý - laptop
rrröstfrisch. Sound-concert for Raoul Hausmann
by Valeri Scherstjanoi
Berlin in the 1920s: in the midst of postwar turmoil, the city becomes
the arena of the avantgarde. Quotation from the milieu: with the
strongest emotions all words are shattered! Hausmann counters:you
cant make a poem like the people. Why Dada? Dada does and Dada does
not. S-o-u-n-d-p-o-e-t-r-y is the spiritual child of Dada and russian
Valeri Scherstjanoi delves into the depths of s-o-u-n-d-art; with
original texts from Raoul Hausmann, Alexej Krutschonych, Carlfriedrich
Claus and his own soundtexts.
rrröstfrisch in the Transdadaexpress to Arts birthday celebration:
January 17, 2006 at TESLA!
Born in 1950 in the USSR, studied German and Literature at the
Krasnodar University. In 1979, relocated to the GDR. Lives and works
in Berlin since 1981 as a freelance sound-poet, radio play author, and
text artist. Since 1997, art books published by the Hybriden-Verlag,
Berlin. Numerous performances at international festivals of
soundpoetry in Germany and abroad. Hans-Erich-Nossak Award 2003 and
Sylt Quelle 2005. Numerous publications.
RTBF - Programme 1
Par Oui-Dire (By Hearsay)
Producer and presenter: Pascale Tison
Tuesday, 17 January 2006, 22.00 CET
Trans Dada Express: Art's Birthday 2006
22.00-22.30: The first part of the broadcast presents the international radio event organized by the EBU Ars Acustica Group. We will relay several excerpts from contributions transmitted earlier in the evening via the two satellite channels.
22.30-23.00: We then continue with our own contribution broadcast live (with some portions pre-recorded), based on a text by Pascale Tison read by Vivianne Forrester, Pierre Mertens, Vera Feyder and Harry Halbreich, and featuring Jean-Paul Dessy, cello, and David Fortez, live electronics.
A child is running towards a farm, he is running towards his fate. He has been told to run without stopping, as fast as he can. He has done so, it is night, and a door has opened; it is the right door. We are in 1942, but it could be another time, a time when a child obeys, runs and saves his life. Between two borders, there is this cold, neutral space, this no man's land which is the setting for the text, where the child is running and thinking. This text presents the child's random thoughts to the sounds of running and a card game* being played. Cards are drawn by chance, providing a coded opportunity for the musicians, who improvise on the theme and under the conditions on which they have agreed in advance.
*In so doing, we will offer a possible "sound reading" of a work by Robert Filliou from 1979, entitled "musique télépathique no 5", currently visible at the exhibition "Big Bang, destruction and creation dans l'art du 20e siecle" at the Pompidou Centre in Paris.
Live performance BMB con.
BMB con. are Justin Bennett, Wikke 't Hooft and Roelf Toxopeus. A performance group working with sound, image, and whatever else we can get our hands on.
BMB con. perform with all sorts of things (mirrors, microphones, trees, fire, ice) in all sorts of places (museums, forests, boats, concert halls, water tanks).
"...make guerilla theatre with hi- and lo-tech."
"...are never quite in control of the mounting chaos...."
The abc of BMB con.
Audience: BMB con. perform in theaters, galleries, museums, concert halls, clubs, streets, trees and rivers. We expect, and we actively encourage, very different audiences for each performance situation.
BMB con.: The question that we get asked most is "what does the name mean?" It had a specific meaning once, of course, but because we keep thinking up new ones, it doesn't really matter any more. Suggestions are welcome.
Collaboration: BMB con. is a collaboration between Wikke 't Hooft, Roelf Toxopeus and Justin Bennett. The work we produce comes out of the conflict between, and the fusing of our individual ideas, actions, obsessions, and experiences. In addition, we occasionally collaborate with other individuals and groups.
Digital: Using digital technology is important to BMB con. in that the same basic ways of working, the same tools, and thus the same structural and gestural ideas, can be applied to different media.
Electricity: The use of electricity and electronics is at once a liberating and a restrictive practice. Liberating because of the possibilities of amplification, action-at-a-distance, communication etc. restrictive because of the reliance on and assumption of the availability of electricity. We are investigating alternative energy sources (e.g. solar).
Fire: Pyrotechnics (flames, gas jets, fireworks, smoke)are often an element of a BMB con. performance. Sonic as well as visual and destructive aspects are explored.
Generation: The electronic generation or synthesis of sound and image for the purpose of simulation is avoided in favour of using the technology to manipulate existing material taken from one 'reality', into another.
History: The story of BMB con. begins imperceptibly sometime during 1989. The exact date is not known. A series of performances and collaborations consolidated the development into a 'group'. The stichting (non-profit foundation) "Leaving the 20th century / BMB con." was formed in 1990 to make things official.
