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Experimental jazz improv en electroacoustics

The City That Wears A Slouch Hat

Honderd jaar geleden werd de Amerikaanse componist John Cage geboren. Cage wordt wereldwijd beschouwd als één van de belangrijkste muzikale vernieuwers van na de tweede wereldoorlog. Cage stond ook aan de wieg van de Fluxus beweging. Vooral zijn ideeën over geluid en stilte en hoe die te gebruiken in de muziek waren revolutionair. Overal in Europa wordt de 100 e geboortedag van Cage op de een of andere manier herdacht in de vorm van speciale concerten en happenings. Zo vindt er dit weekend (9 en 10 juni 2012) ihkv het Holland Festival een heuse Cage happening plaats in het Muziekgebouw aan ’t IJ. Dus als je een echte Cage fan bent moet je zeker naar het Amsterdamse Muziekgebouw aan ’t IJ. Het hele weekend is daar van alles te zien, te horen en te beleven rondom het werk van John Cage. Zoals Listen to the Silence door de Zonzo Compagnie, Music for percussionists door Slagwerk Den Haag, Europera 3 & 4 door de Internationale Opernstudio Köln, Het befaamde Roaratorio: Het legendarische werk van Cage gebaseerd op Finnigans Wake van James Joyce, word uitgevoerd door vier onvervalste Ierse sprekers, Paddy Glackin, Mel Mercier Seamus Tansey en Liam O’Flynn. En dan is er ook nog een uitvoering van Thirty Pieces for Five Orchestras door het Asko|Schönberg, de György Ligeti Academy, Leden van het NJO en Studenten van het Koninklijk Conservatorium Den Haag en het Conservatorium van Amsterdam. Dat dus allemaal zondag 10 juni 2012 in Amsterdam in het Muziekgebouw aan ’t IJ en daar begint het al om elf uur ’s ochtends. En mocht je er niet naartoe kunnen om alles live mee te maken; Op radio 4 wordt de zondag avond live uitgezonden bij de NTR en op het thema kanaal eigentijds van Radio 4 komen wat later alle opnames te staan van het complete Cage weekend. En op Nederland 2, om 19.20 uur kun je diezelfde zondag kijken naar een reportage vanuit het Muziekgebouw aan ’t IJ.

Ook de gezamenlijke Europese publieke omroepen laten zich niet onbetuigd, want de Ars Acustica Group van de EBU, organiseerde een compositieproject onder de naam ‘The City That Wears A Slouch Hat’, vrij vertaald: de stad met een trage hoed, oorspronkelijk een radiofonisch werk uit 1942 van John Cage. Deze surrealistische vertelling op een tekst van Kenneth Patchen, van een man met de naam ‘Voice’, die door de een grote stad wandelt en van alles hoort en beleeft, vormde de aanleiding en inspiratiebron voor 13 nieuwe werken, allemaal gemaakt in opdracht van de diverse Europese publieke omroepen. En in al deze werken probeerden de makers het originele idee van John Cage in ere te houden, een sonografische vertelling van de geluiden van de stad. Zelf heeft Cage indertijd zijn 250 pagina’s tellende score nooit kunnen realiseren, want de technici van de Colombia Radio Workshop waren toen nog niet in staat om een complexe mixage met tekst, sounds en city noises te realiseren. Het werd uiteindelijk een stuk voor 6 percussionisten en spreekstem. Maar dit werk vormde al wel de voorslag voor legendarische latere werken als 4’33”, Silence en Roratorio. In de Café Sonore van 10 juni 2012 hoor je in de vorm van een lange doorgaande collage een selectie van al die werken gemaakt op basis van ‘The City that Wears a Slouch Hat’. Een waar eerbetoon dus aan de meester van het geluid van alledag. Je hoort werken van Chris Mann, Laurent Estoppey, Anne Gillot, Bernard Clarke, Budhaditya Chattopadhyay en Peter Cusack.

