Dois ao Quadrado

Dois ao Quadrado 28|11|10 & 11|12|10

2010-12-17T18:05:00.000Z

Temas dos álbuns: Folia e Rebetika, de Andy Moor & Yannis Kyriakides; O Shakuntala!, de Debashish Bhattacharya; Mâts, de Elsa Justel; Causing a tiger, de Carla Kihlstedt, Matthias Bossi e Shahzad Ismaily; Bergisch-Brandenburgisches Quartett; Kuwabara Yukiko to Anata, de Kuwabara Yukiko; How to Strip for Your Husband and More, de Sonny Lester; Exotic Moods, de Les Baxter; Reckless Nights and Turkish Twilights, de Raymond Scott.

Música de Gianfranco Plenizio para o filme La Gatta in Calore, e de Ennio Morricone para "O bom, o mau e o vilão". A integral do Hörspiel Radio Inferno de Andreas Ammer & FM Einheit.

As habituais (des)actualidades informativas, a seco ou ilustradas. Soundbytes recorrentes: de um episódio de Miami Vice com a presença convidada de Frank Zappa (I found out that Brunette and Croquette are the same guy) e do apetite insaciável de um Presidente de uma República e da banda sonora da TMN, a empresa fundadora dos Scissor Sisters.

Gravações Históricas (agradecimentos à Ana Paula Ferreira): O telefonema de um censor do S.N.I. para o Rádio Clube em 1965; o teatro, ou folhetim, Os leões da alta finança, de O. D'Eça Leal, 1961; Provas de locução para a Emissora Nacional em 1965; Comentários de João Soares sobre o auxílio do FMI a Portugal, 1977; Declaração e esclarecimento de Vitor Constâncio sobre as negociações entre o governo e o FMI, 1978.

Mais importante, a peça Sinfonia em Xarlipô (ignoramos a grafia correcta), emitida ao vivo num campo de prisioneiros na Índia, em 1962, e Lisboa à Noite, da autoria de Ninélio Barreira, que foi um dos ilustres locutores da Emissora Nacional e posteriormente da RDP, Antena 2. Teatro radiofónico ou poemas corais, são dois casos sérios de uma modernidade insuspeita, à data, nas ondas hertzianas.

Gravações de campo da manifestação a favor de ser contra a NATO.

Emissão integral e revista no Player.

Dois ao Quadrado 31|10|10 & 13|11|10

2010-12-16T18:09:00.005Z

Dois álbuns de puro e genuino Muzak: Stimulus Progression e Música Funcional. "Qué es Muzak? La respuesta a una realidade del mundo moderno. Una tecnologia exclusiva que ha probado su eficacia para mejorar las condiciones de trabajo. La aplicacion cientifica de efectos psico-fisiològicos de la musica. Programas discontinuos estudiados en función de las curvas de fatiga. Un reportorio de más de 10.000 selecciones programado sobre computadoras."

Uma selecção de diversos álbuns demonstrativos das maravilhas e possibilidades dos sistemas estereofónicos: Audio Fidelity-Stereo Spectacular, ou, Command Records - Stereo Check Out, ou ainda Admiral Stereo - A New Generation of Sound, mas também Packard Bell and Warner Bros - Total Stereo Demonstration, e, escusado será mencionar, Admiral Stereo - The Phantom Third Channel.

Mais ou menos a propósito: Uma escolha aleatória da selecção de 62 temas reunidos sob o título Concert in the Clouds; interpretações da John Barry Orchestra, da Elmer Bernstein Orchestra, ou até da Leroy Holmes Orchestra. Como o título indica, era para se ouvir de avião.

Hölderlin-Lieder, primeiro ciclo, de Willelm Killmayer pelo tenor Peter Schreier.

Poésie de Cruauté: textos de Jean Genet e Antonin Artaud lidos por Jean Bollety e Pierre Frilay com realização e música de André Almuro.

Álbum Cabaret Voltaire 1974-76, e as posteriores derivações de um dos membros fundadores desse recomendável grupo: Chris Watson no álbum Weather Report (vale a pena espreitar http://www.chriswatson.net/);

Ainda na categoria de música experimental, electrónica ou seja lá a que for, a passagem pela editora portuguesa Crónica (http://www.cronicaelectronica.org/): Home, Sweat Home de Durán Vázquez (Crónica 045~2009); Audible Landscapes, de Ephraim Wegner (Crónica 052~2010); Mosaique - Shatering Silence, do português Jan Ferreira (Crónica 051~2010). So On, de Gintas K (Crónica 054~2010). Tudo gravações generosamente disponíveis para download na página da editora.

Dois álbuns de Book of Angels, o projecto de John Zorn: Vol.9 - Xaphan, com Secret Chiefs 3 e Vol.10 - Lucifer, com o Bar Kokhba Sextet.

Ha Go Ro Mo (Gelbe Musik, 1999), a harmónica de vidro do mestre nipónico Akio Szuzuki, no final da emissão.

Música folclórica. ou étnica, ou seja lá a que for, das Georgia Sea Islands, presente em diversos volumes de The Alan Lomax Collection: Southern Journey.

Como sempre, ou quase sempre, as gravações de campo cá da casa, desta feita nos Açores, ou numa sessão de esclarecimento sobre o accordo ortographico e por aí. O resto são minudências.

Dois ao Quadrado 26|09|10 & 09|10|10

2010-12-16T18:05:00.002Z

Uma selecção aleatória de sons encontrados na Radio Aporee, mais um projecto de colaboração aberta do mapeamento acústico do planeta, via Google Earth. Experimentámos sobretudo o Japão.

Música: o Álbum Raw, dos Synapse, do colectivo de Haco e Ikue Mori com Aki Onda e o convidado Uchihashi Kazuhisa.

O pop microtonal de feira, quase sempre instrumental, dos Syzygys, na colectânea das gravações de estúdio e no álbum Eyes on Green, ao vivo (embora não se note).

O ruído quase puro da colaboração de Thurston Moore & Kylie Minoise & Tusco Terror & Wether.

Diversos capítulos das lições alemãs (sotaque mono), de modo nenhum indispensáveis para entender este dois ao quadrado: Einführung in die Elektronische Musik de Herbert Eimert, o fundador do estúdio de música electrónica de Colónia.

Música contemporânea com: Chansons pour le corps e o docudrama onírico-marítimo Et si tout entiére maintenant de Luc Ferrari.

Duas suaves peças corais de David Lang pelo Theatre of Voices: Again e Every Morning Day.

Jesus erbarme dich e excerto de Journal de Claude Vivier, igualmente corais.

Textos de poesia experimental (à falta de melhor definição): Chien D'absolu e Ciel Inamputable de Ilmar Laaban, Oips! de Sten Hanson e On Speaking Terms II e III de Lars-Gunnar Bodin

Secção de Bizarrias e/ou Easy Listening: Excertos do vinil Home to the sea, música de Anita Kerr texto e narração de Rod MacKuen com The San Sebastian Strings;

alguns temas de The Ted Heath Orchestra Plays Beatles, Bach & Bacharachi (dois bês alternativos a Brahms e Beethoven) e outros temas de Melody and Percussion for Two Pianos, de Ronnie Aldrich.

Gravações de campo autóctones de de uma incursão museológica e de uma manifestação contra a tourada.

E diversas minudências que ajudam a ligar tudo isto tais como alguns compactos dos separadores desta vossa Antena 2 e blocos de desinformação ou contra-inteligência e dezenas de variações sobre locuções em rádio.

2010-09-17T16:28:00.003+01:00

Um detalhe

2010-09-15T02:02:00.019+01:00

Lado A
"No dia do aniversário do casamento dos seus pais, é com a maior alegria e satisfação que os envia os melhores parabéns, juntamente com os mais sentidos agradecimentos pelas recentes maçadas causadas, o filho muito amigo Sebastião Duarte."
Lado B
"Já que estamos tão perto do Natal, essa festa tão bonita que a todos nos encanta, aproveito a ocasião, e como também tenho ainda uma face do disco para gravar, aproveito a ocasião, dizia eu, para lembrar desde já as melhores festas que eu posso desejar aos pais, aos manos, um pouco antecipadas mas que são sinceras e que são enviadas de todo o coração.
E é claro, também antecipadamente, um poucochinho, posso acrescentar, também, que desejo umas entradas muito alegres e muito felizes a todos aí de casa."

