13 03 2009 – 14 03 2009
Voltages | new experiments with old oscillators
13 03 2009 19:30
für einen Neo-Bechstein-Flügel 2009 UA
„Music plus electricity equals the sound of the 20th century.“
Joseph Schillinger, 1918
The constructers of the Neo-Bechstein grand attempted to combine several technological innovations in this instrument, refecting the trends of the time. Three different media were included: the piano, the radio and the record. The analogue sound of the piano is transmitted to the “electronic space” by means of pickups, amplifers and loudspeakers. In the piece “accordance” an attempt is made to use the instrument as its designers intended, allowing the possible ways of playing the piano, radio and record to meet in different combinations. The airy, resonant space inside the piano is specially prepared; a total of 18 pick-ups are allocated to the loudspeakers distributed throughout the space. The factor of chance provided by radio reception and a selection of shellac records meet with instrumental modes of playing. “accordance” is another “attempt to play this piano the real way.”
der weißbärtige mann.der frosch am mond 2009 UA
Komposition für Hammondorgel
the white bearded man.
An old long bearded man was asked how he handels his beard while sleeping. Does it go over or under the blanket. The wise man answered: Somtimes over, sometimes under the cover.
Dynamomusik 2009 UA
My starting point is the dynamophone also known as the telharmonium, invented by Thaddeus Cahill. The original instrument was frst heard in public in 1906. Mark Twain wrote: „…I couldn‘t possibly leave this world until I have heard it again and again.“ My instrument is a miniature replica with headphones and exponential horns. Voice-over, real-time transmission and the concept of a perfect instrument are the focus of my piece / lecture.
14 03 2009 18:00
Hands on 2009 UA
rupert huber plays on synthesizers made in japan, usa, and ussr. all of them have keys like the ones of a piano. huber plays live, records it and plays on thop of the recorded music. the sections are each 5 minutes long, so there will be 5 pieces of electronic music created on top of each other. every section deals with one soundgenerator, sinus, square wave, white noise and so on. every sound has to be played by hand, the body triggers the music, the fngers move and build a mountain of electronic sounds.
Höllenmaschine 2009 UA
Max Brand Synthesizer
Operatorin Manon Liu Winter
A journey into the depths of a unique machine, which is the legacy of the composer Max Brand; the ancestor of the Moog synthesizer, it is a monstrous instrument that took decades to develop. Played by a first-rate pianist, it bristles and rattles through the ether of subharmonic frequences. A journey to hell with no return.
TAMARA WILHELM & JÖRG PIRINGER
eins nach dem anderen 2009 UA
with soldering iron, breadboard and a few cheap components, they reconstruct methods to generate sound that have been developed within the last
centuries: light and cogwheel, oscillators and frequency divider. they chain instruments of the exhibition and homemade sound machines: one
machine regulates and infuences another one, that itself stimulates a third, that controls a fourth. Historical instruments are linked to current technologies and form a mechanic-electronic system, a refection on the history of electronic instruments of the past century.