(uitzending hieronder te beluisteren vanaf 10 juni 2012)

CS 10-06-2012

The city wears a slouch hat (Ars Acustica Action for John Cage) On the occasion of John Cage’s 100th anniversary, the EBU Ars Acustica group proposes to celebrate this seminal artist by summoning Cage’s first work for radio: In 1942, Cage wrote a score for Kenneth Patchen’s radio drama The city wears a slouch hat. This text recounts the wanderings of a character called “The Voice” through a generic city. Omniscient andomnipotent, The Voice eavesdrops on conversations, picks up phones, and follows city dwellers through small chunks of their lives. John Cage intended to embed the text in a continuous flow of city noises and sound effects. However, his ambitious 250 page score was deemed impossible to realise by the Columbia Radio Workshop’s technicians. Cage ended up writing a far more simple composition for six percussion players, which was eventually premiered on WBBM CBS. The first score for “The city wears a slouch hat” is lost. However, this project paved the way for Cage’s preoccupation with “arbitrary” noises and for his vision of a universal sound composition. It already contains the initial spark for landmark works such as 4’33, Silence, and Roaratorio. The EBU Ars Acustica group now encourages contemporary artists to imagine what the The city wears a slouch hat may sound like, if The Voice was wandering through their respective cities today.

http://www.youtube.com/watch?v=Y-jY6__Zly8

Chris Mann: kitsch in the title – on the technology of self criticism Chris Mann (born 1949) is an Australian composer, poet and performer specializing in the emerging field of compositional linguistics, coined by Kenneth Gaburo and described by Mann as “the mechanism whereby you understand what I’m thinking better than I do.”[1] He is currently based in New York City. Mann studied Chinese and linguistics at the University of Melbourne, and his interest in language, systems, and philosophy is evident in his work. Mann founded the New Music Centre in 1972 and taught at the State College of Victoria in the mid-1970s. He then left teaching to work on research projects involving cultural ideas of information theory and has been recognized by UNESCO for his work in that field.[1] Mann moved to New York in the 1980s and was an associate of American composers John Cage and Kenneth Gaburo. He has performed text in collaboration with artists such as Thomas Buckner, David Dunn, Annea Lockwood, Larry Polansky, and Robert Rauschenberg. Mann’s unique style of reading incredibly dense, parenthetical texts at a high speed has brought him recognition as a unique performer and recording artist. He has had a variety of recording projects over the years, including the ensemble Machine For Making Sense with Amanda Stewart and others, Chris Mann and the Impediments (with two backup singers and Mann reading a text simultaneously while only being able to hear one another), and Chris Mann and The Use. His piece The Plato Songs, a collaboration with Holland Hopson and R. Luke DuBois, features realtime spectral analysis and parsing of the voice into multiple channels based on phonemes. Mann has also participated in the 60×60 project. Mann currently teaches in the Media Studies Graduate program at The New School. kitsch in the title – on the technology of self criticism an attempt to decentre, to spatialise the voice, so it becomes more of an environment, less a moment of authority

