Outstanding Event Ars Acustica Info

Informação detalhada sobre as peças apresentadas no Dois ao Quadrado: 


Composer: Aleksandar Protić  
Nightmare of a Tree / 08'51

Editor: Predrag D. Stamenković
Author: Aleksandar Protić
Director: Aleksandar Protić
Composer: Aleksandar Protić
Sound engineer: Aleksandar Protić
Production: Author's Studio 
Public Broadcasting Service of Serbia
Radio Belgrade
Drama Department

About the composition
Radiophonic play “Nightmare of a Tree” begins with a rain-shower in the forest and ends with creasing of a sheet of paper, just come of a printer, It is clear that the idea of the entire work is the conflict of nature with a man, but as a difference from various
“ecological pathetic” messages which we can find in plays having similar subjekt matters, the “Nightnare of a Tree” approaches this subject with a sort of an ironical distance. It is just that distance, which is achieved by means od rhythmical repeating of certain scenes, so that the same begin to look like the rhythm of modern music, providing to the already simplified contents of this radio olay some other, and if you want, some more interesting meaning. In this radiophonic play, none of the sounds had their original sound changed, i.e. its original resonance, i.e. their original tone pitch or timbre. All stylisation has been exclusively achieved by means different rhythmical changes
“ … For Mr. Protić, Radiophony is a sort of a “movie without picture”, during which listener of the “Nightmare of a Tree” makes the picture by himself” daily newspaper Plitika of Jan. 24, 2002.  
 
Aleksandar Protić was born in Pancevo in 1978. After his Elementary and Second School (Mathematical Secondary School) he spent two years at the Musical Studio of Radio Belgrade (Studio 13), as assistant Sound engineer. Thereafter, he continues his education at the Faculty od Dramatic Art in Belgrade, Department for sound recording and design. He worked as the sound editor at several short films and fetures, many of which were signaled out so at domestic as at various international film festivals. As a sound engineer, he also worked at several drama works. «Nightnare of a Tree» is his first author's radiophone work, awarded in PRIX ITALIA Festival in 2002.

Predrag D. Stamenković, MA, a composer a conducter, since 2005 is a chief editor of the Drama Program of Radio Belgrade.
Since 2000 he is an editor of the radio serial “Workshop of sound”. He used to be a musical editor of the Program 202 of the Radio Belgrade. His solo, chamber, choral and orchestral compositions have been performed in Serbia and abroad. Predrag is also a vocal and instrumental solo performer of the music group “Musica Antiqua”, which is specialized for Middle Age and Renaissance music. Together with the group he performed on more then a hundred concerts all over Serbia and Europe. Many of theseconcerts have been recorded either for radio or TV. He has also taken part inrealization more then 500 radio dramas, someof them have won on prestigious world festivals. The artistic programs he had created represented Radio Belgrad on famous international contestws of radio and TV programs. He has won many prizes in Serbia and abroad. Predrag is a Art director of the annual Festival of spiritual music “Chorus among frescos” in Belgrade. As a conductor of women’s chorus from Šid, he won prizes in 2005 and 2006 on the contest of chorus in Bosnia and Herzegovina.

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Composer: Arsenije Jovanovic (* 1932)
Prayer for one Galiola    23.05 min.
Radio Belgrade Studio, 1967

Prayer for One Galiola (1967) found its origin in two of my own life experiences. First of all, there were the sailing expeditions through the Adriatic and parts of the Mediterranean in my various boats, which I always named “Galiola”. The name came to me while suffering engine damage in a small boat, in the middle of the night, on the North Adriatic, After roaring through the dark for hours, we reached a tiny uninhabited island - a rocky islet that held a lighthouse with no crew, The name, as I discovered later, was Galiola - but I never took Galiola as geographical concept. It was more of a mental notion, a dream, enduringly in metamorphosis...
A few years after that experience, on the eve of my premiere at The National Theatre of Bulgaria in Sofia, where I directed the Saroyan play The Time of our Lives, I had another accident. It was not at sea this time but on land - a terrible car crash. While in the hospital for several weeks, I had many dreams and very often experienced hallucinations of Galiola - but what Galiola? It was not that tiny reef in the middle of the sea. It was not my experience of the lighthouse, the seagulls, or me and my friend waiting in the night for some fishing boat to pass by and save us. The memory of our misfortune (was it a misfortune after all?) transformed itself in a very literary; phantasmagorical way, resulting in something independent from the reality. These hallucinations belonged to somebody not quite myself. I remembered the names of the islands, reefs and lighthouses - those I passed by many times over the years in my various sailboats named Galiola. After waking, I wrote down verses, which I later used in the composition.
When I composed the work, stereo broadcasting was not yet in use, so we composed it in mono. I feel happy about the piece today. Listening to this early work, I think of the enthusiasm with which Thomas Mann writes (in his masterpiece “Der Zauberberg” of 1924) about the “technical perfectness” of a gramophone record playing for the noble dying patients in a mountain hospital. ‘His Master’s Voice’ spinning out a sonata for sickly, dreaming patients. Its effect was greater than any high-tech stereo today, more vivid than any digital recording.
So here we are, back to Galiola again.
(Arsenije Jovanovic)