Dois ao Quadrado 29 | 08 | 10 & 11 | 09 |10

2010-09-14T03:24:00.030+01:00

Barrel Organ In HiFi: Música do Carrocel "O Árabe", construído originalmente em Antuérpia por Pierre Verbeek em 1926 e reconstruído em 1948. Temas como Va Pensiero, La Ronde de l'amour, Mister Sandman e tantas outras, capazes de alegrar ou emocionar a petizada que nos ouve.
Lisbon at Twillight (1958) por The Melachrino Orchestra, dirigido por George Melachrino e com o virtuoso guitarrista convidado Raul Nery. Temas imorredoiros como Song of The Sea, A Small Cafe, Una Casa Portuguesa, April in Portugal, The Lonely Beach ou o exótico Variacoes em re menor.
Secret Sandhills and Satellite (2006) de Ross Bolleter, peças para pianos arruinados ou pianos à beira da ruína que são tocados tal como encontrados. Uma especialidade deste músico do Sul da Austrália.
Nesta secção arqueológica deve-se mencionar o feliz achado que nos veio parar às mãos: um single, embora de 33 r.p.m, gravado nos C.T.T, presume-se que na década de 50, por um certo e anónimo Sebastião Duarte na ocasião do aniversário de casamento de seus pais.
Música de Ghédalia Tazartès dos álbuns: Diasporas (1979), Transports (1984), Tazartés (1987) e Voyage à l'Ombre (1997).
Tinariwen: The Radio Tisdas Sessions, o primeiro CD deste conhecido grupo de músicos tuaregues.
Música étnica de Marrocos ( Festival de Marraquexe de 1976), de Gourara, no Sahara algeriano (1975) e das Montanhas Atlas (1976).
Na Pop/Rock, um pouco de Sonic Youth: Death Valley '69, do álbum Bad Moon Rising
e duas vezes a voz de Tom Waits: Children's Story (Orphans, 2006) e What's He building (Mule Variations, 1999).
Música, recolhas etno-musicológicas e textos de Paul Bowles lidos pelo próprio: Sonata para oboé e clarinete, Nocturno para dois pianos e Sonata para piano. Assinale-se que não se trata de uma efeméride do escritor e músico que celebraria 100 anos.
Ainda no campo da escrita, esquecemo-nos sobretudo da ~~Isabelle Eberhardt~~ e não nos apeteceu ~~William Burroughs~~.
Excertos generosos do filme A Janela Indiscreta, de Alfred Hitchcock. Versão bilingue em castelhano e inglês.
Também não nos ocorreu o início de ~~Gata em Telhado de Zinco Quente~~.
Excertos bem regados da série Reviver o Passado em Brideshead, nomeadamente as cenas que dizem respeito às desventuras de Lord Sebastian Flyte que começa por descarrilar numa cadeira de rodas e finda os dias em Marrocos, tal como Chesterton profetizara.
Gravações de campo recolhidas no Bairro Seis de Maio, a propósito do projecto de residência de criação artística EVA: Exclusão de Valor Acrescentado.
Gravações de campanha algures num hospital, um ensaio de banda filarmónica em recreativa sociedade e que dizer do sinistro chiar das cordas de um estendal?

Próxima instalação: 26 | 09 | 10

Dois ao Quadrado 30 | 05 | 10 & 12 | 06 | 10

2010-07-01T00:05:00.009+01:00

Gravações históricas e para a história
Soundbytes da actualidade com os inevitáveis testemunhos dos protagonistas. Qual actualidade? Um vulcão islandês, uma visita papal, um campeonato de futebol, uma crise financeira, uma crise grega, um ministro das finanças, um primeiro-ministro, um presidente da república e vá-se lá saber o que, e quem, mais.
Excertos de Arquivos Históricos da Emissora Nacional e RDP. Por exemplo: Uma mensagem do Cardeal Cerejeira; um reclame do Pronto Socorro Financeiro; a delirante intervenção portuguesa na assembleia da ONU em 1960 e algumas proclamações do PREC. Gravação da primeiríssima manifestação do Primeiro de Maio,1974, sobreposta com uma gravação de campo deste primeiro de Maio de 2010 e às vezes misturada com os ecos festivos da vitória benfiquista.
Registo recorrente, e sem dúvida obra-prima do retrato acústico, é o de uma partida para o Ultramar com a fanfarra do hino nacional acompanhada pelos lamentos das mulheres que se despedem.

Poesia
Ítaca, de Constantin Cavafy, lido em escochês por Sir Sean Connery com música de Evángelos Odysséas Papathanassíu, aka Vangelis, e A cidade, de Konstandinos Kavafis (outra grafia para o mesmo poeta), lido a solo pela actriz grega Elli Lambeti.

Música propriamente dita
Tangos pelo fenomenal Rúben Juárez, recente e injustamente falecido.
Música popular de Kazantzidis Stelios, a solo e com Yota Lydia.
As variações vaudevillescas Variété de Mauricio Kagel, pelo Ensemble Modern.
Yellow Man With Heart in Wings, de Robert Ashley, na voz de Guillermo Grenier
North American Time Capsule e (Middletown) Memory Space de Alvin Lucier
Álbum A Big 10-8 Place dos Negativland
The Word of the Womb, do grupo feminista anarco-punk Hagar the Womb
Canção Waiting for Mary (What Are We Doing Here) dos Pere Ubu

Música Sacra
O hino oficial da visita do Papa Bento XVI a Portugal, intitulado Bem-Vindo Santo Padre, com letra do padre jesuíta Heitor Morais e música do compositor da diocese de Beja, padre António Cartageno. E aquele outro tema, de verso inicial sobejamente conhecido: "A treze de Maio na Cova de Iria" . Tudo ao vivo, com inflexões micro-tonais.

Música de fundo, funcional ou até disfuncional
O Álbum One Stormy Night, por the Mystic Moods Orchesta (temas originais e standards como Autumn Leaves e Sayonara ao som dessa inesquecível tempestade de verão ocorrida entre a meia-noite e as quatro da manhã de não se sabe que dia, em Los Angeles em 1961.
A prensagem (em vez de álbum) de Girl With Golden Hair por The New Elizabethans; Arranjos e composições de Syd Dale e Dick Hyman. Década de 60. Um Cravo psicadélico orna temas tão célebres quanto Greensleaves ou Blue is the Colour Of My True Love.
Temas do álbum Electric Love pela Electronic Concept Orchestra, dirigida por Robin McBride. Mais uma antologia de famosas canções na voz única do sintetizador Moog e nos dedos de Eddie Higgins.
Mais Moog: Switched on Bacharach, interpretado por Sir Christopher Scott.
Duas prensagens de miniaturas musicais para acompanhar andamentos radiofónicos de climas distintos:
Action! LTD AMPS 1005, por Syd Dale, Vic Flick e Steve Gray, e Dramatic Background KPM 1055 com Johnny Pearson, David Lindup e Alan Parker.

Secção inenarrável
Flight F-I-N-A-L... A Dramatic Comparison to Death. Escrito e produzido por Forrest McCullough,1965, e narrado por Paul Evangel. Coros do Trevecca Nazarene College. Uma viagem aeronáutica em direcção ao paraíso com final feliz.
Por falar em alucinações:
LSD - Battle for the mind. Elucidação do evangelista Willard Cantelon sobre os mitos e realidades desta droga corrosiva.

Secção pedagógica
Uma breve introdução ao grego moderno, onde se aprende a dizer, por exemplo, em grego moderno: Não sei falar grego (moderno).
Os versos 836 a 853 do Canto VI da Eneida, recitados em latim restaurado e com a correcta acentuação hexamétrica.

Ouvir emissão completa [ * * * ]

Dois ao Quadrado 24 | 04 | 10 & 08 | 05 | 10

2010-05-08T23:44:00.081+01:00

Aplausos e afinação de orquestra.
Os temas Portugal vencerá e Quem tem medo dos comunistas, do álbum Lutar é vencer de José Jorge Letria (com Hermann José no baixo).
Banda sonora de Alain Goraguer para o filme Au Dela de la Peur, de Yannick Andréi.
Excertos da quase ópera O Nazareno de Frei Hermano da Câmara.
Attilo Mineo conducts Man in Space with Sounds, a banda sonora que acompanhava a viagem espacial no Bubbleator (exacto) da expo de Seattle em 1962.
Yma Sumac, temas do álbum Voice of the Xtabay. O som alienigena da filha do último Rei Inca, raptada por uma equipa de antropólogos seduzidos pela extensão vocal de cinco oitavas cinco da princesa. Editado em 1950.
Orações para o iPod. Fomos ouvir e abreviámos.
Banda sonora de Barbarella, de Roger Vadim, música e letra de Bob Crew e Charles Fox, com The Bob Crew Generation Orchestra e The Glitterhouse. A banda desenhada, essa, era de Jean-Claude Forest.
John Zorn com os Naked City: miniaturas hardcore do álbum Grand Guignol e também temas do álbum Cobryo.
A micro-electrónica de Kim Cascone: Dust Theories.
Caleidoscópio: uma adaptado do conto das Crónicas Marcianas de Ray Bradbury no teatro radiofónico da Emissora Nacional. Com Paulo Simões, José Tavares, Virgilio Marques, Mário Jacques, Maria Alexandra e Teresa Mónica. "Há quem tenha medo de ficção científica (...) A ficção científica assusta, recata muita gente. O mesmo aconteceu com o Surrealismo". A cotejar com a adaptação do mesmo conto no programa de rádio Norte-Americano Dimension X [ * ], da década de 50.
Documentos fonográficos e recriações das vanguardas Russas do início do Século XX [ * ]: Em destaque a Sinfonia Dombass de Dziga Vertov, a recriação da Sinfonia das Sirenes de Arseni Avraamov, excertos da ópera cubo-futurista Vitória sobre o Sol, de Mikhail Matiushin, Alexei Kruchenykh e Kazimir Malevich.
Poemas de Sylvia Plath lidos pela autora; faltou aqui o devido tratamento sonoro mas a ele e a ela voltaremos.
Daniel Bacelar e os Conchas, o EP ié-ié (1960) de Caloiros da Canção Nº1 com os temas Fui louco por ti e Nunca.
O álbum: An audio obstacle course - Era III, The Shure Trackability Record; conveniente para calibrar sistemas Hi-Fi, caso se desconfie do que se ouve.
Algumas gravações de campo. Outras afinações.
Mais aplausos. Ouvir emissão completa [ * * * ]
Próxima instalação: 30 | 05 | 10

