Donnerstag, 26. März 2015

TV ident of the month: TSW opening show 1982



First cell division then human ident then beer tent.
Expert discussion on techniques used in the comments.


Samstag, 21. Februar 2015

Sylvia Moore and Bernard Broere










The unlikely encounter of a Northumberland folk song and an African thumb piano.

"Musical expressions of body, soul; earth, spirit world; love, death."

Image and recording from the 1978 re-issue (as "Windows of the World") of the 1970 album Jungle Magic by the musician/music ethnologist couple.


Freitag, 6. Februar 2015

Mix: l'arbre qui pleure


























A novemberish mix for your february listening pleasures in frosty leafless forests.
Download here or listen on Mixcloud.
Cover star: Mariza Koch



1. Franco Potenza - Keola
2. Georges Auric - O Willow Waly
3. G. Ferroni - Altri Tempi
4. Savia Andina - Incallacta
5. Roberto Lanieri - Two Views of the Amazon
6. Mariza Koch - Δώδεκα Μήνες Στο Στρατό
7. Gerhard Trede - Montage No. 22
8. Ahmed Malek - Silence des Cendres
9. Walter Lietha - Märli
10. Bernard Szajner - Superficial Music 3
11. The Poppy Family - You Took My Moonlight
12. E. Allen, F.Reidy - Bygones
13. Marie Laforet - l'arbre qui pleure
14. Jean-Pierre Mirouz - Tandoori Dance


Freitag, 16. Januar 2015

TV ident of the month: Doordarshan

























An ident from the Indian public service broadcaster Doordarshan.
Previous TV idents on Dispokino.


Dienstag, 23. Dezember 2014

Expo 64: Rolf Liebermann - Les Echanges





Rolf Liebermann composed this piece for the Swiss Expo (National exhibition) 1964. It was displayed as an installation in the pavillion for banking, trade, insurance, office-organisation etc. They wanted to "make the offices talk for themselves", as an "orchestra conducted by an electronic control unit". It included 16 typewriters, 18 calculator machines, 10 cash registers, 12 punching card machines, 8 telexes, 16 telephones, 1 fork lift and many other machines that were new at the time and are now obsolete.
It was Liebermann's only electronic (or mechanic) composition. He worked for months with engineers. Dr. Fritz von Ballmoos engineered the control units, Hansjörg Pauli translated Liebermann's score into computer language, Hans Harder was the sound engineer.
It was also released on 7" (cover see above), including a jazz version on the b side, played by Daniel Humair (dr), Pierre Favre (dr) and George Gruntz (prepared piano).
The piece was also an important inspiration for the Swiss pioneer of electronic Jazz/Pop/Advertising music, Bruno Spoerri. He told me it was a motivation to seriously engage in electronic music.

This text is based on an old post of mine on the same subject from 2010. I found more material on Liebermann's sound installation that I'd like to share with you - my little holiday treat.

The images are from the magazine Werk, 9/1964 (except the first one).
The  first video below is an excerpt from a film about Expo 64, produced by Paillard. Watch the full movie here. The second video is an excerpt from an UFA-Wochenschau (weekly cinema newsreel) from Germany, found here on the German Federal Archive's homepage. The footage is from a concert premiere made before Expo 64, but it contains a memorable quote from Liebermann: "About the musical value, he says: It has a musical form and through that it became a piece of music. Form, rhythm and color are there, but what's missing to become music is melody and harmony. So we cannot really call it music, but only a formed piece made from machines."
Do not miss this other video about Les Echanges from Swiss TV, with great footage and a sweet anecdote from the composer: "When the federal council [Swiss heads of state] came to visit, nothing worked. We found the reason: rats from the nearby lake shore had nibbled on the isolation of the cables causing all sorts of short circuits." Problems Liebermann didn't have at his day job as the artistic director of the Hamburg State Opera...

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Montag, 15. Dezember 2014

General Electric postcards from Expo 70





I'm still in Expo mood (waiting for the Expo issue of the Modernist Magazine) and today, I stumbled upon these postcards from Expo 70 in Osaka I found years ago in Tokio. Taking a closer look today, it's strange to look at this celebration of atomic energy post-Fukushima. And indeed, the Tsuruga nuclear power plant depicted here, opened in the year of the Expo, had it's first accident only 4 years later, and it wasn't the last.

On a lighter note, here's the Expo 70 contribution of Bruno Spoerri's Metronome Quintet (reissued by Sonorama):