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Composer: Arsenije Jovanovic (* 1932)
Invasions / 13.50 min
Radio Belgrade Studio, 1978

Invasions has been recorded in a cave, hundreds of meters deep from the surface of the earth, in the region where the sparse villages have been abandonned by the most of its poor inhabitants much before the author’s country has been involved in the disastrous war. The author didn’t even think about the specific at the time when the piece has been at its beginning.
All "instruments" were a big number of all sorts of things I was looking for a couple of days, making choice in a big Belgrade junk place, like empty metal barrels for oil or for whatever ("tympanis", microphones we put inside of the barrels later), metal pieces of all sorts, high quality steel metal rings and other metal objects, a series of different bottles ("blow instruments") etc etc, we rent a lorry to bring all these stuff to Resava cave 100 km. from Belgrade... many of these objects we hang on several ropes placed in horizontal positions, some ropes were made from the elastic gum so the "instruments" were flying up and down, left and right, moving freely in the air touching each other occasionally and producing sounds, the performers can reach these objects hanging above their heads and arms, playing with wooden sticks or piece of metal or stone, we were playing on different size and shapes of bottles the way musician plays instrument like fleet and similar... all that happened 40 years ago in Resava cave where I made other composition, named "Resava cave" playing that time merely on stalactite and stalagmite, some later "Resava cave" Prix Italia and Premio Ondas ... I don't know are all these information usable or not since I have no idea how presentation of pink offer works but I find better to have more information than none, myself I believe that these specific and bizarre way how "Invasions" has been acoustically born matches very much ars acoustica, its history and its specific character...
(Arsenije Jovanovic)

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Composer: Eric Gaudibert (* 1936)
Composer: Bernard Faciola
Ecritures, spoken opera / 21.07 min.
Soloist:François Germont, actor

Recorded in October 1974
Le CRS de Radio Genève fut actif dans les années 60-70. Musiciens, gens de théâtre, écrivains, techniciens et réalisateurs y collaboraient et produisirent alors, avec les moyens de l'époque, des enregistrements remarquables.

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Composer: Åke Hodell (1919-2000)
Spirit of Ecstasy - A Racing Car Opera (1977)    24.25 min.
Classical radiophonic composition commissioned by Swedish Radio. Åke Hodell (April 30, 1919 - July 29, 2000, Stockholm, Sweden) was a Swedish fighter pilot, poet, author and a pioneer of Swedish electronic music and text-sound composition. His piece 'Spirit of Ecstasy - A Racing Car Opera'(1977) is the history of the 20th century told through the history of its cars.
Erik Mikael Karlsson - Producer- Swedish Radio Ltd

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Composer: Stefano Giannotti (* 1963)
Dialoghi, radio piece for voices, instruments, natural and electronic sounds / 56.53 min.        