Dois ao Quadrado 27 | 12 | 09 & 09 | 01 | 10

2010-01-11T15:00:00.002Z

Canções de Brigitte Fontaine dos álbuns: Comme a la Radio (1969), com o Art Ensemble of Chicago, e L'incendie (1974); Areski Belkacem participa em ambos - neste resumo incluímos um excerto da canção Prohibition, do álbum homónimo lançado em 2009.
Como já referido em post recente, a transmissão integral do concerto dos Woods com Nuno Moita efectuado na Trem Azul a 9 de Dezembro. Também ao vivo, o concerto de Natal da Orquestra e Coro do Atelier Musical da Escola de Música do Conservatório Nacional.
O humor das colagens de Stock, Hausen & Walkman, no álbum Ventilating Deer (1997), e de Tom Waits com os Tom's Tales, do recente Glitter and Doom.
The Sounds and Music of the RCA Electronic Music Synthesizer (1955) e a banda sonora do filme Solaris (1972) composta por Edward Artemiev no primeiro sintetizador russo, o ANS (concebido e concretizado por Eugeny Murzin entre as décadas de 30 e 50).
Verbal Brainwash and other works de Åke Hodell.
The Runaway Train, as comunicações rádio de um combóio em perigo de descarrilamento.
E a banda sonora de Farmville do jogo Facebook, "uma utilidade social que ajuda as pessoas a ficarem conectadas com amigos e outros".
No mesmo espírito, o CD, comprado no Minipreço a 3,95€, Contos Tradicionais de Natal, volume 1, com locução de João Tempera, técnica de David Marin, misturas de música clássica de Daniel Duarte, produção de Pais Real e o produtor é Páquito. É o que vem na ficha técnica.
Rádio ao vivo com uma Missa celebrada na véspera de Natal, antes do galo cantar, e com o emocionante relato da corrida de São Silvestre- El Corte Inglês, cognominada a guerra dos sexos. E muitas outras gravações campais.

Próxima emissão: 31 | 01 | 10
Ouvir emissão completa

Profecia canina

2010-01-02T16:11:00.016Z

Também 2010 irrompeu em Lisboa pelo Arco da Rua Augusta, às portas do Terreiro do Paço, em pleno 1 de Janeiro. Veio cantando a plenos pulmões o descontentamento do Senhor perante as múltiplas prevaricações a que tem assistido e tomou todos os presentes, em particular os de raça canina, de um fervor irreprimível. Não é fácil, diz-nos o arauto - principalmente quando se está em equilíbrio precário dentro de um atrelado, em cima de um pneu enorme, empunhando um megafone de construção artesanal -, inflamar corações e fazê-los regressar ao bom caminho. Aleluia!

Op. 39

2009-12-19T22:49:00.007Z

Uma interpretação única do mais célebre número das Marchas Militares de Pompa e Circunstância, de Edward Elmer, na interpretação da Orquestra COD Atelier Musical do Conservatório Nacional de Lisboa. Direcção e arranjo de R. Mateus.

Somdestaque: Arredonde

2009-12-19T15:40:00.006Z

No Paraíso será assim sempre. Entrada triunfal do Exército de Salvação pelo Arco da Rua Augusta num Sábado de Manhã.
Os elefantes vieram depois e não foi bonito. Antes disso, Rudolph the Paindear, ~~perdão~~, the Raindear, ~~perdão~~, the Raindeer, precedido de um tema anónimo cujos título e compositor agora não nos ocorrem (gravação de Inês Almeida).

Woods+Nuno Moita na Trem Azul

2009-12-19T00:15:00.008Z

"Os interesses dos elementos dos Woods vão do jazz à música electro-acústica e das novas correntes reducionistas à música mais orgânica, concentrando a sua atenção na música de câmara improvisada. As suas apresentações ao vivo compreendem a interpretação de peças escritas pelos elementos do grupo e a improvisação livre, sempre num registo camarístico que joga incessantemente com as componentes tímbricas dos instrumentos que tocam. Podemos falar assim de um ensemble que privilegia a composição espontânea, a exploração micro-tonal e a atonalidade.
Neste showcase na Trem Azul jazz Store os Woods convidaram o Turntablist/Sound Artist Nuno Moita (Batalha, Draftank, Gigantic, One-Off, Stapletape, Stib, Whit) para se juntar em palco ao quinteto. Nuno Moita funcionará como um jocker, juntando o seu discurso às composições dos Woods." Foto de João Henriques.

Bruno Parrinha clarinete alto, clarinete
João Pedro Viegas clarinete baixo
João Camões viola
Miguel Mira violoncelo
João Parrinha bateria e objectos
+ Nuno Moita gira-discos

www.myspace.com/uodz
http://nunomoita.blogspot.com/

Concerto realizado dia 9 de Dezembro na Trem Azul. A transmitir na íntegra no próximo Dois ao Quadrado, Sábado 26 /12/ 09 a partir das 01h00 na Antena 2.

Art's Birthday 2010

2009-12-17T16:29:00.002Z

Art’s Birthday Party is a celebration in memory of Robert Filliou, who declared, on 17 January 1963, that Art had been born exactly 1,000,000 years ago when someone dropped a dry sponge into a pail of water. Ten years later he celebrated Art’s 1,000,010th birthday at the Neue Galerie, Aachen.

After Filliou’s death in 1987, some artists began to celebrate Art’s Birthday with mail art, fax and slow-scan TV events in the spirit of his concept of “The Eternal Network” or “La Fête permanente”. The birthday parties took place in different cities across the world and artists were asked to bring birthday presents for Art – works that could be shared over the network.

Art’s Birthday Party has never been a formal event but was always organized on an ad hoc basis through the network. Every participating location (and they are different every year) organizes its own party – from a few friends in a private studio to a performance evening in a museum, gallery or radio station. The only condition is that each group be able to send and receive birthday presents for Art. Since 1994 this has usually meant using the Internet in one form or other. Filliou’s invention of Art’s Birthday is wonderfully absurd and humorous in the typical Fluxus tradition of serious fun. So the global birthday party for Art has always tried to be fun while paying homage to Robert Filliou’s dream of The Eternal Network.

Próxima edição: 17 de Janeiro. Lá estaremos.

Spanish fan calls police over saxophone band who were just not jazzy enough

2009-12-16T18:22:00.002Z

Jazzman Larry Ochs has seen many things during 40 years playing his saxophone around the world but, until this week, nobody had ever called the police on him.

That changed on Monday night however, when's Spain's pistol-carrying Civil Guard police force descended on the Sigüenza Jazz festival to investigate allegations that Ochs's music was not, well, jazz.

Police decided to investigate after an angry jazz buff complained that the Larry Ochs Sax and Drumming Core group was on the wrong side of a line dividing jazz from contemporary music.

The jazz purist claimed his doctor had warned it was "psychologically inadvisable" for him to listen to anything that could be mistaken for mere contemporary music.

According to a report in El País newspaper yesterday, the khaki-clad police officers listened to the saxophone-playing and drumming coming from the festival stage before agreeing that the purist might, indeed, have a case.

His complaint against the organisers, who refused to return his money, was duly registered and will be passed on to a judge.

"The gentleman said this was not jazz and that he wanted his money back," said the festival director, Ricardo Checa.

"He didn't get his money. After all, he knew exactly what group he was going to see, as their names were on the festival programme.

He added: "The question of what constitutes jazz and what does not is obviously a subjective one, but not everything is New Orleans funeral music.

"Larry Ochs plays contemporary, creative jazz. He is a fine musician and very well-renowned."

"I thought I had seen it all," Ochs, who reportedly suffered a momentary identity crisis, told El País. "I was obviously mistaken."

"After this I will at least have a story to tell my grandchildren," the California-based saxophonist added.

Christof Migone: 4 feet and 33 inches

2009-12-15T17:51:00.001Z

«John Cage has referred to his famed 1952 composition 4’33” as a work that could be pronounced either‘four minutes, thirty-three seconds’ or ‘four feet, thirty-three inches’. In this performance I attempt to pronounce 4'33" both ways simultaneously by sawing a piece of 4"x4"x8' cedar into 4 feet and 33 inches where the sawing of one end marks the beginning of the count towards 4 minutes and 33 seconds. Once the time set by the composition has ended the sawing of the other end begins. The three movements within the piece (0'33", 2'40", 1'20") are marked by nicks of the saw in the wood.
Performed first at the Sala Rossa in Montreal as part of the Suoni per il Popolo on June 25, 2009. The video and still are from this performance. Towards the end of the performance you will notice my impromptu attempts to bypass my poor sawing skills and the fact that I had the wrong-sized saw. Recorded by the CBC, producer Scott Tresham, recording engineers Pierre Léger assisted by Pierre Dulong.
Second performance at the Music Gallery in Toronto, June 28, 2009.»

Ver e Ouvir

2009-12-13T20:55:00.045Z

As tiras semanais de Ben Katchor, da série Hotel & Farm e a versão rádio do clássico Julius Knipl: Real Estate Photographer (ctrl ++ para ampliar).

Somdestaque: Megharmonicofone

2009-12-13T18:40:00.010Z

Mais um episódio de música de rua, registo neo-realista. Atente-se no invulgar sistema de amplificação.

