Archive for the ‘music, musicians and artist’ Category
with assistance of Matija Schellander I realized a sequel of my last years work ‘Umgebung – Winterleitensee / Composition for a mountainlake‘, following the conception of slowly developing a cycle.
I wanted to do it in a city, in vienna. after some research and sound-walks I chose the huge construction site of vienna’s nordbahnhof as an appropriate location. a former train-station area that has been deconstructed during the last years, now leaving behind a huge flat field in northern vienna. it will be transformed into residential complexes within the next few years, the work starts slowly.
this ’empty field’ is enclosed by the distant sounds from the city. For being in a city, we can hear unusually far. closer/near by, we hear trains passing , wind blowing , rabbits running , fireworks exploding in the distance; the grain-alike sound of frogs communicating with each other (resonant-impulses) emerges and repeats endlessly; the musicians play their separate parts, not hearing each other. each as if his/her sound belongs there. in the recording, each separately recorded channel fits into the whole soundscape, makes sense in a musical way.
it was 23:30 (11:30 pm) when we started the ‘unofficial, unannounced, unsupported and probably forbidden performance & the recording’ which then lasted for 60 minutes. the recording was done in a high quality 4 channel technique, with large distances of the microphones (15-30m), allowing to rebuild a wide sonic field for acousmatic performances.
listen to a stereo excerpt here :
thanks to michael strohmann of toxic dreams
– 1 MS (NeumannKM184 + Ambient Emesser)
– 2x Omnidirectional (Neumann KM 183);
microphone-distances of 15-35 meters
pictures by Daniel Hösl
concept / compositional idea (by peter kutin) :
‘how far can you hear, how close can you listen ?’
it is a simple questionbut challenges many aspects of our listening-sense, about it’s ability to focus and to listen into distances.
my compositions for certain environments deal with these factors.
I am searching for environments which allow you to listen far away, as mentioned : into a distance.
in most cases these are environments that seem to be ‘silent’. naturally, we will soon hear different and changing patterns of ‘noise’ (planes, wind, water, traffic, etc.); it appears everywhere and if there is a place where you really hear nothing, you will hear yourself, your blood, your heartbeat and the like.
there is no possible silence from the perspective of a physical definition. so what are silent places then ?
places where just few acoustic signals can be heard ?
We believe woods, mountains, seasides to be silent. But when we are there we will soon realize they are not. They are actually quite loud sometimes.
We can use our ears to catch more of the overall sound as usual; in our everyday life’s, our ears are mostly busy with not hearing things – in order to protect our brain from an overload. maybe what we experience as silence are situations when our ears want to hear everything and don’t want to focus only on significant details.
When standing in an open field i recognized an interesting function of – at least my – listening. it is as if our ears have a focal length, as we know it from camera-lenses. I can either listen concentrated to something i hear in a far distance, so the sounds closer to me will become more blurry, probably will be less analyzed by my brain – i focus on the distance. On the other hand I can switch and listen to the grass bending in the wind just 2 feet away from my ear. then the distant sounds will become blurry.
this is when the question : ‘how far can you hear , how close can you listen ?’ came to my mind.
For the musicians, which can hardly hear themselves when playing, experience and develop an unusual way of playing. They are asked to position their sounds due to the sound of the environment. On the recording, their interactions melt into an overall musical-action as if performed together, though they couldn’t hear each other.
The environment transports the significance.
acoustic fields is a festival for soundart going on in graz, coordinated by the viennese organisation/platform garnison7.
sound installations (two by myself), lectures, concerts, performances and films by :
peter ablinger, klaus filip, jean-luc guionnet, tim blechmann, seijiro murayama, ye hui, andrea neumann, dieb13, billy roisz, paula matthusen a.o.
the festival is going on till 02.07.2010 and the detailed program can be found here>>>
there will be four more concert-evenings from 29th of june until 2nd of july.
next date is the 29th – very unique line up for three different church concerts at st. andrae.
if you have time, drop by, it is worth it!