01 - Dialogue between a male computer and a female computer
02 - A writer speaks with his paper
03 - Dialogue between shadows and lights
04 - A broken microphone chats with some pidgeons on the wing
05 - A conversation between waking and sleeping
06 - Waking and sleeping converse in reverse
07 - The male computer and the female computer go on talking in a distorted way
08 - The writer fights with his paper (dedicated to Alan Cherchessov)
09 - A doctor has a discussion with his sick patient
10 - An interesting argument between white and pink
11 - Ulysses meets the Sirens
12 - Inner dialogue
13 - The shepherd gives a lesson to his flock
14 - Dia-monologue (without interferences)
15 - Counterpoint for two voices (with a few interferences)
16 - Counterpoint for three voices (with some interferences)
17 - Fugue for four voices (with many interferences)
18 - Conversation between interferences
19 - Dialogue between the artist and society
20 - Dialogue between two generations
21 - A square spits in the eye of a triangle
22 - Ulysses meets Penelope
23 - Conversation between waves
24 - Conversation amongst frequencies
25 - Conversation between the 118 elements
26 - The 118 elements combine: the birth of chemistry
27 - A wet glass moves in a digital landscape (dedicated to Roberto Castello)
28 - Clouds observe the direction of winds
29 - Meditation between two angels (the male computer’s and female computer’s guardians)
30 - Chat between two lonely hearts
31 - The writer provokes opinion
32 - Discussion between white globules and red globules
33 - The doctor tries to cure the artist by using the broken microphone
34 - Duel between winged creatures
35 - The shepherd celebrates the marriage between waking and sleeping
36 - Dialogue between consciousness and its ghosts
37 - Choir of ghosts
38 - Jam session (or an interesting jam session between a cowboy, his heart, calves and goats, a parrot, a monkey and a sea lion)
39 - Dialogue between the West and the Far West (dedicated to Simon Jeffes)
40 - Skyscrapers dream together
41 - Old pots oscillate together
42 - The wet glass holds a heroic speech
43 - Battle among glass, leather and brass
44 - Choir of sick patients
45 - Dialogue between the East and the Middle East
46 - A Siren evokes the spirit of her ancestor
47 - The triangle and the square create the double entente
48 - Old pots grow up (dedicated to Maurice Ravel)
49 - The male computer and the female computer react
50 – The death of chemistry

Sound engineer: Manfred Seiler
Text, composition and realization: Stefano Giannotti
Production: Südwestrundfunk 2008
Dramaturgy: Frank Halbig and Hans Burkhard Schlichting

DIALOGHI is a series of speeches and acoustic conversations between elements, people, material and other. A sort of modular sound-metaphors monument organized like a clock, a perfect mechanism made of several 1 minute pieces (dialogues).
These series of pieces are sorts of surrealistic and abstract dialogues between noise, music instruments, different concepts and meanings; going deeply into this process we could say that what’s happening is a metaphysical discussion about nothing and everything, a conversation between acoustic images. Some of these images combine into a sort of evaluative process, showing a moral of the story; other constructions develop in a more hermetic direction, appearing thus as pure actions. In this way the Dialogue between White and Pink becomes a simple game between two sound-waves (white noise and pink noise), while the Dialogue between Artist and the Society shows a cock singing in a poultry-yard with its audience making ovations (all chickens and successively, all animals of the farm and then of the world): Ulysses (a bass tuba launching invocations) meets the sirens (police and ambulance) while some pigeons on the wing discuss with a broken microphone. The 118 elements introduce themselves, then combine and react giving birth to Chemistry; on the other side two, three, four melodic lines create classic counterpoints, fugue and double choir. The West dialogues with The Far West...
The whole series of dialogues alternates and combine bass tuba and percussion with natural and electronic sounds sampled instruments, assorted noise and voices; the final result is a sort of large hybrid orchestra trying to include in an utopian way all sounds of the world.

Performers for the entire concert:
Soloist: Sarah Palmer, voice
Soloist: Anthony Gibbs, voice
Soloist: Marco Fagioli, bass tuba, trumpet, water tubes
Soloist: Frank Thomé, vibraphone, marimba, glockenspiel, timpani,
tubular bells, drums, djembé, fog horn
Soloist: Stefano Giannotti, electric guitar, bass guitar, banjo, keyboards,
harmonica, recorders, sound objects, recordings and processing

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Composer: Jordi Rossinyol (* 1956)
Memoria (1989-1990) / 14.19 min.
Coproduced by RNE and CDMC (Centre for Diffusion of Contemporary Music)
Realized at CIEJ (Barcelona)

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Composer: Edith Alonso (* 1974)
Atardecer en un patio (2008) / 025.21 min.
Coproduced by RNE and CDMC (Centre for Diffusion of Contemporary Music)
Realized at CIEJ (Barcelona)

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Composer:Jukka Rudhomäki (* 1947)
Scratches (1996) / 10.28 min.

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Composer: Christine Webster (* 1962)
Desolatio / 11.05 min.

