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Ars Acoustica Group

Ars Acustica Group


In 2007 the Ars Acustica group is joining the international Art's Birthday Parties for the third time. Most of their contributions take 100 years of radio as a point of reference and will be broadcast within the framework of this year's EBU Ars Acustica Special Evening. Radio's 100th anniversary goes back to the first wireless transmission of sound and voice by Reginald Aubrey Fessenden on Christmas Eve 1906. This transmission was the starting point from which
"Fessenden went on to develop the theory and practice of continuous wave transmission that we use today for AM and FM radio broadcasts." (Peter Courtemanche).

For this international event, the Ars Acustica Group has designed a way to organize the contents which are contributed as sound "presents". Via ISDN-lines or the Internet the contributions are collected at two main points, in Vienna (ORF) and Stockholm (SR), where they are sent to the two EBU satellite channels Ravel (R) and Verdi (V). Both satellite channels (R and V) offer “ready-to-broadcast” materials along with signature-tunes and broadcast-identifications.

Satellite Schedules
All times in GMT - to find out your time (

Schedule Channel VERDI

Live Stream

19:05 – 19:15 Live from Stockholm (SR)
19:15 – 19:45 Live from Madrid (RNE) 

19:45 – 20:15 Live from Florence (RAI)

Art's Birthday Party – Live from Florence (RAI)

Centro Tempo Reale

Monica Benvenuti, voice
Giovanni Nardi, saxophones
Tempo Reale, live electronics
Michele Tadini, “Buleria”, for soprano sax and live electronics
Kilian Schwoon “Le poumon oxygène”, for female voice and live electronics
Patrizio Barontini “Illusione del doppio”, for alto sax and tape
Francesco Giomi, “Xplay”, for sopranino sax and tape

Michele Tadini - "Buleria", for soprano sax and live electronics

The primary musical material of Buleria is a small sequence in flamenco style - it is not a reference but an original pre-composition material inspired by the flamenco tradition. Buleria is a dance in 12/8. The harmonic and rhythmic material of the Buleria is what is generally recognized as “Flamenco”: one could say, the archetype material of flamenco. While rendering homage to this musical tradition I have tried not only to utilize a certain kind of rhythmic and harmonic material, but also to reflect certain compositional techniques peculiar to this music. The compositional process with which the material is reworked can be described specifically as a structuralist procedure. Rhythmically, the material is simply repeated and phase-shifted by a sixteenth at a time, while harmonically the notes are transposed cyclically on eight different scales that will be superposed and interpolated later in the development of the score. The metre is the fundamental element in the whole of this process - the 12/8 is always present and enthralling. Only the metre enables the shifting of the various accents to be perceived. The electronic part is structured in the same way, with the same technique adopted for the shifted superposition of a traditional Buleria. The "Duende" of the piece originates in the compositive tension which derives from the writing techniques of the Buleria itself. The score has been continually revised and changed in a constant vital relationship with the musical material generated progressively during application of the processing procedures.

Michele Tadini (Milan, 1964)
He earned a degree from the Conservatory of Music of Milan in guitar, studying with Ruggero Chiesa, as well as in composition, under Sandro Gorli and Giacomo Manzoni, and electronic music, under Riccardo Sinigaglia. While attending the master classes of Franco Donatoni at the Accademia Chigiana in Siena he was awarded a “Diploma of merit”. From 1990 to 2003 he has been chief of production at “Agon - acustica informatica musica” in Milan. His compositions have been commissioned by and/or performe in many prestigious festivals in Europe, US, South America and Canada. He has composed music for several theatrical productions, as well as music for interactive multimedia installations, film music, and ballets. Suvini Zerboni, Rai Trade and Edipan publish his music. His texts have appeared in such publications as: Suoni in Corso (Mittelfest), Prisma 01, and in the monographic collection “Viaggio all’interno del suono” (Teatro comunale di Monfalcone). He is actually co/director of “Centro Tempo Reale” in Florence.