acoustic fields focuses on quality, experiment, concentrated concert-situations. is not ment to be a mass-event, it tries to disturb or maybe open your perception, or at least will fail in its good will trying to become something important.
the festival with it’s ongoing exhibition (see photos) at ESC graz was opened on the 11th of june by a live-performance of noid, kutin, florian kindlinger and philip leitner.
i decided to make a monthly list of max. 10 records for which i took the time to listen to within that month.
these 10 were definitely worth it :
1 – bauhaus | burning from the inside >>>
2 – eiko ishibashi | drifting devil >>>
3 – werner pirchner | ein halbes doppelalbum >>>
4 – low | i could live in hope >>>
5 – unami/ davies/ hayward | valved strings calculator >>>
5 – rafael toral | the harmonic series Vol. 2 >>>
6 – morton feldmann | string quartet II (1983) >>>
7 – keith fullerton withman | playthroughs >>>
8 – keiji haino | tenshi no gijinka >>>
9 – natsumen | endless summer record >>>
10 – fushitsusha | live PSF 3-4 >>>
billy roisz and dieb13 (the man behind klingt.org) presented their yearly video work named ‘schnitzel’ – all photographs dieb13 takes within one year are played back at 25fps. to serve more fun for audiences eyes and brains, billy roisz created a schnitzel too, so this year both video-works were played back simultaneously in a dual screen-mode as a stereo-schnitzel.
before the screening i performed a duo with dieb13 using mainly a spieluhr. skylla (billy roisz & silvia faessler) and cilantro (angelica castello & billy roisz) did a trio – set afterwards. all happend at echoraum, a venue for music and theater in vienna.
by posting this here , i also want to express how much i appreciate what dieter and billy are doing for the (viennese) music scene in general, their ever since untouched resistance against the absorption by the mechanisms of the music and art industry, which sadly forces so many good musicians to create market-oriented music instead of opening their ears more and pushing their musical developments further, just because they all fear to die poor … one can not blame them as the pressure for financial survival in terms of art is brutally high. anyway, i just would like to say thank you everybody who is able to resist even a little and wants to give people opportunities to use their senses. people who give other people sth. through their art and not only themselves.
this is not easy and it’s hard for me too, and of course there is nobody who survives just because of a nice ideology, you survive by doing your work, whatever it is. you must not live from art to be an artist. so you better take care not to become a sad clown.
most important is to have people around you who – even under these circumstances – still are humans…who like to laugh .
‘ when humans are humans again, only then music will regain it’s social character. not before ‘
(i know it’s becoming boring to quote from him, but he said so many nice things : john cage)
besides i have another favourite quotation, this time it’s from morton feldman :
‘don’t push the sounds karl-heinz, leave them alone. don’t even touch them!’
first to laura : sorry , i missed your show at alte schmiede on the 30th of march 2010 .
to anyone else : laura mello is a composer, performance artist from brazil who currently resides in berlin.
she is focusing on performance using vocals (languages), live instruments, sound-objects, and interaction with videos. her works questions our regular reception patterns concerning listening and observing (in fact consuming music, film or let’s say : ‘art’ ?)
find out more about her live & work here>>>
she also performed on the 24th, at the 50th edition of the viennese experimental music series ‘velak-gala’ at brut/kuenstlerhaus vienna, which has been organised for five years by former students from the univ. of music and performing arts of vienna (including me eversince).
further laura was also the ‘model’ for the presspicture of this event wearing her unique ‘loudspeakerglasses’ :
meri nikula, vocal and video-/mediaartist from finland.
she did a very impressive ‘abstract’ – vocal-based performance (extended technique), using little electronic devices for doing some looping and modulation of her voice…
you find meri nikula’s website here (it’s not been updated for a while), but there are also some clips on vimeo.
that concert-night at freedom cafe was organised by the people running highti, who were also performing various live sets, the admission was free (which is very, very rare in tokyo).
the precise line up can be found somewhere in the deep woods of highti’s website for sure.