Peter Cusack: Will you miss the planes when they are gone? http://www.petercuscak.org Peter Cusack (* 1948) is a sound artist and (improvising) musician, and is also active as a field recording artist (e.g. Baikal Ice, CD 2003) and a teacher. He is a Senior Lecturer at the London College of Communication and teaches and conducts research at other institutions, including the University of the Arts, London. In his capacity as a musician, he co-founded and directed the London Musicians’ Collective and was a member of the group Alterations (with Steve Beresford, David Toop and Terry Day). The focus of his current work – which he presents in appearances and performances, radio and CD productions, lectures, exhibitions and installations – is our man-made sound environment; the works’ categorical context is shaped by the conceptual approach of acoustic ecology. In his project Favourite Sounds (since 1998), Cusack explores the favorite sounds of residents of particular cities (London, 1998; Chicago, 2004; Peking, 2005; Manchester und Prague, 2008/09). From 2001 to 2006, the London radio station ResonanceFM produced more than 50 installments of Vermilion Sounds, his monthly program on the topic of environmental sound. Cusack’s multidisciplinary Positive Soundscapes Project (2006/09) is concerned with integrating sonic environmental issues into urban planning. Since 2004, Cusack has been working on a project series called Sounds from Dangerous Places. In this context, he travels to sites suffering from extreme environmental degradation caused by human action (such as Chernobyl), where he records sounds and also films and photographs. These artifacts, and additional materials such as texts related to the theme, are then elaborated into installations and exhibitions. During his stay in Berlin as guest of the Artists-in-Berlin Program, Peter Cusack plans to work on his installation Oil Fields, which deals with the Bibi Heybat oil fields on the Caspian See near Baku (Azerbaijan), a stretch of land especially damaged starting in the early 20th century, when its rich oil reserves began to be exploited. The bizarre beauty of this cultural landscape – its ground covered by shining black pools of spilled oil, the oil pumps’ constant rhythmic concert – stands in stark contrast to the alarming social, political and ecological conditions of its creation; the public will be brought face to face with this contradiction in Peter Cusack’s installation. Cusack also plans to do preliminary work on a new project series about a problematic that already plays a decisive role in our global future: water resources.

http://favouritesounds.org Will you miss the planes when they are gone? The Panke River in Wedding, Berlin, lies under the flightpath into Tegel airport. When there you become very aware not only of the aircraft but also of the spaces between. As the planes diasappear quieter sounds like water ripples, distant bells, children playing amongst high buildings reveal themselves again only to be covered up a few minutes later. Ones ears open and close in the rhythm imposed by the passing flights. ‘Will you miss the Planes when they are Gone’ uses field recordings from the area to celebrate the quieter sounds along the river. It also alludes to the fact that Tegel will close in June 2012 and speculates on how the absence of the planes might effect people’s listening in the future. Budhaditya Chattopadhyay: Eye Contact with the City’ http://www.budhaditya.org Born in Birbhum, India, Budhaditya Chattopadhyay studied Cinema specializing in Audiography at national film-school SRFTI in Calcutta (2003-2006), and later pursued a Master of Arts in New Media with an emphasis in Sound Art from Aarhus University, Denmark (2007-2009). Since studying at film-school, he has been involved with practice in sound-based art primarily as response to the visual supremacy over predominantly artificial construction of soundtrack in Cinema; consequently, his search for an autonomous audio-vision develops into a body of work that includes sound-based new media artworks processed in dialectical opposition to cinematic sound. In his approach to new media art, he explores the potential convergence between sound and visual image as subversion to cinematic space by spatial reproduction of audiovisual artifacts, whereby use of moving image intends to accentuate listening. His works have been exhibited at a number of international venues and pe rformed widely. In 2007, he has collaborated with alumni of Rijksakademie to produce an archive of urban audio imageries for a series of curated shows; being a SARAI fellow in 2006, he has worked on a sound art project presenting the outcome at CSDS, New Delhi. Between 2009-2010, he has received a generous grant from Prince Claus Fund to collect audiovisual materials for producing a large-scale sound and video installation. He is recipient of the prestigious Arts Scholarship in 2011 from Charles Wallace India Trust London, which enables him to attend an Artist Residency at the School of Music, Bangor University, North Wales. He has been short-listed in the PRIX Phonurgia Nova 2010, and awarded with an Honorary Mention in the Digital Music/Sound Art category of PRIX Ars Electronica 2011. Currently he is engaged with a practice-based PhD project researching on the inter-relationship and cross-influences between cinema and sound art.

