To hear on Sunday 12 and 19 May 2013, 14 - 21 Uhr:
special ohrenhoch mix
by Herman Müntzing
with exhibition of the graphic scores
Curator: Knut Remond
Herman Müntzing on 'Stockholm Serenity - special ohrenhoch mix':
In spring 2009, living a life as a musician right in the middle of a hectic and busy modern life, I found myself drawn to something different. Something that almost stands still, something liberated from the ideas about musical expression, form and structure, which I felt existed all around me. I was a part of it, always wanting to explore new techniques and sounds, often in a state of high energy, where good technique and a way of playing where you really manifest yourself as a skilled musician, was desirable. Slowly I went in to a new path. A path leading to simplicity, non-expression, stillness and serenity. I was interested in finding the limit for how little I can play, how slow, how non-virtuosic, but still be able to perceive it as - not necessary art, but… meaningful. Following this path also led me into experience the sounds I was producing as graphic symbols; small unpretentious figures that in some way inspired me to keep on travelling on the path of serenity. Doing these drawing, these “graphic scores” inspired my playing, and my playing inspired me to do more drawings.
For this piece, I have reduced my instrumentation to just the flexichord, a metal stick, an e-bow, and my hands, fingers and nails. The piece was released as a mini CD. For Ohrenhoch, however, I have made a special mix of the same piece.
Herman Müntzing Baskemölla Januar 2013
Attended the Royal Academy of Music in the late eighties and has since graduation transformed from a straight jazz/rock bass player into a broadminded sound artist, working mainly in the fields of improvised and experimental music. Since the late nineties, his life as a musician includes different Swedish and international groups and projects with concerts and tours mainly in Europe.
As an educator he is giving lectures/workshops in many different situations, oftenstriving for a new approach to the boundaries between sound, noise and music.“Creative sound research”, “graphic notation” and “building experimental musical instruments” is example of workshops he has led several times. He also teachimprovisation on a regular basis at the Academy of Music in Malmö.
The interest in expanding the common thoughts about the qualifications for a “real” musical instrument, made him search for new sounds in the everyday surroundings, exploring casual objects and their own unique sound qualities. Eventually this research made him create the “flexichord”, a 12-stringed experimental musical instrument made out of strings and pickups from two electric guitars attached to a horizontal solid piece of wood. Performing the flexichord invites him to prepare and play the instrument with different materials and objects like rubber, stones, glass, metal, sawblades etc. Combining this with electronics and sampling shows the essence in his aesthetics
To hear on Sunday 28 April and 5 May 2013, 2pm - 9pm:
special piece for ohrenhoch
by Zbigniew Karkowski
Curator: Knut Remond
'ohrenhoch - the Noise Shop' presents another piece "Catalogue of Noises" (no.2) by Zbigniew Karkowski. 'ohrenhoch' thus dedicates two more ohrenhoch Sundays to the 100 YEARS ANNIVERSARY of the musical manifesto "L'arte dei rumori" (1913-2013) by Luigi Russolo.
As it also coincides with ohrenhoch's 5th anniversary, Zbigniew Karkowski designs another part of his 'Noise Catalogue', for ohrenhoch specially.
The piece is heard over the Bassbox loudspeaker installation in the ohrenhoch basement.
You heard on Sunday 14 and 21 April 2013:
Zbigniew Karkowski on 'Catalogue of Noises' [1:11:40] and 'Catalogue of Noises no.2':
my concept is....
as it's 100 years anniversary of 'the art of noises' by luigi russolo i'm preparing a special piece for ohrenhoch which will be kind of 'noise catalogue'.
the piece will consist only of pure noises - like white noise, pink noise, brownian noise, fractal noise, black noise, grey noise, blue noise, violet noise, stochastic noise etc. i have some really good machines and software to generate all these kind of noises so will create interesting and as full as possible catalogue of it.
sort of like 'catalogue d'oiseaux' of olivier messiaen but this time 'catalogue of noises' by zbigniew karkowski.
To the presentation of 'Catalogue of Noises', 'ohrenhoch, the Noise Shop' publishes an illustrated booklet, with an interview by Knut Remond with Zbigniew Karkowski, description of the piece, biography. English/German. Limited edition (10 copies), handmade.
