Sunday, 5. September 2010, 23:03 - 23:45, Ö1



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Video: Klaus Taschler

"la petite mort des sons" – live von der Ars Electronica 2010

by Rupert Huber with Franz Hautzinger, AGF, Sam Auinger and Marold Langer-Philippsen


For this year’s Ars Electronica festival in Linz, musician and radio artist Rupert Huber has developed a site-specific sound environment, which will be translated into an on-air on-line project to mark the closing of the Ars Electronica’s concert night: “le petite mort des sons” translates as “the beautiful death of sounds”.

Huber uses the extraordinary acoustic quality of a former storage hall, now empty, for his exploration of the phenomenon of reverberation. Live sounds from inaccessible parts of the factory, such as the chimney or a water pool in the basement, are mixed with recordings from the previous festival days of concerts by AGF and Sam Auinger. And live instrumental and electronic inputs com from Franz Hautzinger on the trumpet, Marold Langer-Philippsen on the computer, and Rupert Huber on the piano.

Rupert Huber:
“Reverb is one of the most used sound effects in recording, mixing and playing back sounds and music. Since there is no real acoustic space in the iPod, CD-player or radio, electronic reverberation is to be heard on nearly any of the music or sounds to create the impression of a real room the sound is in.

The Hochregallager, a former storage space of the old tobacco factory in Linz, has the unique quality of a natural (architectural), long reverb of up to twelve seconds. Except for big churches, there is hardly a built space with such a quality to be found.

The Hochregallager’s extraordinary reverb in the old tobacco factory in Linz draws attention to the fade of sound, the perishing of it. Just like the protagonists in Stockhausen’s “Gesang der Jünglinge im Feuerofen” praise God by singing, while they are burning, Rupert Huber’s composition is designated to highlight the fading away of sounds.

Live water drops from the basement, the sounds of the chimney being transmitted into the reverb room, recordings of the concert sounds of the previous days, piano and electronic trumpet are acoustic incentives to trigger the their own perishing.

The passage from life to death, the moment of fading out, the last breeze of reality ist he moment, that the radio composition „la petite mort des sons“ describes spatially and for radio.“