Improvisation: A BMB con. performance consists for a large part of improvisation: action, re-action and interaction. Because BMB con. build up an audio/visual system especially for each space, each performance is unique. Sometimes we use the same basic materials for performances, but the staging, the sound and the sequence of events will be different.
Journeys: BMB con. regularly make journeys to gather sonic and visual information. This is done usually in the form of open-air performances, with or without an audience. We are interested in organizing 'tours' to combine this "outside" work with performances in venues en route.
Kraak-Geluiden: (crackling sounds) can be made by making and breaking elecrical connections, or by putting material under stress.
Light: is always an integral part of the performance. Luminous media like video or projections are used parallel to the sound, by coupling them to the actions of the performers.
Museum actions: The Museum is an institution with colonial intentions towards our instrumentarium. The ongoing series of museum actions are an attempt to make these intentions clear.
Nature: Not seen as simply oppositional to Culture (e.g. in the form of musical instruments and conventions). The work of BMB con. includes an intense involvent with natural acoustic phenomena including animal sounds, flows of water, air, and sand.
Open-air: Working outside, though a favourite pastime of BMB con., is always problematic in terms of power, audience, North-European weather, etc. We are developing a portable "suitcase studio" to facilitate such work.
Programming: By using general purpose computers for sound and image processing, monitoring movements of the performers etc, we are only limited by our own programming skill and our imagination.
Quality: There is a dominant idea that somehow a piece recorded on CD is better (read; more natural) than on, e.g. a cassette. However, this cannot in any way be called objective technical quality. Each reproductive technology has its own individual qualities, utilities, ease of access, economic restraints.
Research: A pseudo-scientific approach to working with sound as advocated by certain (post)industrial groups usually results in deafness or, worse, a lapse into esotericism. BMB con. undertake completely non-scientific research into (electro)acoustics, sensors, boat stability, material stress characteristics, etc. as part of a performance.
Sensors: The desire to couple performer action and other physical movements to digital sound and image processing has led BMB con. to develop a set of sensors for measuring distance, movement, pressure, light, sound level.
Technology: Information technology, computers and the like, are never used by BMB con. as a scientific or rational justification for our work. We use acoustic and mechanical systems as often as hi-tech equipment and we try to take advantage of the unique qualities of each individual technology or medium, and the way that they can be integrated into a performance.
Underwater: Performances underwater, whether intentional or not, require BMB con. to make use of specially designed equipment including waterproof loudspeakers, amplifiers, and deep ocean passive listening devices.
Video: Performances often take place in low-light conditions with complex sound systems, which make them almost impossible to document. BMB con. prefer to make performances especially for video or live TV, controlling the lighting, camera movements, processing as part of the performance itself, as in the "situation No.7" series.
Work: The working process of BMB con. involves a great deal of Play. Play as in creative combinations of material, images, sounds, ideas and technology, and Play as in performing. The process of Play and improvisation takes place at every level of the 'work' in the designing of sound sources, in programming the computers, and in the public performance itself.
Xylophonics: The sounds of wood have been explored in a series of performances outside and inside. Traditional idiophonic uses of wood as sound source are avoided.
Ys: BMB con. have often used ice as a sound source because its problems of dealing with high temparatures make it a natural source of Kraak-Geluiden (see above).
Zoo: BMB con. have to this date never performed in a zoo.
TRANS DADA EXPRESS
France Musique is a partner in the "Trans Dada Express" evening organized by the European
Broadcasting Union for the 90th anniversary of the Cabaret Voltaire in Zurich.
On Tuesday, 17 January 2006, the programme Electromania, presented live by Christian
Zanési, David Jisse and Christophe Bourseiller, will talk about the Dada movement with
musicians, who will "re-create" works especially selected for the occasion.
Marcel Duchamp's "musical erratum"
In 1913, the artist Marcel Duchamp composed a "musical erratum" made up of the random
printing of 88 notes on a piano keyboard. No note is repeated; this series resulting from mere
chance is performed without any particular modulation, "with uniform rhythm and devoid of
accents". The work was published in 1934 in the celebrated "boîte verte".
To recreate this random notation, we will have the work performed live with an aleatory
computer programme associated with the piano. This will imbue Marcel Duchamp's score
with a unique tone colour while respecting its creator's spirit.
Frédéric Lagneau, piano
Benoît Courribet, computer
Raoul Hausmann's "phonetic poems"
Co-founder of Dada, Raoul Hausmann gave vent to his rage against the bourgeoisie in
phonetic poems which he recited at the Café Western in Berlin in 1918. Jean-François Vrod,
violinist, improviser and electronics manipulator, will perform some of the most famous of
these poems, complementing them with a most unusual musical performance.