Somdescape: Frère Jacques

2009-12-13T18:35:00.005Z

O Somdescape, com indicativo, transmitido este fim-de-semana na Antena Dois. Sem foto, para não criar maus hábitos e ainda enfatizar a alucinação auditiva deste exemplo de música de rua: uma versão, em teclado midi, do Frère Jacques com acompanhamento percussivo em tampo de guitarra e alguma voz, preludiada com um aquecimento de arpejos. O som distorcido do teclado e as irrupções aleatórias do sequenciador emprestam um carácter de avant-garde brincalhona a esta interpretação. A cotejar com a entrada Arte Pobre na playlist Somdescapes da barra lateral. Dois músicos, uma só escola.

Somdestaque: Nem às paredes confesso.

2009-12-11T19:10:00.010Z

Outstanding Event Ars Acustica II Info

2009-12-11T19:00:00.003Z

Informação detalhada sobre as peças apresentadas na segunda parte do Dois ao Quadrado

Photo Sensitive 1 - An acoustic portrait of the artist couple Danica Dakic and Egbert Trogeman
Composer: Bojan Vuletic
011.35 min.

Public Broadcasting Service of Serbia
Radio Belgrade
Drama Department
Series: Sound Workshop
Editor: Predrag D. Stamenković
Author: Bojan Vuletić
Director: Bojan Vuletić
Composer: Bojan Vuletić
Sound engineer: Bojan Vuletić
Production: Out-Of-Focus Studio, Dusseldorf, Germany

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.

About the composition
As stated in the subheading this composition is one subjective view on the relationship between the visual artist Danica Dakic and her husband, the photographer Egbert Trogemann.
Both artist were recorded for half a day separately with the same a/b-microphone technique, Egbert Trogemann at his studio and his dark room and Danica Dakic in an intimate room. The sounds from the “photo” session and the “unconscious voice” sessions were edited and only these sounds were used and each just once.
Only manipulations in time and space of these samoles were allowed (e.g. speeding up & down, granulation, juxtaposition, changes of proximity), thereby creating an acoustic picture that is not intended to be a view through one time window at the couple but a look inbetween.

Soloist: Danica Dakic, voice
Soloist: Egbert Trogeman, camera

*
More Looks – audio art composition
Composer: Catherine Milliken
Text: William Shakespeare
030.06 min.

Production: ARD – Hessischer Rundfunk, Frankfurt am Main, Radio Drama Department
Producer and Editorial Office: Manfred Hess

Production notes:
“During my journeys through the world I have collected a lot of field recordings: sounds of nature of Australia, where I was born, of Brazil, Europe; sounds of the different cities of Germany where I lived (Frankfurt, Berlin, Cologne), sounds of sites under construction, musical rehearsals or private walks through the cities and countryside. To create a new look to this former “Audio-Impressions” I composed first a piano work called “New Looks” and selected some Sonnets of William Shakespeare. These elements – sampled field recordings, the piano work and the Shakespeare Sonnets – I mixed and edited in a live studio performance using the grammar of photography: cross fading, solarization, blow-up, reprise, snap-shot etc. At the end: My work confronts moods based on improvisation during the live-performance with highly pre-mixed pieces to a very specific audio art composition about time.

Biography:
Catherine Milliken, born in Melbourne/Australia, former member of the famous Ensemble Modern Frankfurt, lives as composer and head of the Education Department of the Berlin Symphony Orchestra in Berlin. She composed for important music festivals, has written 3 operas and various radio works (e.g: “Denotation Babel”, based on a libretto by Helmut Krausser, awarded with Prix Italia 1999 or “House with voices- A radio play chamber opera” based on a libretto of the young German poet Silke Scheuermann, “Award of the German Critics 2009” of the German Culture Council.)

Performers for the entire concert:
Soloist: Catherine Milliken, narrator
Soloist: Angie Milliken, narrator, piano
Soloist: Helmut Becker, sound

*
Tjidtjag and Tjidtjaggaise (1986)
Rolf Enström
021.21 min.

A classical radiophonic composition commissioned by Swedish Radio. Rolf Enström's piece 'Tjidtjag & Tjidtjaggaise' (1986) is a fantasy on a shaman's voyage in the shamanistic state of awareness taking its departure in the traditions among the nomadic Sami-people in the north parts of Sweden. 'Tjidtjag & Tjidtjaggaise' was awarded Prix Italia in 1987.
Erik Mikael Karlsson - Producer- Swedish Radio Ltd

More information: http://www.ebu.ch/musd/87939.pdf

*
The Galvanos
Paul Panhuysen
074.37 min.

Ensemble Piece 1 - 006.08 min.
Solo Mario - 010.00 min.
Solo Leon - 009.00 min.
Solo Jan - 011.30 min.
Solo Paul - 007.40 min.
Ensemble Piece 2 - 028.05 min.

First broadcast: 13-03-1994 / Radio 4 / New Music
Producer: VPRO Radio – Armeno Alberts

Performers: Maciunas Ensemble (Paul Panhuysen, Jan van Riet, Leon van Noorden, Mario van Horrik)

The Maciunas Ensemble (founded by Paul Panhuysen in 1968) chose as a starting point, a score from Fluxus artist George Maciunas. This score, Music for Everyman, includes all sounds from the past, the present and the future, on earth and in space. In the early days of the ensemble (Paul Panhuysen, Jan van Riet, Leon van Noorden, Mario van Horrik) the musicians changed instruments regularly and developed a sort of conversation with sounds created on traditional and exotic instruments, found objects and voice. Later on the Maciunas quartet focussed on systematic research on acoustical phenomena's of sound and music.
In the concert of 04-03-1994 the Maciunas ensemble played the Galvano's, a mechanical orchestra consisting of 8 electric guitars. These guitars are played by using galvanometers and voice.

Paul Panhuysen (born Aug 21, 1934, Borgharen) is a Dutch composer, visual and sound artist, and was the founder and director of Het Apollohuis, and art space that functioned during the 80's and 90's having artists doing sound installations, sound sculptures, and concerts about free improvisation, experimental music, electronic music, etc. The most known sound installations of this artist were made with strings, crossing the spaces in different ways, and later played by the artist putting rosin in his fingers and using them as a sort of violin bow.
He has released several albums, including:
- Paul Panhuysen and the Galvanos: Lost for Words, in which various recordings are input into several galvanometers, attached to which are metal springs which vibrate more readily at some frequencies over others, and these frequencies are then reamplified.
- Paul Panhuysen: Partitas for Long Strings, which is from the long string installations which Panhuysen has been doing for quite a while.
He is also a member of the Maciunas Ensemble, named after George Maciunas of Fluxus fame, and has worked with Arnold Dreyblatt and Ellen Fullman. Panhuysen also collaborated with Remko Scha.

Performers for the entire concert:
Ensemble: Maciunas Ensemble
http://www.paulpanhuysen.com

*

The Lands of Lost Sounds - In the cars
008.02 min.
The Lands of Lost Sounds - Sounds in a landscape
016.09 min.
Bor Turel (* 1954)

For over 30 years now, Bor Turel has been the most prominent Slovene composer of electroacoustic and experimental music. After studying composition at the Academy of Music in Ljubljana, he continued his studies at the Department of Electroacoustic Music of the Conservatoire Nationale Supérieure in Paris, as well as in master classes for electronic music of the Department for Electronic Music of the Montreal University in Orford, Canada; in Salzburg and Marly-le-Roy. In 1992 he worked as Composer in Residence at the Electronic Studio of the Academy of Music and Performing Arts in Graz.
Turel's electroacoustic and other works received performances at important international festivals of contemporary music such as: the Festival universitaire du film underground, the Biennale des jeunes and Journées audiovisuelles internationals (between 1979 and 1981 in Paris), and later the Zagreb Music Biennale, International Rostrum of Electroacoustic Music, Prix Italia (nomination in 2005), ISMEAM festival in Sárvár, Hungary, World Music Days in Copenhagen, Days of Contemporary Music in Vienna and European Month of Culture in Ljubljana.
Already while studying at the Academy of Music in Ljubljana, Bor Turel departed from the classicist models and composed his works in free polytonal and atonal musical media. Between 1973 and 1977 he also worked in the theatre group Nomenklatura, and under the influences of the European avant-garde, American experimental music and minimalism he finally broke all ties with tradition. He began to include recorded sound materials in his works, which later became an important part of his main area of expertise in electroacoustic music..
In the years 1977 to 1981 Turel founded and led the ensemble for experimental music SAETA, which developed organised and free improvisation. After his return from Paris in 1983, he ultimately switched to electroacoustic music and since then has created numerous works for various instruments in connection with electronics or for solo tape. In the electroacoustic works his creative poetics is founded in the world of sounds as a complex of sound objects and at the same time of the sound as substance, without any priorities. He forms compositional structures as sound scripts, with a special emphasis on the dramaturgy of a musical composition.

Bor Turel, a free-lance artist, has collaborated with numerous painters and video artists, creating intermedia works and has worked with an experimental theatre of animated forms.
Besides his research in music and work in the field of electroacoustic music and its forms of presentation (concerts, ambiental installation, performances), he is a permanent collaborator of the Program Ars of Radio Slovenia where he began and developed series of electroacoustic and ars acustica music programmes.
Mr Turel has devoted the last years to creating audio and radiophonic art – mainly ars acustica projects and ambiental music works which are based on poetic texts. With his recent pieces he continues a series of electroacoustic works for solo instrument and tape. In 2008 he received the highest slovene award for his artistics achievements.