Christine Webster, Compositrice. , Monteuse son.
Journaliste pour KeyboardsRecording... French composer sound designer and writer

Christine Webster aka Wildo Hofmann est une compositrice française. Elle crée des « sound designs » pour le cinéma et le jeu vidéo. Elle dirige le groupe SonicEspaces qui “réalise des exécutions de musique immersive et diverses expérimentations d’art transverse”. Son premier album, un véritable bijou, s’appelle Wild Orion et, est paru en 2005. Dans cet entretien, elle nous parle de son nouvel album, Uchuu.
2- Liens:
http://s220730629.onlinehome.fr/logicielwordpress/archives/83
http://wildorion.blogspot.com
http://www.blogger.com/profile/00374216494391897559
http://s220730629.onlinehome.fr/logicielwordpress/archives/99

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Composer: Xavier Charles
Five Works / 17.18 min.

Filahib
Nufles
Paroles de Mammouth
Porte-toi bien
Klebs

Xavier Charles: Clarinettiste, il est à la fois complice de Jacques Di Donato et Frédéric Le Junter. Il multiplie les collaborations du noise à l'électro en passant par la poésie sonore : Martin Tetrault, The Ex, Pierre Berthet, Etage 34, Axel Dörner, Jérôme Jeanmart, John Butcher, Jean Pallandre, Marc Pichelin, Chris Cutler, Martine Altenburger, Camel Zékri, Emmanuelle Pellegrini, Michel Donéda, Frédéric Blondy ... Il travaille en relation avec différents groupes et collectifs (des Kristoff K.roll à la Flibuste), compose pour le théâtre, notamment la Compagnie François Lazaro.
Ses recherches musicales actuelles l'orientent vers un système incluant clarinette, basse préparée et installation de haut-parleurs vibrants : des univers sonores aux frontières de la musique improvisée, du rock noisy, de l'électroacoustique. Il est également profondément engagé dans la vie musicale à travers l'organisation du festival "Densités".
2- Liens :
http://www.vudunoeuf.asso.fr/xavier
http://www.myspace.com/xaviercharles
http://www.concerts.fr/Biographie/xavier-charles
http://www.actuellecd.com/fr/bio/charles_xa/

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Composer: Eugeniusz Rudnik (* 1933)
Via crucis (1990) / 08.27 min.

Born in 1933, he is one of the founders of the Polish school of electronic music. Having joined Polish Radio in 1955, he made a pioneering contribution to development of electronic music, as sound engineer and composer. He worked for Polish Radio’s Experimental Music Studio for several decades, since its foundation in 1958.
He has worked closely with leading Polish and foreign composers including Krzysztof Penderecki, Andrzej Dobrowolski, Bogusław Schaefffer, Włodzimierz Kotoński, Arne Nordheim and Franco Evangelisti.
He has to his credit over seventy electroacoustic compositions, many of which have won awards at prestigious international competitions in the United States, France, Germany and Poland.
One of Rudnik’s best known pieces, Mobile, Poland’s first quadrophonic composition (realized in co-production with Swedish Radio) won First Prize at the International Competition of Electroacoustic Music in Bourges (France) in 1973. Twenty years later, within the framework of ‘the competition of competitions’ in Bourges, the piece won again, receiving the ‘Euophonie d’Or’.
In 1970 Rudnik won the Prix Italia for the musical illustration to the ballet film Games (with choreography by Conrad Drzewiecki, directed by Grzegorz Lasota) and in 1984 his radio piece Homo Ludens won an award in Bourges. In 1987 he received the Life Achievement Award from the Chairman of the Committee of Polish Radio and Television. In 1991 Via crucis received First Prize at the ‘Pro Arte Acustica’ International Forum of Radio Art in Wrocław.
The work Annus Mirabilis opened a gala concert to mark the 70th anniversary of Polish Radio (28 January 1995).
Rudnik’s compositions and films and TV programmes with his soundtrack have had numerous radio and television broadcasts in Poland and abroad.
In 2001 his documentary radio ballad The Peregrinations of Master Cadet or The Mill on the Vistula River, realized in a German language version in the Südwestfunk in Baden-Baden, was recognized by the German Arts Academy as the best German-language radio play and was later broadcast by several other stations (Frankfurt, Munich, Hamburg and Berlin).
In 2005 he composed a musical collage Epitaph – in tribute to those tortured to death in the stony hell of the Gross-Rosen quarry.

