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new to stock as of
october 13th, 2006
threads:
1970s-electronic
electro-acoustic-composition
sound-poetry
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| | | creel pone (austria) #creelp smi cd max keller / martin schwarzenlander “sozialistische musiker initiative • smi” compact disc recordable - max keller “sicher sein...” (1976) 23.25
- martin schwarzenlander “erst wolt ihr den petersbrunnhof dann hellbrunn und schliesslich gar schloss mirabell.” (1976) 11.46
- martin schwarzenlander “unter dem pflasterstein ( noch immer ) liegt der strand.” (1977) 12.24
| creel pone here resuming the regular one-a-week schedule for the next few weeks/months... starting off with easily the noisiest creel pone since pierre henry’s “mise en musique” (possibly even moreso!) - a split lp of socialist text-sound & musique concrète by composers max keller and martin schwarzenlander.
the a-side piece, keller’s “sicher sein...” interjects continuous, ululated german/austrian texts with jabs of random, synthesized noise, sample-and-hold bleeping, and piercing high-drones. but the real score here is on the b-side c/o schwarzenlander’s two pieces; “erst wolt ihr den petersbrunnhof dann hellbrunn und schliesslich gar schloss mirabell.” is a woozy plunderphonic piece rife with atonal synth, wafting along until around the 8-minute mark, when some rather nasty speaker-clip sounds rise and take over. “unter dem pflasterstein ( noch immer ) liegt der strand.” hits us pretty much straight away with a minute-long rise into sheer volume, followed shortly thereafter by a dense bit of harsh tape cut-ups and continues on-track until the piece’s climax.
politics aside - this is just incredibly impressive music; its date-of-inception causing many a double-take around these parts. fans of the logothetis creel pone; take note. |
| | creel pone press release... |
| this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a black / silver foil stamp affixed to the exterior
1 x single-sided six-color inkjet-printed hand-cut glossy-photo-stock booklet
1 x four-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve
...
max e. keller
"sicher sein ..."
for speaker and tape (1976)
realized in own studio and in the studio of the basel music academy.
duration: 23.25
speaker: marianne burg
the piece arises from the contradiction between the ideology and reality of capitalism, from the contradiction between what the people are promised and what they actually receive. the advertising-slogan of the swiss bank-union: "sicher sein, bankverein" can stand as an example if taken against the grain:" the bank-union can be sure that it will be able to increase its profits even in a crisis, in the same way as the workers can be certain that their jobs are not so secure. in fact, the bankunion, which is cited here only as an example, was able to increase its profits in 1975 around 14.9 %, while in switzerland in the same year between 160.000 - 200.000 workers lost their jobs. (in 1975, switzerland had the greatest drop in "employment in industrialized countries, but was able to "export" a good share of its unemployed, i. e. the foreign workers.)
the aim of the composition is to represent in music the monotonous, tormenting, lifeless, unchanging economic process, the victims of which are the people, and thereby to enable the listener to experience this process. the serene and colourful surface of economy, its false sheen, which the people as consumers are presentedwith, appears on the other hand as mutilated advertising, which in the context contains a further true meaning, which was not intended by advertisements. the basis of the musical composition forms a time-structure, which functions by the use of extremely differing lengths of time. the shortest duration amounts to 1/38 sec., the longest 178 sec. between these extremes 17 values were inserted, which were derived from a mathematical progression. the piece is arranged into 5 parts, which differ according to the choice and arrangement of the length of time. this very strict rhythmical arrangement forms the framework, which is composed of 10 different elements; for example, through the above-cited advertising-slogan, the profit-announcement, hightones, lowtones, point-structure, church-bells, etc. they are varied through the 5 parts, and either placed side by side or placed on top of one another. this is done through a strict, complicated regulation, so that the, music should operate like a mechanism, which ‘spits out' inexorably at one time this element, then that; once in this length, then that; just as the economic process throws once here, once there, once 20 workers and once 300 workers onto the street.
finally, the documentary reports concerning dismissats, which the speaker devotes herself to reading, form the longest-running layer of the composition. this monotonous text is the musical and contextual 'cantus firmus' of the piece, in which the truth about the society (which the music tries to express emotionally) is also spoken.
martin schwarzenlander
"first you want petersbrunnhof, then hellbrun and finally even mirabell-palace." (1976)
realized in the "institute for psycho-acoustic and electronic music" in gent.
duration 11.46
the leisure situation of the population of the festival-town of salzburg, and especially that of the young people, stands in crude contrast to the bustle of the festival. in ,july 1976, young workers, apprentices, schoolpupils and, students occupied the petersbrunnhof, which, is an old, empty farmhouse near the old part of salzburg, and which had been leased by the regional-government for the establishment of a local culture-centre. however, since there was once again no place in the government's scheme for the requirements of the young people, the took the promises of the politicans and the press at face value: "petersbrunnhof has been found immediately suitable for such a meetling-place, where the culture or all folk-groups can be made accessible, and which will have the requirements for games, communication and creative activity." (salzburgernachrichten, 17.7.76) they demanded an open house with self-management. after some deliberation, the regional-government reacted to the demands of the young people with a brutal police-insertlon. in order to remove immediately, from as many young people as possible, all motivation to stand actively in defense of their own interests, criminal procedures were started against 72 "occupants".
used texts and quotations:
imagine them coming home and i am lying in their bed.