The Lands of Lost Sounds
(1999–2002)

The world that sounds
The Lands of Lost Sounds are places of existence of the forgotten and lost sounds in a world that sounds and exists as a sound. They are sound landscapes in the world of nature, in acoustic and acousmatic spaces on the levels of cultural, artistic act and creative gesture. In the natural world these sounds are hidden in the caves under the earth, in hardly perceived movements on the surface and currents of the atmosphere. In the urban world they are veiled with brutal aggression of noise and hypertrophy of misunderstandings of languages. In the acoustic world they are like oscillations of air or matter and an impulse to the sound and tone that will become music.
A process of an artistic and artificial act
When the ear of the composer-listener hears the sound, it chooses it, and the composer-recorder takes it – as an eye of the camera – into the membrane of the microphone. It freezes it in the chosen medium, and the sound, taken from the natural, urban or acoustic environment, becomes an object of sound. The composer-researcher deals concretely with it in an electroacoustic laboratory: under microscopic electronic devices he discovers its microstructure. He multiplies or reduces it, shades and illuminates, he changes its pitches, frequencies and amplitudes, and he shortens and prolongs its parameters. The composer-creator improvises, combines, molds the sound material with which he structures the architecture of an electroacoustic work. Out of a raw sound canvass a fine fabric is woven which will put on a new artistic image.
Sound notation as a score, a performance and as a complete music work
The work Lands of Lost Sounds was (is) conceived as a recording on 8-channel tape and represents an exposition of sound sequences, consisting of primary, authentic sound materials and their electronic treatments. This relationship (or relationships) represents on a semantic as well as esthetic level an inner, evolutionary axis of the piece. It reveals itself as a successive passage from the sound that is primary and evident to the one that is unrecognizable in its primary form and is set to music. The second, outer, space axis is represented as a movement of sound in a real time. This is done with spiral circular motion, multiplication, superposition and reduction that makes a simultaneous ''confrontation'' and ''mirroring'' of three points in evolution of the piece possible. In a real space this circular motion is audible in the distribution – projection of sound through eight speakers, placed in a room of performance. On a symbolic level, this represents sonorous sounds of four cosmic elements in circular motion.

*
Telematic live radio Internet event
Total duration: 023.07 Minutes

A live-performance about migration played by artists in V2 Rotterdam, NL and Neue Galerie in Graz, A, utilizing various types of telematic connections (Standard Ponelines, MIDI-Datalines, Videophones, ISDN, Internet, High Quality Radiolines), thus providing high level communication between the artists in Rotterdam and Graz.

State of Transition was simultaneously performed by: Gerfried Stocker, Martin Schitter, Joel Ryand and Dirk Haubrich in Rotterdam (NL) and: Andrea Sodomka, Martin Breindl, Norbert Math and Wolfgang Reinisch in Graz (A). Network Design: Horst Hörtner. The performance was broadcasted live on air at ORF-Kunstradio (A).

State of Transition also was one of the first (if not the very first) live-events which provided open interactive access for users via the Internet. Navigating through the web-pages users could select the sounds to be used in the live performance. Each page was linked with a certain track of an audio-CD specially produced for this event. So if users selected a page they started the corresponding track of the CD. With every access to the server, a traceroute routine was started automatically, analyzing the route of the users' connections. This information was mapped into MIDI-commands controlling the soundsamplers. Thus each machine involved in the users' link to our server got an "acoustical signation". This traces of the network activities was "mapped" on a 12-channel audio system. The result was an acoustical map of the electronic space which constitutes out of the users' interactivity - which could be heard on site and via the terrestrial live broadcast.

produced by ORF Kunstradio, Neue Galerie Graz, A, V2 Rotterdam, NL
sound engineer: Harald Domitner
first broadcasted on Nov. 10th, 1994, ORF Ö1 Kunstradio-Radiokunst
Martin Breindl
1963 born in Vienna, Austria.
He studied at the Academy of Applied Arts, Vienna and at the University of Vienna. Since 2001 curator of Fluss - NÖ. Fotoinitiative. Jan. 2001 - sept. 2002 Content Design for Kunstradio Online.
Works in the fields of intermedia, installation, net.art, radio art, sound art, video and visual arts.
Norbert Math
He studied at the University of Music, Vienna (Electroacoustics). 1998 - 2002 technical and artistic staff at the IEM, University of Music, Graz. Since 2001 curator of Fluss - NÖ. Fotoinitiative. 2005 Artist in Residence at UMAS, Canada. Since 2007 assistant professor at the Nuova Academia di Belle Arti, Milan. Lives in Vienna.
Gerfried Stocker
Gerfried Stocker, geboren 1964, ist Medienkünstler, Musiker und Ingenieur für Nachrichtentechnik und Elektronik. 1991 gründete er mit Horst Hörtner x-space, ein Team zur Umsetzung von interdisziplinären Kunstprojekten. In diesem Rahmen entstanden eine Vielzahl von Installations- und Performance Projekten, die sich mit Interaktion, Robotik und Telekommunikation beschäftigten. Stocker war auch für die Konzepte mehrer Radio-, TV- und Netzwerkprojekte verantwortlich; unter anderem 1995 für die Durchführung des weltweiten Radio-Internet-Projektes Horizontal Radio. Seit 1995 ist er Geschäftsführer und künstlerischer Leiter des Ars Electronica Centers und gemeinsam mit Christine Schöpf für die künstlerische Leitung des Ars Electronica Festivals verantwortlich.
Andrea Sodomka
1961 born in Vienna, Austria.
1982-89 studies at the Academy of Applied Arts, Vienna. 1984-87 studies at the Academy of Music, Vienna (institute for electroacoustics). 1991-95 president of the society of electroacoustic music G.E.M.. 1995-97 curator for Media Art at OK - center of contemporary art, Upper Austria. 1996 member of the jury for Prix Ars Electronica 96. 1997 curator of "Remote Sensations", Ars Electronica 97. 1999 lectures on "Sound Art in the 20th Century", University of Vienna. 2001 lectures on "radio art and radio drama", University of Music, Vienna. Since 2001 curator, since 2003 president of Fluss - NÖ. Fotoinitiative.
Since 1996 member of the artist's association Wiener Secession.
She works in the fields of intermedia, installation, electronic music, net.art, radio art, video and artistic photography.

More Information and Biographies can be found here:
http://www.kunstradio.at/1994B/10_11_94.html
http://alien.mur.at/state_of/

*
The Silence of the Pigs (2002)
Maja Zarkovic
004.29 min.

Maja Žarković grew up in Split, Croatia. She graduated from the Royal College of Music in London where she studied violin with Grigori Zhislin, viola with Brian Hawkins and baroque violin with Catherine Mackintosh. She was awarded an MA in Music Education from the University of London Institute of Education as well as an MA in Arts Management from City University London. She performed as a member of chamber groups and orchestras in Croatia, France, Italy, Poland, Slovenia and the UK. Maja co-initiated several international projects in Croatia: the Aestas Musica Summer School of Baroque Music and Dance, the Early Music Courses Dubrovnik and the Dubrovnik Early Music Festival. As a project manager, she took part in numerous international projects in Croatia, France, Israel/Palestine - Ramallah and Gaza, Poland (European Mozart Academy), Italy and the UK. Since 2008 she is the Director of Opera Department at the Croatian National Theatre in Split, Croatia. She collaborated as music dramaturge on several dozens of radio plays and created some Ars Acustica works.

The Silence of the Pigs (2002.) is a short form Ars Acustica piece. It is build around traditional pig slaughter activity that takes place in the countries in the Pannonian plain. During the last days of November, pigs are killed and butchered and the meat is preserved for the winter. Abstracting the folk tradition, the piece focuses on the position of victims unaware of the real situation. Village idyll seems safe for the animals until those very people who were their guardians turn out to be the executioners. The animals are deceived. Reality is different from what they saw and regarded to be the truth. Our global village with Western culture is our idyll so the piece ends in false safety of a restaurant which is a symbol of abundance and pleasant life. The misery of deceit happens on every level.

*
Frankfurt Inside - Outside
Andreas Horchler (* 1960)
053.36 min.

Awarded as “Radio play of the month, March 2009” by the Academy of Performing Arts Germany
Genre: Audio Art Soundscape based on the tradition of “musique concrete”
Production: ARD – Hessischer Rundfunk, Frankfurt am Main, Radio Drama Department
Producer and Editorial Office: Manfred Hess
The production is available in two versions, 5.1. surround sound as well as stereo.
For those who are interested in the 5.1.-version, please contact Hessischer Rundfunk for a DVD.

This soundscape has the subject of the city of Frankfurt at the river Main. The city is very busy, international and will be seen as the business capital of Germany with its banks, skyscrapers and the most important airport in Germany situated close to the city centre. On the other hand Frankfurt is a social melting pot with the highest range of immigrants in Germany. And in its different quarters you will find the big money running jointly with the ideology of those, who have their roots in the Green Party.

Horchlers portrait is based on field recordings which he has sampled into small sound elements for structuring them on rhythmical patterns of pop music. So his “love song for Frankfurt” is an audio art composition in the tradition of musique concrete.