Via crucis
The work is an epitaph dedicated to the memory of Polish officers killed by Stalin’s NKVD in the Katyń Forest in Soviet Russia in the spring of 1940. It reflects their way of the cross, of uncertainty, mortal fear and final martyrdom. The inspiration for the piece came from a fragment of Psalm 137: ‘If I forget thee, let my right hand be forgotten’. These words do not appear in the work but constitute its ideological fabric. The words which appear in the piece are a traditional saying ‘May the earth be light for them’, in Latin, repeated with ‘them’ changed into ‘you’, a reference to an anonymous murderer. As we know, the executioners, once they completed their task, shared the fate of the victims.
The Russian words addressed by the NKVD officers to the prisoners on their way to the unknown, ‘sobirajties s wieszczmi’ (take your things and get out), sound extraorinarily dramatic and sinister. They became a kind of slogan rooted in the jargon of Soviet terror. Jerzy Kalina sees in them an Eastern equivalent of the perfidious Nazi slogan ‘Arbeit macht frei’.
Despite its radically anti-totalitarian and pacifist artistic utterance, in essence Via crucis is an act of forgiveness. The condensed pain and reflection are not loud. On the contrary, they contain a seed of humility and trust in God, the only Righeous One.
In 1992 Via crucis was selected by the European Broadcasting Union, with its headquarters in Geneva, for broadcast on several dozen radio stations round the world. It turned out that the composition breaks down linguistic, cultural and semantic barriers in a surprising way. This could been seen in the work’s reception in such countries as Finland and Germany, where Rudnik’s music has enjoyed great reputation for decades.
In Via crucis foreign critics noticed ‘a strong presence of faith in the goodness inherent in man’ and ‘an atmosphere of mercy towards the murderers’.
The work received First Prize at the ‘Pro Arte Acustica’ International Forum of Radio Art in Wrocław in 1991.

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Composer: Jerzy Tuszewski (* 1931)
Sound Travelogue Around the World - Dzwiekowa podroz dookola swiata (1995) / 39.28 min.

Born in 1931, he is a journalist, playwright, radio and TV director and documentary film-maker. At the beginning of his professional career, he was also a music and film critic, contributing, among others, to ‘Po Prostu’ weekly. He also deals with the theory of technical media and has to his credit numerous publications on theoretical and aesthetic issues.
He began contributing to Polish Radio in 1955, joining its staff as a producer ten years later. Since 1976 he has worked closely with foreign radio stations (Berlin, Brussels, Budapest, Helsinki, Cologne, Paris, Prague, Rome, Saarbücken, Sydney). He ran a feature ‘Studio Form Dokumentalnych’ (Studio of Documentary Forms) on Polish Radio 2 for many years. In 1989, 1991 and 1994 he served as artistic and programming director of the MACROPHON International Forum for Radio Art, held in Szczecin and Wrocław under the patronage of the European Broadcasting Union EBU.
His honours include the prize of the German Arts Academy in Frankfurt (1983), the ‘Golden Microphone’ Award from Polish journalists (1984) and an honourable mention Kriegsblinden Hörspiel–Preis (1990) for Messe für Massen–1989, a homage to the nations of Central and Eastern Europe, realized jointly with the German composer Roland Steckel for WDR in Cologne. He has also received the golden honorary badge of Polish Radio (1997) and the honorary prize of the ZAiKS Authors and Composers Association (1998). He was a founding member of the International Ars Acustica Group at the European Broadcasting Union in Geneva and a Board Member of the Atelier de Création Sonore et Radiophonique at the Societe des Auteurs et Compositeurs Dramatiques SACD in Brussels.
He has sat on the jury the Prix Futura and Prix Europa International Competitions and has taken part in several international sessions of the Radio Summer University Phonurgia Nova in Arles and of the University of Britanny in Rennes, France.