Kilian Schwoon - "Le poumon oxygène", for female voice and live electronics (2000)

The phonetic material of this piece is derived from Raymond Queneaus “Petite cosmogonie portative” (1950, "A Small Portable Cosmogony"), a brilliant stylistic montage of hymn, everyday language and scientific description, and a revitalization of the ancient genre of cosmogony. The short passage about the gases has extraordinary onomatopoeic qualities: “Les nuages se gonflaient chacun à sa façon” just speaking these words aloud one can hear a music made of sibilants, which in this composition takes a life of its own, enhanced by means of live electronic transformations. Subtle sonic variations and permutations are also already present in the text (“le chlore coloré colérait l’hydrogène”). Queneau dedicates only two lines of his cosmogony to the history of mankind, reducing the homo sapiens thus to a marginal phenomenon of evolution. At the same time the human perspective is pervading every moment, the passage about the gases, for instance, ends with a reference to the "lung oxygen":

Les nuages se gonflaient chacun à sa façon
l’un était plein d’azote et l’autre de solon
un troisième intrépide avait choisi l’argon
de petits cumuli s’éclairaient au néon
de modestes kryptons voyaient trentt six chandelles
et le xénon n’avait que peu d’identité
le chlore coloré colérait l’hydrogène
tandis que le fluor en esprit virulent
attendait feux et flamme et de faire des spaths
et le mi-tout c’était le poumon oxygène

Kilian Schwoon (Hannover, 1972)
He studied composition with Nicolaus A. Huber and electronic composition with Dirk Reith at the Folkwang Hochschule in Essen and continued his research at Centro Tempo Reale in Florence with Luciano Berio. His interest in combining instrumental and electronic resources led him to an intense activity as a performer and researcher in the field of live electronics, with a focus on realizing Berio's projects at renowned concert venues worldwide. His compositions have been performed at various festivals (ISCM World Music Days, Witten, Nuova Consonanza etc.) by musicians such as Ensemble Modern, Ictus, L'art pour l'art and Schlagquartett Köln. He is also often involved in audiovisual projects, collaborating for instance regularly with the choreographer and director Claudia Lichtblau.

Patrizio Barontini - "Illusione del doppio", for alto sax and tape (2004)

The piece is a study on the acoustic double. Musical figures, simple and almost identical to each other – the ones from the soloist, the others form the tape – draw the perimeter of an acoustical space that is modulated by a manual sound projection. Soloist and tape speak to each other. These two identities reflect themselves without mixing up, but they involve the listener in a continuous illusion, the wait for something happens.

Drogo scans the horizon until he gets lost between real and imaginary,
between the “once” and the “after” of a time which is continuously expanding.

Patrizio Barontini (1973)
He graduated in Piano and Experimental Composition at the Conservatory of music in Florence with Giorgio Sacchetti, Salvatore Sciarrino and Mauro Cardi as professors; he also graduated in Electronic Music at the Conservatory of Music in Parma. He attended several musical specialization courses and meeting with composers in Italy and abroad, obtaining the performance of his works or winning prizes and scholarships. He usefully met some important contemporary composers as Gérard Grisey, Jonathan Harvey, Helmut Lachenmann, Salvatore Sciarrino, György Kurtág, Brian Ferneyhough and Luciano Berio. His activity as a composer interested in contemporary music for children led him to collaborate with the musical education program at the Conservatory of music of Florence, with the “L. Boccherini” Institute of Lucca, and with several elementary schools in Toscana and Emilia Romagna. He has given lectures and papers in conferences dedicated to musical didactics, so as courses on the music of the second part of twentieth-century. From 2004 he collaborates with Tempo Reale production staff and teaches music theory at the “G. Verdi” Music School in Prato.

Francesco Giomi - "Xplay", for sopranino saxophone and tape (2005)

The piece is a musical sketch to be played “all of a breath”. It was not built through a formal score but it grew after a work of colaboration and interaction between the composer and the performer Giovanni Nardi, building the instrumental part starting directly from sound and playing it moment by moment. After a a short introduction the tape proceeds with a continuous rhythmical structure that characterize the piece form the beginning to the endm while the saxophone plays a melodic path including very few pitches.