Zbigniew Karkowski is one of the most influential electronic music composers working today. Linking the worlds of modern composition and industrial music. He is a pivotal figure in the development of advanced noise. Constantly on the road, he is a frequent performer on the geographical fringes of experimental music culture as well as a mainstay on the established festival circuit.
To hear on Sunday 17 March and 7 April 2013, 2pm - 9pm:
Dedicated to Ori Epstein
by Dean Rosenthal
Dean Rosenthal on 'Menemsha Village':
The sonic environment of the buoy's bell arrives to us as the meditation bell in the temple does for all monks, the bell that rings between classes for schoolchildren, and the bell that signals each beginning and finality of each round of the boxer's fight.
I first heard the sound of the buoy's bell on the water off the beach of the small village of Menemsha as an irregular rhythm and discrete sound event but soon realized that the sounds of the sonic environment surrounding the clear and beautiful ringing of the buoy's bell was essential to my experience of hearing the music in the buoy's bell.
In arranging this music, I found myself asking what it was that drew me to the harmonies of voices talking and the water lapping up on the shore, punctuated and punctured aperiodically by a single tone, repeating, over and over again, hypnotically. I watched the water heave the buoy back and forth, and with each toss, the music changed.
I thought long and hard about composing little variations on this music, modulating individual sounds, and taking on other ordinary technical tasks of conventional sound design and composition, but in the end this music simply wanted to be heard unvarnished, as vulnerable and direct as the water and the wind that played it.
Perhaps we compose our environment by hearing in a certain way, and in this way, each listener will hear the music differently than another. Is the object what you hear or the sound? Do you hear a memory, or an image, or a reflection of expectation or disappointment?
I added several repetitions of the original recording (made using the iTalk application for the iPhone) for emphasis and spent time in Audacity cleaning things up, but in all cases no other modifications to the music have been made.
Dean Rosenthal works with mathematical formulas and found objects as his central practice. His pieces have included field recordings, text scores, digital pastiche, and instrumental works focussed on natural observations of properties in mathematics such as perfect tilings, combinations, and permutations. In addition to composing, Dean Rosenthal serves as a co-editor of The Open Space Web Magazine and contributing editor to other Open Space publications. He lives on Martha's Vineyard, where Menemsha Village was first heard.
Audio piece by the ohrenhoch-Kids Youngsters of 5 to 7 years of age
Cooperation and direction: Knut Remond
Saturday, 23 March 2013, 5pm - 9pm
at the festival Frühlingserwachen
and on the ohrenhoch Sundays
24 and 31 March, 2pm - 9pm
"ohrenhoch - the Noise Shop" is a space for the presentation of international Sonic Art, and an Audio School for children from 5 to 14 years old. ohrenhoch exists since 2008. Founder, curator and artistic director: Knut Remond.
In the Sound Gallery, over a particular sound-architectural (loudspeaker) installation, every Sunday a fixed media work is presented in loop mode from 2pm to 9pm. A special focus is thereby on the perception of a single work, removing beginning or end of the piece.
In the Audio School, the ohrenhoch-Kids learn to express their own ideas in noises and sounds, on fixed media and with sound installations. The ohrenhoch-Kids theirselves record the sounds, cut and mix them, and so create their own projects. The pedagogical basis is to meet the children at equal eye level and as fully-fledged members of the society.
"Die unsichtbare Elsa" is an audio piece with sounds from the Berlin-Schönefeld Airport, and with the voices of the ohrenhoch-Kids Youngsters.
The ohrenhoch-Kids Youngsters went to the Berlin-Schönefeld Airport, with audio recorders and headphones. There they took their individual positions for the audio recordings with the digital recorders (ZOOM H2).
Their idea was to make recordings of people and crowds of people in the hall of the airport - and of the diverse languages and ways of expression specifically.
After that the ohrenhoch-Kids Youngsters recorded the starting and takeoff of the aircrafts at the observation deck .
In a further process, with their voices and together with the recordings at the airport, the ohrenhoch-Kids Youngsters completed their witty and great audio piece "Die unsichtbare Elsa".
The composition "Die unsichtbare Elsa" on the one hand is divided in the sequences of the individual ohrenhoch-Kids Youngsters, but on the other hand it is a whole composition. The audio piece is played back in loop mode on the fixed loudspeaker installation.
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