Ars Acustica Group(http://www.ebu.ch/en/radio/euroradio_classics/arsacustica/artsbirthday.php)
In 2009 the Ars Acustica (AA) group is joining the international Art's Birthday Parties already for the 5th time. This year the Ars Acustica is celebrating Art’s Birthday on January 16th - the evening before the birthday. Radio artists are involved by the members of the group to focus on the saying “Safe and Sound”. In a rapidly changing and increasingly unforeseeable world, safety has become a major concern on many levels of public and private life. The double meaning of the word sound as acoustic phenomenon and as synonym for good health points to the role of the aural sense and the voice as crucial devices of human self-perception.
The Ars Acustica Group has joined the international Art’s Birthday parties in 2004. Since then it organizes the contributed contents like most of the participants of the Art’s Birthday Network (http://artsbirthday.net) do - as "presents" for ART. Via ISDN-lines and/or the Internet the contributions are collected at two 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. Both channels can also be further mixed or remixed with other live-material.
All times in GMT - to find out your time (http://www.timezoneconverter.com)
Schedule Channel RAVEL
Schedule Channel VERDI
19:05 – 19:10 - SR - Live from Stockholm (Sweden)
George Kentros: Violin, Mattias Peterson: Electronics
Performance of one movement „Spring 3“ from their work „There are no more four seasons” (1725/2004)for violin and electronics
”There are no more four seasons” is a re-composition of a series of older pieces by Vivaldi in an attempt to create a work with an organic place in the music of our times.
There is perhaps no other piece that has become such a lingua franca, at least within the Western art music world, as Vivaldi’s Four Seasons. In fact, we suspect that the work is so overexposed that it is almost impossible for a modern audience to separate their experience of the work from a tradition of what the work is supposed to mean and their constant association with the piece from films, elevators, and light radio. This unique place in the general consciousness allows for great freedom in adapting the work, to the point where our piece no longer can be called an arrangement, but could rather be termed a re-composition, using the Vivaldi work as a “found object.” This process of re-composition took place in two major steps: first, the original score was sampled in its entirety, with one violin recording all the parts; the composer then used this as his basic sound material for the creation of a tape part. After the tape part was completed, the violinist adapted his playing and the solo violin part to mesh with the new electronic pieces. The violinist creates his part from his memory of what the work sounds like.
We took one more major psychological step by changing the original order of the movements so as to strengthen the idea that in our modern times, the four seasons are dependent on travel, memory, the environment, and media to a far greater extent than they were in, for example, 1725. The movements are now performed in the following order:
Season 1: Spring 1—Summer 2—Autumn 3
Performed live, the piece has two performers and uses an amplified violin, sampler, laptop computer, Max patches, and a Kaoss Pad. “There are no more four seasons” was premiered at the Modern Museum of Art in Stockholm on December 11, 2004, as part of the EMS 40th anniversary festival.
The composer Mattias Petersson was born in 1972 on an island off the southeast coast of Sweden. His musical career began with piano studies but nowadays he works as a composer and plays electronic instruments. He graduated with diploma from the composition class of the Royal Academy of Music in Stockholm in 2006, and is now a teacher of composition there. He works mostly within the realm of experimental electronic music and sound art, but he has also been involved in more pop-like projects as an arranger, composer, producer and musician.
The violinist George Kentros was born in 1964 and now lives in Sweden. His violin studies took place at Yale University and the Mannes School in the US as well as the Royal Academy of Music in Stockholm. He has performed as a chamber musician, soloist, and sometime actor across Europe as well as in the US, Latin America, and Japan, primarily as a member of the new music ensemble “the peärls before swïne experience,” who performed at the ISCM festival in Luxembourg in 2000 and with whom he has commissioned more than 90 works from 18 countries. The Swedish newspaper Expressen named him one of their 24 “Cultural Idols” for 2004.
|19:10 – 19:30 - YLE - Live from Helsinki (Finland)|
|19:30 – 19:50 - YLE - Live from Helsinki (Finland)|
|19:50 – 20:10 - ERR - Live from Tallinn (Estonia)||Website|
|20:10 – 20:30 - GRF/SRF - Live from Paris (France)|
|20:30 – 20:50 - PRT/PR- Live from Warsaw (Poland)|
|20:50 – 21:10 - CR - Live from Prague (Czech Republic)|
|21:10 – 21:30 - DKU - Live from Berlin (Germany)||Website|
|21:30 – 21:50 - RSR - Live from Lausanne (Switzerland)|
|21:50 – 22:10 - SWR - Live from Baden-Baden (Germany)|
|22:10 – 22:30 - RTBF - Live from Brussels (Belgium)|
|22:30 – 22:55 - SR - Live from Stockholm (Sweden)|