Francesco Giomi (Florence, 1963)
He teaches the Electronic Music course at the Conservatory of Music in Bologna and he also serves as co-director of Tempo Reale, the centre founded by Luciano Berio in Florence. His pieces have been performed in Italy and abroad and selected in Italian and international electroacoustic music competitions. In 1997 he was composer-in-residence at the Music Department of the University of Sheffield; in 1998 he was awarded with the Cemat-Quarant’anni nel Duemila prize while from 2001 he regularly collaborates with the dance company Virgilio Sieni Danza, composing the musical part of several new performances. He regularly carries out a parallel research activity in electroacoustic music analysis and computational musicology, publishing articles and issues and collaborating with research institutes and universities in Italy and abroad. In 2005 he has founded ZUM, a group for musical research based on improvisation which includes also the saxophonist Giovanni Nardi and the electric-guitarist Francesco Canavese.

TEMPO REALE - FlorenceTempo Reale
was founded by Luciano Berio in 1987 with the purpose of undertaking "activities of musical research, production, and education, the promotion of musical culture, the organization of training and advanced courses in music in Italy and abroad." Since its foundation, Tempo Reale has been a center specifically dedicated to the research, development and use of new technologies in music - computer music, spatialization of sound and real-time signal processing - and has become a national and international point of reference for composers and musicians active in the field. In recent years, the Center has played a crucial role in numerous important musical events in Italy and abroad. Tempo Reale has collaborated in many performances of Luciano Berio's works: Ofanìm, presented all over the world; Outis, performed at La Scala in Milan in 1996 and 1999, and later at the Théâtre du Châtelet in Paris; Cronaca del Luogo, the musical theater piece that inaugurated the Salzburg Festival of 1999; Altra Voce, performed at Carnegie Hall in New York in 2001, at Kioi Hall in Tokyo in 2002, and in Rome in 2003. In addition, many other composers have also created, and are currently creating, original works (including symphonic music, chamber music, works for the radio and musical theater) in the Center's studios. Other recent initiatives involve important collaborations with the RAI Orchestra Sinfonica Nazionale and forays into theater and dance, in productions where Tempo Reale has collaborated with the Metastasio Theater of Prato, the Venice Biennale, the Micha van Hoecke Ensemble and the Virgilio Sieni Dance Company, among others. The Center often hosts young composers-in-residence, as well as Italian and foreign trainees in music technology. The Center shares its scientific and musical innovations with the music community in regularly held courses and seminars. Tempo Reale's conferences and lectures attract internationally renowned speakers, addressing the state of contemporary music today. These initiatives are accompanied by a series of special projects focused on relations between sound and space, including the engineering of large-scale sound installations for the Hannover Expo and for the inauguration of Auditorium in Rome.
20:15 – 20:45 Live from Dortmund (WDR) 
20:45 – 21:15 Live from Helsinki (YLE) 
21:15 – 21:45 Live from Brussels (RTBF) 
21:45 – 22.15 Live from Paris (Radio France) 
22:15 – 22:30 Live from Moscow (Radio Russia)
22:30 – 22:55 Live from Stockholm (SR) 

Schedule Channel RAVEL

Live Stream

19:05 – 19:30 Live from Hainburg, Austria (IMA)
19:30 – 20:00 Live from Zagreb (Croatian Radio)
20:00 – 20:30 Live from Prague (Czech Radio)
20:30 – 21:00 Live from Bratislava (Slovak Radio) 
21:00 – 21:30 Live from Belgrade (RTS Radio Belgrade) 
21:30 – 21:40 Live from St. Barbara (August Black) 
21:40 – 22:00 Live from Antwerp (Radio-No-Radio) 
22:00 – 22:20 Live from Netherlands (VPRO)
22:20 – 22:40 Live from Vienna (ORF) 
22:40 – 23:00 Live from Vancouver (Western Front)