Biography:
Andreas Horchler, born 1960, works and lives in Frankfurt/Main as author, radio journalist, musician and pop music producer.

*
Peace Within the Shell Bears Pearls
Biserka Vuckovic
002.46 min.

Biserka Vuckovic, born in Zagreb in 1940. At the age of nine became a member of the children’s radio drama company and her co-operation with the Croatian Radio and later Television has been going on ever since. She worked as a Director in the Drama Program of Croatian Radio from 1965 to 2000. She has participated in numerous festivals either as director or as jury member.
She is the recipient of many awards for direction:
- at the Radio Week in Ohrid in 1975 for the program: Radio vrtić (Radio Kindergarten);
- the program Vodena priča (Water Story) was the radio drama of the year in 1983;
- at the Radio Week in Ohrid in 1988 for the program Sudbonosna zujalica (Fateful Buzzer);
- at the international Ars Acustica meeting Vienna in 1994 for the program she authored as well: Mir u školjkama bisere stvara (Peace Within Shells Bears Pearls);
- at the Marulovi dani in Split in 1995 for the program A “V” će dopisati ptice (And the Birds Will Add The “V”);
- at the Marulovi dani in Hvar in 1996 for the program “Orfeuridika: pompejanski grafiti” (Orfeuridika: The Graffiti of Pompeii),
- at the Prix Marulić 2001. Grand Prix Marulić for the program “Lopudska sirotica” (“The poor woman from Lopud”).

This miniature, Peace Within the Shell Bears Pearls, was “born” during the war in Croatia (1992), during the time that laughing was rare, even that of children. This depressing fact served as a catalyst for director Biserka Vučković to make use of one girls’ laugh, which she had already “used” in one of her previous works. Since she always has connected laugh with pearls, she had decided to use it as one of the elements in her variation of a folk saying - Peace Within the Shell Bears Pearls. Luckily, today, regarding associative level, this story bears one dimension less – since it is not “Man&War&Peace” anymore, but only “Man&Peace”. The author speaks of the creation:
“This short sound-image is produced in analogue technology, without even a multichannel tape recorder, meaning that the editing was possible only by re-recording… Aside from merging sounds of the storm, the wind, the sea and the undersea world, we also used the sound of freshly opened mineral-water bottle, making it into a loop, and with the pitching we succeeded to create tiny bubbles… Fragments of the girl’s laugh, bubbles and the mineral water merge into a composition with which my sound-engineer Delka Milanov and I wanted to create impression of the absolute peace and tranquility inside the seashells on a bottom of the sea.”

*
Eight Works
Judy Dunaway
052.28 min.

Balloon March - 002.07 min.
Balloon Trio - 009.20 min.
Funky Balloons - 002.52 min.
Vocal Sounds of Mouth Balloons - 006.20 min.
Structured Improvisation - 006.15 min.
Solo Balloon - 006.55 min.
Sax & Balloon - 006.35 min.
Keyboard & Balloon - 009.28 min.

First broadcast: 24-04-1994 / Radio 4 / New Music
Producer: VPRO Radio – Armeno Alberts

The Balloon ensemble (Judy Dunaway, Evan Gallagher, Gitta Schaefer) performs compositions by Judy Dunnaway. They also experiment with balloon sounds and improvise.
The musicians create al kind of weird, funny and exotic sound by rubbing, blowing and drumming the balloons.
Judy Dunaway is a composer, improviser and conceptual artist who is primarily known for her sound works for latex balloons. Since 1990 Judy Dunaway has composed over thirty works for balloons as instruments and has also made this her main instrument for improvisation. Judy Dunaway has presented her compositions and improvisations for balloons throughout North America and Europe at many venues and festivals including Lincoln Center Out-of-Doors, REDCAT, the SoHo Arts Festival, the Alternative Museum, the Knitting Factory, Performance Space 122, Roulette, Experimental Intermedia, Soundlab, the New Museum of Contemporary Art, the Bang on a Can Festival, the Guelph Jazz Festival, Podewil and ZKM. She has performed as a balloon player in compositions by John Zorn and Roscoe Mitchell, and in improvisations and/or collaborations with the FLUX Quartet, performance artist Annie Sprinkle, video artist Zev Robinson, visual artists Nancy Davidson and Ken Butler, percussionists John Hollenbeck and Matt Moran, the Illuminati big band, DJ Singe, and numerous others. Her compositions for balloons include electronic and multi-media works, sound installations, and works that incorporate more traditional instrumentation such as string quartet, chorus and Japanese koto.
Awards include a recording grant from the Aaron Copland Fund of the American Music Center, a commission from the American Composers Forum's Composers Commissioning Fund, an artist/researcher-in-residency at Zentrum für Kunst und Medientechnologie, a recording residency at Harvestworks/Studio Pass, and grants from the National Endowment for the Arts, Meet the Composer and the Kalliste Foundation. Ms. Dunaway has published two articles in Musicworks magazine about her work with balloons: A History of the Balloon as a Sound Producer in Experimental Music (Fall 2001), and, Orchestration and Playing Techniques for Balloons as Sound Producers (Spring 2002).
Dunaway has a Ph.D. in Music Composition from State University of New York at Stony Brook, where she studied with analog electronic music composer Daria Semegen and multi-media artist Christa Erickson, and a M.A. in Experimental Music from Wesleyan University (Connecticut) where she studied with composer Alvin Lucier. She also holds a B.S. in Music Education from Hunter College (New York City). She is currently a Visiting Lecturer in the Critical Studies Department at Massachusetts College of Art.

Dunaway has also created other works, often to do with social activism or cultural critique. Most recently, Dunaway has founded a not-for-profit educational webcast for audio art and activism concerning the rights of sex workers called "Sex Workers' Internet Radio Lounge." Other works by Ms. Dunaway include Affirmative Action, a political multi-media piece utilizing sensor-activated projections as visual music, commissioned by percussionist Russell Greenberg; Sensation, a composition for audience presented at the Mixed Messages Festival where it was conducted by Jackie 60 Award-winner Baby Dee; Duo for Radio Stations, simulcast on WFMU (New Jersey) and WKCR (New York); and the score for Diane Torr's performance art piece Crossing the River Styx, the "high decibel music" that instigated the closing of the Franklin Furnace performance space in 1990.

Performers for the entire concert:
Ensemble: Balloon Ensemble
http://emedia.art.sunysb.edu/judydunaway/
Judy Dunaway, balloon
Evan Gallagher, balloon
Gitta Schaefer, balloon

*
Swiete Drogi - Polish Pilgrimage
050.25 min.

Peter C. Simon
born 1968, lives and works in Cologne as composer, author and filmmaker. Various CDs and DVD (e.g. for Sonig & Entenpfuhl);
C-Schulz
born 1969 in Poland, experimental film producer, video and sound artist, studied electrical engineering and physics at Ruhr University, Bochum as well as art of media at Art College of Media, Cologne

Sound Engineer: Benedikt Bitzenhofer /Barbara Goebel
Production: DEWDR Ars Acustica Studio 2004

Even if one dislikes mass church parades or well organized religious tours by bus, it is hard to resist the attraction of unique soundscapes generated by archaik speaker systems transmitting religious services amidst vast impressive scenery or the sound of thousands of pilgrims murmuring prayers. Cologne Sound Artists Peter C. Simon and C-Schulz travelled during the holy week of 2003 into the heart of the "polish Jerusalem" and condensed their recordings of the Easter Liturgy into a pilgrimage to a unknown realm of sound.

Soloist:
Andreas Gogol, guitar

*
Acoustical Visions of Venice (2000)
Bill Fontana (* 1947)
042.19 min.

Bill Fontana (born 1947) is an international wellknown and successful sound artist. He studied philosophy and music at the New School for Social Research in New York, with Philip Corner and others. Following a prolonged stay in Australia, he was a guest artist in Germany and Japan. The composition of sound sculptures began in 1976; Fontana has since produced a large number of works in this genre. The compositions and live sound sculptures realised for the Studio Akustische Kunst have been of central importance for Fontana's artistic development; they include Entfernte Züge (Distant Trains), Metropolis Köln (Metropolis Cologne), Ohrbrücke Köln - San Francisco (Ear Bridge Cologne - San Francisco), Reise durch meine Klangskulpturen (Journey Through My Sound Sculptures) and Der Klang der stummen Flöte (The Sound of an Unblown Flute), Satelliten-Klangbrücke/Soundbridge Köln - Kyoto and Wave Trains.

Acoustical Visions of Venice was a site specific installation placed on the façade of the famous 15th century customs house, the Punta della Dogana. (The installation was commissioned by the Bohen Foundation and organized by the Peggy Guggenheim Collection).

It explored the idea of hearing as far as you can see, as microphones with transmitters were placed in the amazing visual panorama that surrounds the Dogana. The interaction between the visual and acoustic sometimes worked on an immediate and dynamic way. Sound events in the Venice Lagoon such as bells or ship horns would reach the Dogana at the speed of light prior to their natural arrival at the speed of sound, creating a temporary multi-dimensional reverberant zone. The ongoing ambient transmission lay more in the realm of hearing as far as one can imagine as unseen ambient events created a changing sonic texture of familiar Venice sounds.

The fundamental compositional idea is to explore the changing spatiallity of sonic perception from the layered sound textures of Venice. These textures include multiple perspective bells and ship horns, various rhythmic textures of moving water and moored gondolas, footsteps, voices, pidgeons and birds.