Sound Travelogue Around the World   
It all began with the radio, with developing some ideas, thinking about forms. My late wife used to say sometimes: ‘He’ll never go to Crete because there’s no radio station there.’ Indeed, during my frequent travels I never pretended to be a tourist or I was a tourist very rarely. Most of my travels were assignments for radio features.
When I found myself in Paris I instantly wondered how I could use the sounds of the city and the conversations I recorded there. In the mid-1970s I met the people who remembered Montmartre as a genuine arts centre and not a tourist attraction. I was also fascinated by the Centre Pompidou and the IRCAM Centre for Contemporary Music, the place with a real sweep, vibrating with cultural activity. I also could not refuse myself the pleasure of taking a boat ride under the bridges of Paris.
I made many recordings during my travels in the footsteps of Ignacy Jan Paderewski, which I was able to make thanks to a grant from the Kościuszko Foundation. I visited New York also at the invitation of the Westdeuschter Rundfunk WDR in Cologne to attend the Ars Acustica Symposium. On that occasion I had the chance to meet John Cage, the Grand Old Man of experimental music, who happened to be great talker. He was associated professionally with the WDR, where he translated into life James Joyce’s dream to make his Ulysses and Finnegans Wake works to listen to rather than to read.
In New York I also visited the synagogue and St. Patrick’s Cathedral. The traces of these visits can be heard in my sound travelogue.
In Cologne, Paris and London I made recordings of radio broadcasters at work. I walked around Berlin with the Polish composer Witold Szalonek, who lectured at that time at the Akademie der Künste. He was enchanted with the sounds of the city which appeared to him like a kind of symphony. Berlin was also an inspiration for me. It so happened that some time later I wrote my Berlin symphony, as a reminiscence of my visit there at the end of 1989 and the beginning of 1990. This was the time when the Berlin Wall was crushed into pieces. I made a sound documentation of that event, which resulted in my Berliner Mauer Symphonie.
I was also fortunate to be able to be in Prague in 1989 and hear the crowds of people gathered in Vaclavske Namesti (Wenceslas Square) shouting Havel for President. One could feel something extraordinary in the air, an incredible atmosphere in the streets of Prague. I felt stupified by all this but at the same time sufficiently self-controlled to document on tape those historic moments.
At the end of the 1970s I went to Hungary to collect sound material about the assistance granted to Polish soldiers in September 1939, following the Nazi attack on Poland on 1 September and the Soviet invasion 17 days later. Assistance was offered to some forty thousand Polish troops in Hungary, even though that country was allied with the Nazis.
In 1989 I was in Budapest again and took part in the ceremony of calling of the roll of honour of those who were killed in the Hungarian Revolution of 1956. Sound documentation of that event is also included in my travelogue.
I also used to visit Vienna quite often. A city whose post-war cultural scene was hardly interesting, leaning heavily towards socialist realism, at one stage offered pioneering developments in the field of radio art, giving rise to what came to be called ‘ars acustica’. This was thanks to Heidi Grundman and her feature ‘Kunst Radio – Radio Kunst’.
I also visited Sydney, Australia, in 1988, for the celebrations of the country’s bicentenary, which were held to the accompaniment of Aborigines’ claims that they had been there for 2000 years.
My Sound Travelogue Around The World ends on 1 January 1996 but I have enough material for several such travelogues.

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Composer: Oleg Makarov (* 1979)
Electroluminescence 01 / 15.06 min.

Oleg Makarov was born in 1979 in Moscow. Composer, media artist, performer of live experimental electronic music. Composes music of different styles – from traditional to experimental, author of music for number of radio plays and text-sound compositions, mainly for Radio Russia. Editor-in-chief of the Russian "Electronic Music" magazine. Regularly performs at concerts and festivals of experimental electronic music.

Electroluminescence 01    
Electroacoustic interpretation of technogenic environment through sounds of old electroluminescent lamps.

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Composer: New(s)peak
Nebenan (2009)    23.20 min.
http://www.rsr.ch/espace-2/musique-aujourd-hui/selectedDate/20/09/2009#dimanche
Information on the project and biographies:
http://www.realtimepoem.com/newspeak/Description%20du%20projet%20art.pdf 
Ensemble:New(s)peak
http://www.realtimepoem.com/newspeak/actions.html
Performers for the entire concert:Heike Fiedler, texts, voice, projections, electroacoustics
Marie Schwab, viola, electronic strings
Steve Buchanan, guitar, alto saxophone

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Composer: Gejza Dezors
The Woman with Black Wings / 24.39 min.

Various authors with their different points of views meet in front of the famous picture Les Demoiselles d'Avignon by Pablo Picassso. The only element which binds them together in connection with it is the female performer – the first lady of Slovak dramatic art Emília Vášaryová, celebrating her personal jubilee.
Woman was, is and will be an inspiration for artists.
The voice of the Slovak actress Emília Vášaryová “cut out” from various radio plays forms the basis of this remix. And it is really an elaborate remix because the text was composed actually almost letter by letter – thanks to the sound engineer Stanislav Kaclík. Gejza Dezorz is the author and director of this radio-art project. Sound and music: Sumad. It is a well balanced composition of sounds, music and text fragments. Together they create a semantically equal component of the new radio-acoustic composition.
The piece gained the first prize at the Prix Bohemia competition in 2003.

Sound Engineer: Stanislav KACLIK
Dramaturgy: Ján ULIČIANSKY
Author and Director: Gejza DEZORS
Music: SUMAD
Realization: Slovak Radio Experimental Studio, Home Studio