SONNTAG, 14. März 2004, 23:05. - 23:45, Ö1

KUNSTRADIO - RADIOKUNST


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I. "der nase nach" by Josef Klammer and Albert Pall
II. The Disclassified File of Apollo 11 by Oriol Graus
III. 7 seconds by Rainer Römer


A CASSETTE OF THIS PROGRAM CAN BE ORDERED FROM THE "ORF TONBANDDIENST"


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Also the second of, for the time being, six sequels spread throughout the year 2004, "der nase nach" combines text and music in addition as well as irritation to eachother. Where the observer discovers the texture of a plot, the music increases latent sonic actions. The parallels meet on the radio.

Music & Bruitage: Josef Klammer
Text: Albert Pall


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II. The Disclassified File of Apollo 11

von Oriol Graus



PLAY


http://kunstradio.at/2004A/MP3/14_03_04b.mp3

In the radiophonic work "The Disclassified File of Apollo 11", Oriol Graus, Spanish composer and radio artist, unfolds an exciting story around the first moon-landing on July 20th, 1969. The race between the USA and, at that time, the Soviet Union concerning space flight had already begun in the late 50s. In July 1969, the USA stood shortly before a pioneering success: The Apollo 11, and on board the astronauts Neil Armstrong, Michael Collins and Edwin "Buzz" Aldrin, were approaching the moon-landing when, suddenly, interferences were reported ... In the radio piece presented tonight, sound documents from the so-called "A-XI" file - so far kept top secret - are unvailed; the surprised expression in the voices of the ground engineers as well as the astronauts' anxious reactions documentate the unexpected incident.

About the story:

The dream started vanishing when on October 4th, 1957 the artificial satellite "Sputnik", was launched to space. Since then, more terrestrial spacecrafts have been sent, giving us constant information from diverse parts of the universe. On April 12th, 1961, the rocket "Vostok I" blasted off from the Baiknour cosmodrome in the old Soviet Union, elevating into space the first human being, Yuri Gagarin, orbiting around the earth. On May 25th, 1961, President John F. Kennedy in his extraordinary speech before the USA Congress, proposed to send a man to the moon in the 60s. On July 16th, 1969 "Apollo 11" blasted off, ready to accomplish the mission; after orbiting twice around the earth, it started its journey into space. Four days later, while the spacecraft orbited around the moon to prepare the moon-landing, some interferences occured. At first, the centre of operations in Houston was not aware of this fact that was the result of one of the most extraordinary events ever known concerning time-space and was documented in a top secret file called "A-XI File".

Today, for the first time we shall hear the disclassified sound documents, which show the events that surprised the flight engineers and frightened the astronauts. Finally, Neil Armstrong set foot on the surface of the moon for the first time in human history on July 20th, 1969.

Produced by Radio Nacional de Espana; the piece was made available as a "listening proposal" to members of the Ars Acustica group of the EBU.


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An excerpt from Rainer Römer's "Seven Seconds" gives an atmospheric-acoustically dense impression of a New Year's Eve. The source remains unedited whilst it is structured by means of musical mini samples.

Just as Oriol Graus' piece, "Seven Seconds" is a so-called "Listening Proposal" and was recommended for airing by the Ars Acustica group of the EBU.

Rainer Römer comments the idea and compository structure of the piece as follows:

"Music is motion in time. And so I asked myself what happens when I react to a pure, sonicly set continuum. The starting point of this piece is a 50 minute recording of a so-called turning point in time, the audible atmosphere of New Year's Eve 94/95 made from around 11.50 p.m. to 0.40 a.m. on the windowsill at my Frankfurt apartment. The recording as it is unedited develops an unfolds gradiently; I structured it using different modules:
- improvisations on the table guitar, an instrument invented by Fred Frith which resembles a "six string monochord" and offers a unique combination of chords, linear tone sequels, and rhythmic articulation;

- the unedited chime of bells from the atmo tape that sounds like a technical loop;

- an orchestra sample with slightly varied entries (from Puccini's "Madame Butterfly");

- the roll of drums from the end of Verdi's "Requiem";

- a recording of somebody playing the piano, following the scale and playing with sequels which could become a melody;

- as a coda, the sound of a tram squeaking around a bend.

A further structural element are three samples where passer-bys a man, a woman, children - give their idea of how to represent 7 seconds. Time is counting and the prime number 7 has something mysterious about it, just as 3 does. It has a significance for music as well as for culture and for religion. But actually it's insignificant, nothing but a number. And just as the atmosphere is the solist here, my additions, my accompaniments my be nothing more than an attempt to create a contemplative experience of time."

Produced by the Hessische Rundfunk; the piece was made available as a "listening proposal" to members of the Ars Acustica group of the EBU.


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