‘Eye Contact with the City’ was originally conceived for a sound installation with video projection, produced during Bengaluru Artist Residency 2010, supported by India Foundation for the Arts. The piece is an investigation in slowness in the context of the urban environment of Bangalore, and based on gathered audiovisual experiences in the three months of residency. These experiences are largely dominated by imagery of growth in the city while auditory perception is intruded by constant sound events from urban infrastructural development within an anticipation of indolence quite typical of Bangalore. Slowness is an attitude that involves a keen sense of time and history; found sounds that have been retrieved from the collected used-tapes at flea market and from personal archives, provide with an insight into the auditory memory of the city and samples of sonic layer for the work; the close slow-motion video projected within the installation space has been a methodology to accentuate listening by means of audiovisual augmentation and media convergence. The work has received an Honorary Mention in the Digital Music/Sound Art category of PRIX Ars Electronica 2011 and has been released with Touch Music as an .m4v video for iPhone/iPod/iPad. For Deutschlandradio Kultur, Chattopadhyay has created a radiophonic version of the piece. Bernard Clarke: the he and the she of it Bernard Clarke is an award winning broadcaster with RTÉ lyric fm. His new music programme Nova has won three consecutive PPI and one New York Festivals’ awards; he’s also won prizes for documentaries on Patrick Kavanagh, Glenn Gould and Jimi Hendrix. He has been shortlisted for the Prix Italia (2008) and commended by Prix Europa (2011). Recent work includes a concert as narrator/reader with the Quiet Music Ensemble of John Cage’s Themes And Variations in the Child of Tree Cage celebrations in Cork; guest curation of the monthly Kaleidoscope concert series in Dublin; Djing the first Deutsche Grammophon Yellow Lounge gig in Ireland; curating the listening posts for the Wired Art For Ears and Retinas festival; and representing RTÉ and Irish composers at the International Rostrums for Composers in Lisbon, Dublin and Vienna The he and the she of it is a short piece is loosely based on Kenneth Patchen’s script for John Cage’s ‘The City Wears A Slouch Hat’, drawing out themes, ideas and sonorities and updating them to Dublin in the 21st century. In the Patchen/Cage original a ‘Voice’ wanders an American city observing and participating in various nocturnal events. Here, the action happens in the daytime and excerpts from Cage’s ‘diary: how to improve the world (you’ll only end up making it worse)’ act as the ‘Voice’; a little later this Voice is then spoken by a woman (American composer Susan Stenger). In the end, we move into the night and a dream radio/radio Tiresais. I made various field recordings in Dublin, interviewed people, and dug into the RTÉ Radio Archives. Laurent Estoppey & Anne Gillot : Chicago: The Voice (piece for six instruments and tape) After studying saxophone at the Lausanne Conservatory, where he obtained, in 1994, a concert licentiate, Laurent Estoppey has been dedicated entirely to the music of today. A number of collaborations with eminent composers has created a body of seventy works. Actually his musical activity is divided between written and improvised music ; he has done these not only throughout Switzerland, but also in Canada, Argentina, Guatemala, Romania, Hungary, Austria, England, Italy, and Sweden. His improvisational concerts are opportunities to encounter [musical] riches with musicians of broad horizons. His discography includes 12 recordings to date. His interest in all the contemporary arts have led him to collaborate with a number of artists, among whom are Georges Haldas (literature), Olivier Saudan (painting and video), Francis Baudevin, Stephan Perrinjaquet (plastic arts), Heidi Bunting, Christine Cruchon (dance), and Gil Pidoux (literature and theatre). Also a pedag ogue, he teaches saxophone at the Conservatoire Neuchâtelois, [and is regularly] invited to enliven improvisational workshops designed for musicians of all levels throughout Switzerland. website: http://www.musicians.ch/laurentestoppey/

