Ars Acustica Group
In 2007 the Ars Acustica group is joining the international Art's Birthday Parties for the third time. Most of their contributions take 100 years of radio as a point of reference and will be broadcast within the framework of this year's EBU Ars Acustica Special Evening. Radio's 100th anniversary goes back to the first wireless transmission of sound and voice by Reginald Aubrey Fessenden on Christmas Eve 1906. This transmission was the starting point from which "Fessenden went on to develop the theory and practice of continuous wave transmission that we use today for AM and FM radio broadcasts." (Peter Courtemanche)
For this international event, the Ars Acustica Group has designed a way to organize the contents which are contributed as sound "presents". Via ISDN-lines or the Internet the contributions are collected at two main points, in Vienna (ORF) and Stockholm (SR), where they are sent to the two EBU satellite channels Ravel (R) and Verdi (V). Both satellite channels (R and V) offer “ready-to-broadcast” materials along with signature-tunes and broadcast-identifications.
All times in GMT - to find out your time (http://www.timezoneconverter.com
Schedule Channel VERDI
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|19:05 – 19:15 Live from Stockholm (SR)||www.sr.se/p2/artsbirthday|
|19:15 – 19:45 Live from Madrid (RNE)|| |
|19:45 – 20:15 Live from Florence (RAI)|| |
|20:15 – 20:45 Live from Dortmund (WDR)|| |
|20:45 – 21:15 Live from Helsinki (YLE)|| |
|21:15 – 21:45 Live from Brussels (RTBF)|| |
|21:45 – 22.15 Live from Paris (Radio France)|| |
|22:15 – 22:30 Live from Moscow (Radio Russia)||www.radiorus.ru|
22:30 – 22:55 Live from Stockholm (SR)
Art's Birthday Party - Live from Stockholm ( SR - Swedish Radio)
22:30 – 22:50: Swedish sound-artist Mikael Stavöstrand
22:50 – 22:55: Swedish composer Anders Blomqvist’s
remix of whole EBU Art’s Birthday 2007.
Stavöstrand, the founder of the record-label Mitek, has been featured as a key figure of the Swedish electronic music scene for his unique interpretations of club techno as well as for producing some of the most essential experimental electronic music of the past year. Over the past years has he performed in North America, Europe and Japan.
Born in Falun on 8th January 1956. He grew up in Uppsala, where he also began “playing rock music at the time when the Music Movement began and in the fruitful climate which this implied. At the beginning of the seventies people began using synthesizers for rock and this, of course, was exciting for me as a pianist, because it opened up a new world of sound.“
A group project on 20th century music during the senior grades of compulsory school first brought him into contact with the Electronic Music Studio (EMS) in Stockholm - a “minor revolution and a natural continuation from Hendrix and Zappa“. There followed studies at EMS and the Stockholm College of Music, as well as music and film studies at the Universities of Stockholm and Gothenburg. In addition, he has collaborated closely with the concert organization Fylkingen.
Ever since Bertrand R. was played at Young Nordic Composers Festival in Copenhagen in 1981, Anders Blomqvist’s electronic compositions have ranked among the most interesting to have come out of Sweden, and he has also harvested international successes, not least at Bourges. Like so many other composers of electro-acoustic music, he has also taken an interest in picture shows, and his fateful Jaguar Revisited (1984) has been repeatedly performed at various festivals and on television. For the 1985 Skinnskatteberg Electronic Music Festival he created an effective Fireworks Music together with pyrotechnician Pär Hultgren.
His more recent tape pieces include Carpe Diem, an intensive, brutal critique of the times. In Lag (1986) he uses both concrete and synthetic material, the latter having a depictive, indeed imitative function, while the function of the concrete sound is more abstract. One of the biggest electronic music ventures in Sweden was the music for the MUSIK art exhibition at the Norrköping Museum of Art in September 1982. Each of the five exhibition rooms was given its own, tailor-made music, partly in the form of a continuous background sound and also in the form of half-hour compositions of more elaborately worked-out material, played through at least six loudspeakers in every room, all day for a week. This comprehensive work was undertaken together with composer William Brunson, and one of the many ingredients used in the composition consisted of the names of the two authors, spelt using the system devised by Hervin, the artist whose work was on show.
Together with Åke Parmerud, for the 1987 Skinnskatteberg Festival, he created Termik for two synthesizer players, interspersing improvisations with episodes of strict notation.
Schedule Channel RAVEL