Dois ao Quadrado 12 | 12 | 09 Outstanding Event Ars Acustica II

2009-12-11T17:21:00.023Z

Dois ao Quadrado preenchido com a segunda parte da transmissão do Outstanding Event Ars Acustica, uma recente oferta do grupo Ars Acustica da União Europeia de Radiotelevisão que reúne 29 obras seleccionadas e produzidas pelos países membros desta entidade (UER). Uma oportunidade de escutar um reportório pouco divulgado (sim, já dissemos isto).

A playlist apresenta excertos das obras e respeita o alinhamento da emissão.

Outstanding Event Ars Acustica Info

2009-11-30T15:22:00.031Z

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)

*
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

*
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)

*
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.

*
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.

*
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.

*
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.

*

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

*
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

Dois ao Quadrado 29 | 11 | 09 Outstanding Event Ars Acustica

2009-11-28T20:35:00.055Z

Dois ao Quadrado preenchido com o Outstanding Event Ars Acustica, uma recente oferta do grupo Ars Acustica da União Europeia de Radiotelevisão que reúne 29 obras seleccionadas e produzidas pelos países membros desta entidade (UER). Uma oportunidade de escutar um reportório pouco divulgado.

A playlist apresenta excertos das obras e respeita o alinhamento da emissão.

A segunda parte desta transmissão será apresentada no horário de repetição do Dois ao Quadrado, 12 de Dezembro.

Escutar programa completo

2009-11-21T22:52:00.007Z

Mais tarde do que nunca, o referido concerto do Above The Tree, ao vivo no Geraldine, para download. Apesar do que parece o som está fiel.

2009-11-21T19:30:00.058Z

Este Natal, Rudolfo, a Rena, aconselha:

Diário da tua ausência

uma carta de amor apaixonada

e comovente que ensina os homens a acreditar

no amor das mulheres.

~~Dedicado~~

A todas as mulheres que amam e sabem esperar.

Para todos os homens que querem,

mas não as sabem guardar.

Uma edição Oficina do Livro, texto original escrito e narrado a capella por Margarida Rebelo Pinto, com direcção de voz de Alfredo Brito. Gravação e edição de Carlos Ferreira.

Desmentido: Qualquer semelhança entre a versão da playlist e a gravação original é deveras coincidência.

Dois ao Quadrado 25 | 10 | 0 9 & 14 | 11 | 09

2009-11-20T16:11:00.014Z

Sumário

2^2 ou: O Rosa e o Negro. Temas de The Eternal dos Sonic Youth & excertos do álbum Hyperrealism-Electroacoustic Music, de Noah Creshevsky (um virtuoso do sampler) & os temas Solstice Sample, Three Subeams e Turkish Square do álbum Sounds of Sacred Places, de Moniek Darge (gravações de campo processadas electronicamente, ausentes deste resumo) & ainda Robert Schumann com o ciclo Dichterliebe nas interpretações de Matthias Goerne e Vladimir Ashkenazy & ainda Just Relax Girl e Aida: dois psico-dramas da histórica e soberba série All Chemix Radio do colectivo encabeçado por Willem de Ridder & uma generosa selecção do áudio-livro Diário da tua ausência, escrito e lido por Margarida Rebelo Pinto, aqui com a banda sonora sugerida de The Piano, de Michael Nyman & ainda há mais, como uma visita áudio-guiada ao Museu Calouste Gulbenkian & canções nostálgicas do álbum Segredos, de António Sala & destaque para o exclusivo do concerto ao vivo no Geraldine, no passado 11 de Novembro, do projecto a solo Above The Tree, de Marco Bernacchia, subintitulado Blues Animal de Itália. Agradecimentos a ele e à ~~Associação Terapêutica do Ruído~~. Próxima emissão 29|11|09

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Dois ao Quadrado 27 | 08 | 0 9 & 10 | 09 | 09

2009-08-27T01:34:00.011+01:00

Sumário

Opera, a primeira produção da série All Chemix Radio, com, e de, Willem De Ridder, Cora Emens, Nicole Veldman e Hessel Velman. Excerto de How it is, de Samuel Beckett, lido por Patrick Magee (um single). Field recordings de Philip Perkins reunidos no álbum Drive Time. O documentário áudio Mai 68, de Guy Chalon e Yuri Korolkoff. Canções Zulus da África do Sul. Mais informações e downloads em http://continuo.wordpress.com/
Excertos do duplo CD SuperTexture, do guitarrista Gary Smith e ilustres convidados. Liederkreis, Op.39 de Robert Schumann nas interpretações de Matthias Goerne e Eric Schneider. Como de costume, sons encontrados, provocados e processados: o prontuário sonoro da RTP, um dedo que desliza num espelho, a avaria de um cano, a música de rua e demais cacofonias.

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Próxima emissão: 30 | 10 | 09

Dois ao Quadrado 26 | 07 | 0 9 & 08 | 08 | 09

2009-07-26T01:36:00.009+01:00

Sumário

O folhetim da banca. Selecções do livro João Rendeiro, Testemunho de um Banqueiro, redigido por Myriam Gaspar, numa interpretação livre de João Patrício com acompanhamento de uma sessão de fados castiços na Tasca do Careca. Cortes do «audiobook» O banqueiro anarquista, de Fernando Pessoa, lido por Filipe Vargas. Uma cornucópia de boletins noticiosos do assunto em questão. Uma emissão da Rádio Vaticano sobre a recente encíclica papal Caritas in veritate. Alertas quanto aos perigos da doença de Alzheimer. Música étnica dos paraísos fiscais da Madeira, Porto Rico, Suíça, Ilhas Cook e Cabo Verde (esta última na verdade não constando da lista oficial dos paraísos fiscais). Os álbuns Dead Kennedys dos Dead Kennedys e Dub Housing dos Pere Ubu (assim, sem acentos). Extracção áudio de filmes de propaganda financeira made in U.S.A nos anos 50 e 60. Outras músicas Easy Listening e diversos risos enlatados. O salmo Deus judicium tuum de Telemann e também o Coro Infantil do Conservatório de Lisboa com arranjos de Tomás Borba. E quem canta Pomba branca é mesmo Manuel Dias Loureiro.

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Próxima emissão: 30 | 08 | 09

Dois ao Quadrado 31 | 05 | 09 & 13 | 06 | 09

2009-05-31T01:38:00.006+01:00

Sumário

"Mas Exitos Romanticos" de Olga Guillot com a Orquestra de Nacho Rosales; "Tijuana Moods" de Charlie Mingus; "New Picnic Time" dos Pere Ubu; "Icky Thump" dos White Stripes; Polifonia mexicana barroca de Juan Gutiérrez de Padilla; "La Huasteca", danças e huapangos da região de Huasteca, México; Hip Hop do Cartel de Santa; canções da série Topo Gigio, versão mexicana; Excertos de "The Sound of Sight, music for an experiment in imagination" de Ray Martin.
Remontagens de noticiários sobre a gripe mexicana e outras contaminações; excertos de uma sessão no parlamento europeu; peças de William Burroughs; excertos de emissões da Radio Insurgente Zapatista (canções, indicativos, declarações, folhetins); publicidade da rádio e televisão mexicana. Gravações históricas mexicanas de gramofones e gravações de campo mexicanas (festas sacras e profanas) e cá da casa (manifestações públicas e privadas).

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Próxima emissão: 28 | 06 | 09

Dois ao Quadrado 29 | 03 | 09 & 11 | 04 | 09

2009-03-29T02:40:00.008+01:00

Sumário
Música dos bosquímanes Ju'Hoansi da Namíbia, o álbum Modern Dance dos Pere Ubu, Chants of Frozen Lakes, de Marc Namblard (que consta da gravação dos sons emitidos por um lago gelado ), árias de operetas portuguesas interpretadas por Elsa Saque, Fernando Serafim, Armando Guerreiro e Elisete Baian com a orquestra de Rocha Oliveira ; Excertos dos filmes Rambo IV, Die Hard IV, Resident Evil III e Branca de Neve (de João César Monteiro). Vários gigabytes de gravações de campo originais: de um pára-brisas a uma Via Sacra.

Dois ao Quadrado 22 | 02 | 09 & 14 | 03 | 09

2009-02-22T01:41:00.007Z

O que se passou nesta emissão
Jazz gravado ao vivo com o concerto dos Woods na Associação Bacalhoeiros a 12 de Fevereiro. Os Woods são compostos por Bruno Parrinha (clarinete alto e clarinete), João Pedro Viegas (clarinete baixo), Miguel Mira (violoncelo), João Camões (viola de arco) e João Parrinha (bateria). Por sinal, que não de acaso, um excelente concerto.

Sumário

Na mesma fatídica noite, a um intervalo de distância, Goran Titol (& The Electric Salamanders) tocou laptop e teclado midi e projectou animações video . Não o gravámos mas extorquimos-lhe os ficheiros de som. Goran Titol é um dos possíveis projectos musicais de André Infante Ferreira que se encontra exilado em Moura, Alentejo, a cumprir pena por uma impudícia estética que mistura com o maior dos humores Jazz, Pop, gravações de campo e síntese electrónica. Aqui neste resumo "Pássaro Azul, Sonho" (aos 00'05") e "Short Song" (a rematar).