Anne Gillot is working in the field of contemporary music and improvisation. She was born in Lausanne in 1972. She studied in the Conservatories of Lausanne and Bienne (Switzerland) as well studying recorder in Amsterdam with Wlater van Hauwe and bass clarinet with Harris Spaarnay . In 1998 she co-founded the ensemble « Boulouris5 ». Since 2000 she has been playing with the saxophonist Laurent Estoppey, performing written and improvised music in unconventional spaces (museums, prisons, appartments etc…). Anne also plays the squared double bass recorder named « Paetzold » exploring different qualities of sound through contact microphones. In the field of improvisation, she works with musicians: Urs Leimgruber, Jacques Demierre, Hans Koch, Ensemble Rue du Nord, Laurent Estoppey, Jonas Kocher, Batricia Bosshart, Abril Padilla. Since 2008 she collaborates with the stage manager Dorian Rossel, writing and playing the music for his plays (Quartier lointain, Tanigu chi 2008-L’usage du monde, Bouvier 2010). She collaborates regularly with many composers: Tom Johnson, Jon gibson, Jacques Demierre, Dragos Tara, Benoît Moreau, Arturo Corales, John Menoud … Since 2003 she is working for the Swiss radio RSR – cultural channel « Espace 2 ». She presents and produces the programm called « Musique d’avenir » (Sunday 8pm till 10.30). www.espace2.ch. She manages the contemporary music department which collaborates with different Swiss festivals: Festival Archipel – Genève, Festival Les Amplitudes – La Chaux de fonds, Festival Rue du Nord – Lausanne, Festival Ohrwurm – Lausanne. She is also member of the jury for the Luc Ferrari Prize (La Muse en Circuit – Paris). Anne Gillot’s website : http://annegillot.blogspot.com/2008/11/la-fltiste-bec-et-clarinetttiste-anne.html

Ensemble BABEL: http://www.babelensemble.ch/babel-musiciens.htm Laurent Estoppey, saxophone Anne Gillot, bass clarinet Noëlle Reymond, double bass Antonio Albanese, guitar Olivier Cuendet, keyboards website: http://www.cuendet.info/ Luc Müller, drums

THE VOICE : I am coming into your house with my hand outstretched. I am your friend. Do not be afraid of me Being freely inspired by the work of Patchen &Cage, Anne Gillot and Laurent Estoppey made a montage with different extracts of american sitcoms’s dialogues mixed with fieldrecordings of different public places of Lausanne (Switzerland). So « The voice » is traveling in its town. Then they gave this piece to the six musicians of Babel Ensemble who had to record a solo improvisation inspired by the piece, with the same timing. Anne Gillot and Laurent Estoppey made a final mix with all these versions, respecting the linearity of the solos, playing with the « accidental sound-meetings »

Playlist CS 10-06-2012

1 Titel  : Chigaco, the voice, piece for six instruments and tape Componist : Laurent Estoppey & Anne Gilot Uitvoerenden : ensemble Babel Tijdsduur : 7’26” Titel CD : nvt (eigen opn Radio Suisse Romande) Label / Nr. : nvt / nvt

2 Titel  : frg Eye contact with the city Componist : Budhaditya Chattppadhyay Uitvoerenden : Budhaditya Chattppadhyay Tijdsduur : 4’02” Titel CD : nvt (eigen opn Deutschlandradio Kultur) Label / Nr. : nvt / nvt

3 Titel  : Will you miss the planes when they are gone Componist : Peter Cusack Uitvoerenden : Peter Cusack Tijdsduur : 9’44” Titel CD : nvt (eigen opn Deutschlandradio Kultur ) Label / Nr. : nvt / nvt

4 Titel  : frg Kitsch in the title – on the technology of self criticism Componist : Chris Mann Uitvoerenden : Chris Mann Tijdsduur : 7’31” Titel CD : nvt (eigen opn Oostenrijkse omroep) Label / Nr. : nvt / nvt

5 Titel  : The He and the She of it Componist : Bernard Clarke Uitvoerenden : Bernard Clarke Tijdsduur : 16’24” Titel CD : nvt (eigen opn Radio Televisie Ierland ) Label / Nr. : nvt / nvt

6 Titel  : Streetfight (uit The City that wears a slouch hat) Componist : John Cage Uitvoerenden : Sound Orchestra o.l.v. Charles Wood Tijdsduur : 1’42” Titel CD : The Lost Works Label / Nr. : Moderecords / mode 55 7 Titel  : Up in the sky(uit The City that wears a slouch hat) Componist : John Cage Uitvoerenden : Sound Orchestra o.l.v. Charles Wood Tijdsduur : 4’42” Titel CD : The Lost Works Label / Nr. : Moderecords / mode 55