(kron,cultural-officer)
the charges laid against you, on the 28.7.1866 a) b) at 11.20 pm and c) at 11.05 pm in salzburg, petersbrunnhof; a) disturbing the peace of a public-place in an angry and provocative manner with loud and vigorous shouts of protest and passive resistance during the evacuation of the hall (meeting-place); b) notwithstanding previous warnings, not to have stood against a body of authority while it was engaged in the lawful exercise of its post and duty, and to have left the hall in an impetuous manner; c) not to have immediately left the hall after the dispersion of the unlawful meeting.
(summon's charges)
when i think of salzburg, then i must think of festivals, of mozart and of karajan.
(european culture-enthusiast)
but the people of salzburg perceive the festival-period in completely different terms - in massive price-increases, in street-closures end aleo in very severe police-fines during the festival-time.
(a selzburger)
the image of culture, in which everyone is allowed to participate and in which everyone is really interested may be a utopia in the face of the economic and social realities of the salzburg festival... but where would we be in the development of a democracy without the dynamic of democratic utopia
(moritz in "kultur und sozialwesen")
in the name of the father, the son, end the holy ghost, amen.
(.........)
we want, we want an open house yes that is certain, we won't give up, we want an open house we stand for self-management our house should be for everyone and for this we stand.
(song of the spontaneous occupants of petersbrunnhof during the resultant police insertion.)
imagine them coming home and i am lying in their bed, what would they say to that.
(krön, cultural-officer)
i won't allow the house to be occupied.
(regional-premier hans lechnor)
first you want petersbrunnhof, then hellbrunn and finally even mirabell palace.
(regional-premier hans lechner)
make the dream a reality and the reality a nightmare.
( a "sponti")
the complete abolishment of the domination of people over other people is necessary.
(h.w. henze)
what is necessary is the creation of the greatest work of art of mankind -- world-revolution.
(h.w.henze)
one must make the real pressure even more oppressive, and thereby add to the consciousness of the pressure.
( karl marx )
for this reason man must force these petrified relations to dance, by playing to them their own melody -- the melody of violence.
( karl marx)
martin schwarzenlander
"under the pavement (still) lies the shore" '(1977)
realized in the "institute for psycho-acoustic and electronic music" in gent
duration:12.24
it is not the task of the general-secretary of the communist party to permit or to forbid the president, of the french~republik to govern.
(valery giscard d'estbing)
amen
(........)
the diet of the district of steinburg, as the appropriate district 'law and order' authority, has forbidden the demonstration on the construction-site of the nuclear energy plant in brokdorf intended for the 19. februbry 1977, because it will be used by communist and terrorist groups to incite a great act of violence against the police.
(radio west-germany,16.2.77)
whoever goes to this place as a participant or as a spectator must expect to come to harm through the violent activity of the militant groups.
(radio west-germany,16.2.77)
police with atypical police weapons, like mashine-guns and handgranades.
(radio west-germany, 18.2.77)
politics of the so called 'organized security'.
(radio west-germany,i5.2.77)
do you want total war !
(göbbels)
to leave east germany end enter west germany.
(radio west-germany)
demonstration announced, and a trip made into east germany.
(radio east-germany)
10 guerilla-fighters have been killed in the last 2 days.
(radio belgium)
no one came to harm.
(radio wast-germany)
torture of irish prisoners by british troups in ulster.
(radio west-germany)
then, dear friends, human-rights are a question of class.
(radio east-germany)
,..spains santiago carillo, france's georges marchais and italy's enrico berlinguer.
(radio france)
the enemies of socialism should have the same rights as those people who establish it.
(radio east-germany)
...text of the constitution.
(valery giscbrd d'estaing)
the state alone has the right of violence.
(radio west-germany, 18.2.77)
despair and pessimism in the population had grown to such an extent that it had to be dealt with without delay.
(radio west-germany)
mustang gets out more stains than you can believe with 60 degree, but then mustang has the special dirt-dissolving agent of hot-washing powders; mustang has more inside, gets more out.
(henkel-advertisement)
one asks oneself everyday: does it please me or not, therefore it is the duty of all beautiful women to look at themselves in the mirror.
(operette)
the police trade-union in the "deutscher bebmtenbund" has demanded that a ban be put on the west-german communist league, the kpd/ml, and on other communist organisations.
(radio west-germany, 21.3.77)
the opinion of the kpi about the nato has also changed.
(radio west-germany)
it's sad it has to be said, but i don't think we can win without the red flags. but they have to be destroyed -- afterwards.
(jean genet,paris,may 68)
however, neither the bourgeoisie nor its watch-dogs, amidst the working-class, the trade-unions, the left- and extreme-left parties, will be successful in preventing the international proletariat from violently destructing capitalism on a world-wide scale, nor from~building the communist society:
the emancipation of the workers can only be achieved by the workers themselves. |
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