Quanto ao resto, actualizações discográficas:
Artefacts of Australian Experimental Music 1930 - 1973 [SHAM050]
Uma recolha das tradições aborígenes da música experimental australiana. No resumo o Melbourne Dada Group de Barry Humphries (aos 08'40" ).
http://www.shamefilemusic.com/artefacts.html

Future Folk / Borders de Mike Cooper. CD-R não disponível comercialmente; versão reeditada do CD "Borders" [Hipshot 019]. Os interesses cruzados do veterano Mike Cooper, o fanático do Pacífico: Canções, guitarra acústica, electrónica, improvisação, composição e gravações de praia ("Spirit Song" aos 11'17").
http://homepage.mac.com/cooparia/Menu40.html

It's Up To Us To Live de Lawrence English [sirr 0032]. A música experimental de hoje passa pela Austrália e é editada em Portugal (aos 12'56").
http://www.sirr-ecords.com/cat/032.html

Peças de Joseph Brian Davis, uma entrada recente da enciclopédia Ubuweb ("Yesterduh" aos 14'50").
http://www.ubu.com/

Dirty Ear [errant bodies-records,ebr-04] de Brandon LaBelle: "Hiper-construcções, representações neuróticas, micro-composições concebidas como contra-sonoridades para locais específicos, ambientes ingeridos e regurgitados enquanto fantasias audíveis". No resumo: "Parking Lot", aos 18'30"
[errant bodies-records,ebr-04]
http://www.errantbodies.org/ebr_labelle.html

Villages, Vestiges, o resultado da colaboração entre a artista plástica Wan-Shuen Tsai e o som de Yannick Dauby, a propósito da memória dos locais. Peng-Hu, na Formosa, e Cunhlat, França. CD integrado no catálogo do projecto (21'50").
http://www.kalerne.net/shejingren

Próxima emissão de Dois ao Quadrado: 29 | 03 | 09

Dois ao Quadrado 25 | 01 | 09 & 07 | 02 | 09

2009-01-25T01:42:00.009Z

Sumário

Comecemos
Em plena recessão ecuménica procurámos alívio numa sessão de Bingo. Saiu-nos uma linha torta em cem e o consolo acústico de um Mantra numérico, debitado, amplificado e revezado por vozes femininas e pontuado por exclamações de epifania. Ao mistério dos números acrescemos o mistério do verbo e gravámos (alertados como fôramos de que a Respiração, Dicção, Colocação e Projecção de Voz, além da Organização do Discurso e Postura são hoje uma arma essencial para o sucesso pessoal e profissional) a parte do: Curso Intensivo de Oratória/Falar em Público, leccionado por Nuno Miguel Henriques (a quem agradecemos, bem como aos formandos, por nos abrirem as portas). Confirmámos o inefável dos mistérios com recitativos secos das paixões dos evangelhos e seguimos pra bingo.

Primeiro número
Transmissão de "Book of Hours", com João Silva (taça de cristal e sino), Paulo Raposo (electrónica e espacialização) e Carlos Santos (copo cristal e sino). Concerto realizado na Cúpula do Panteão Nacional, dia 17 de Janeiro às 21h30 integrado no Ciclo Internacional de Performance.
"Book of Hours foi concebida para o espaço particular da nave central do Panteão Nacional. 40 metros acima do solo João Silva caminha pela galeria circular usando uma taça de cristal percutida e friccionada com uma baqueta. Paulo Raposo faz o processamento deste som e difunde-o no espaço usando seis monitores, espalhados simetricamente pela nave. Carlos Santos desloca-se pela audiência gerando sons com um pequeno copo de cristal e um sino tibetano.
Todas estas fontes sonoras pretendem criar uma modelagem acústica do espaço arquitectónico, propondo-o como inerente à performance em si mesma e desempenhando um papel essencial na escuta multidimensional."
Gravação ao vivo cedida pelos músicos com estreia rádio nesta emissão. Seguinte número.

Dois.Linha
Transmissão do concerto de Bernhard Gal no Século, realizado dia 22 de Janeiro, com os convidados Ernesto Rodrigues (viola), Carlos Santos (laptop) e Adriana Sá (Saltério e laptop). "Bernahrd Gal é um artista austríaco que criou na última década cerca de 50 instalações e projectos no âmbito da media art, que combinam as dimensões do espaço, som, luz e imagem em trabalhos artísticos interdisciplinares (concertos, instalações sonoras, exposições e retratos rádio)". Transmissão ainda de parte de uma conferência dada por Gal na Faculdade de Belas Artes, dia 23 de Janeiro, bem como de composições de "Relive", último CD do artista.
Aqui em anexo áudio o último set, com todos os participantes, do já referido concerto.
Na foto Bernhard Gal é o segundo a contar da direita.
Continuamos pra bingo

Três. Anunciaram bingo
Tendo em conta as críticas acerca da "McDonaldização" da Antena2 transmitimos diversas gravações de ambientes destes estabelecimentos. Experimentámos uma cornucópia de hamburgers e sobrelotámos as caixas de sugestão com títulos de menus de A de Albinoni a X de Xenakis. Peggy Lee interpretou na década de setenta um jingle para a McDonalds e desde então dezenas de cançonetistas mais ou menos anónimos saudaram musicalmente a eleição de Barack Obama. Talvez por isto seja impossível acusarem-nos de omitirmos a existência de compositores modernos com o apelido McDonald. De tudo isto, além de duas idas à farmácia e da conversa de três russas, demos testemunho. E era isto que queríamos dizer quando falávamos em coerência temática.
Mais ao bingo? Jogada terminada.
Próxima emissão: 22 de Fevereiro.

Dois ao Quadrado 28 | 12 | 08 & 09 | 01 | 09

2008-12-28T01:43:00.008Z

Palavras:
- Extractos do áudio-livro Vencer de Jack Welch, com Suzy Welch, lidos por Paulo Coelho (não o autor brasileiro); Nas palavras de Belmiro de Azevedo, em epígrafe na capa do triplo CD (Actualeditora): “Um livro de fácil leitura, com uma linguagem directa e que vale a pena ler, reler e estudar”. Capítulos ou faixas utilizados: Voz e dignidade – Todas as mentes no jogo; Orçamentação – Reinventar o ritual; Formas de despedimento – É difícil deixar ir; Crescimento orgânico – Quando quer começar algo de novo; Conclusão final – As perguntas que quase escapavam.
Em jeito de contraponto ou comentário lírico ao mestre do pragmatismo financeiro:
- Poemas ou excertos de poemas de Ruy Belo, lidos por Luís Miguel Cintra.
Após o ensaio e a poesia, a ficção:
Dois singles encontrados na Feira da Ladra, com duas histórias infantis ilustradas: O gigante egoísta, de Oscar Wilde, e A bela adormecida, dos Irmãos Grimm. Adaptações livres de Allan Lima, Letra e música de Fernando Lobo e João Melo. Bloch Editores, Colecção Pais & Filhos, Brasil, 1969.

Sumário

Música:
- Diversas faixas do vinil The Best of The Kilima Hawaiians. Etnomusicologia insuspeita já que inclui na contracapa um certificado de reconhecimento pelo prefeito de Honolulu que assim outorga a Mary e Bill Buysman (autores do projecto recreativo) o título de Kamasinas honorários. Exemplos de faixas: On the beach at Waikiki; Waikiki March; Hawaiii Tatoo; Aloha Oe; Farewell Hawaii; Farewell My Darling, Farewell e Goodbye Hawaii. Edição da CBS, (ASF 1617), P1971.
- A Varsoviana, canto popular, na interpretação dos Coros do Exército Russo, Coros Académicos da U.R.S.S. e Coro e Orquestra Sinfónica da Rádio Moscovo. Direcção de Alexandre Gaouk. Edição Musidisc, Collection Variétè.
- Fête des Belles Eaux, de Olivier Messiaen. Ensemble d’Ondes de Montréal, ed. Atma
- Corais de J. S. Bach, das cantatas BWV 16, 28, 41, 43, 53,91, 121, 133, 141, 143, 153, 171 ; Coro Monteverdi, Solistas Barrocos Ingleses, Dir. John Eliot Gardiner.

Gravações de campo:
- Uma dúzia de temas de um cantor de rua.
- As opiniões de um cidadão comum acerca da economia internacional e nacional, bem como das mini-saias.
- O discurso inflamado de um cidadão menos comum na estação de metro dos Anjos sobre a difícil situação em que se encontra a Santa Casa da Misericórdia.
- Onomatopeias de um palhaço de rua no Chiado.
- Uma profusão de pregões de vendedores de guarda-chuvas e de cauteleiros da lotaria de Natal no Rossio e no Corte Inglês.
- Ambiente antes de um jogo no Estádio da Luz; o apelo à compra de cachecóis e os cânticos dos fiéis.
- Declaração de intenções de um Messias Britânico, despido e atado a uma árvore numa noite de nevoeiro na Calçada do Combro. Os comentários dos espectadores transeuntes. Performance integrada na animação artística levada a cabo pela associação ManPower com o objectivo de revitalizar a Rua do Poço dos Negros.
- Uma tarde na Feira da Ladra.
- Ambiente tranquilo captado na Igreja da Misericórdia onde se consegue ouvir um toque de um telemóvel.
- Anúncios de actividades levadas a cabo pela Câmara Municipal de Lisboa, tais como um insuflável para crianças e visitas ao Ministério da Justiça.