Monat: Januar 2022

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framework radio | #783
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Soundscape Røst – Spaces and Species Vol I | Elin Már Øyen Vister

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Gruenrekorder @ Bepi Crespan
CITR’s 24 HOURS OF RADIO ART in a snack size format!
https://www.citr.ca/radio/bepi-crespan-presents/episode/20220107-1
https://www.citr.ca/radio/bepi-crespan-presents/episode/20220117-1

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Review | By textura
Mahler (in/a) Cage | Casetta di Composizione – Sergio Armaroli & Alessandro Camnasio
The booklet included with the physical CD release of Mahler (in/a) Cage, the latest addition to Gruenrekorder’s Field Recording Series, provides helpful context for the recording. In the “Preludio,” the work is described as a “possible reconstruction of a hypothetical and natural soundscape, within Mahler’s music or rather his musical imaginary following some archetypal signals (e.g. cowbells, birdsongs).” Even more helpful are notes by Alessandro Camnasio, credited as the sound engineer for Italian sound artist Sergio Armaroli’s project. Referring to the process by which details at the site were first captured and then subjected to shaping in the studio, he states that de-noising processing was used to purge the field recordings of car and machinery noises in order to “recreate a soundscape closer to the one that Mahler probably heard during his stays in Dobbiaco.” Further to that, water sounds were coloured with resonances tuned to specific frequencies from Das Lied von der Erde (The Song of the Earth) and the soundscape sculpted to reconstruct “Mahler’s subjective listening experiences in those places.” […]

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Review | By Guillermo Escudero / Loop
Mahler (in/a) Cage | Casetta di Composizione – Sergio Armaroli & Alessandro Camnasio
Gustav Mahler lived his last years in the town of Dobbiaco / Toblach (Bozen), Northern Italy, where he composed the work “The song of the earth” (“Das Lied von der Erde”) between 1907 and 1909. This work was carried out in the period of the year in which Mahler himself resided in Dobbiaco and the purpose was to evoke the soundscape that accompanied Mahler when he composed the aforementioned work. The recording session was completed in the summer of 2020 by the Italian Alessandro Camnasio, Italian composer, sound designer, editor and sound engineer, together with Sergio Armaroli, sound artist and vibraphonist who currently lives in Milan. Field recordings include water, cars, animals, birds, tractors, bells, children playing, and the hum of the field being held like a drone. […]

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Mahler (in/a) Cage | Casetta di Composizione
@ ACL 2021 ~ Top Ten Field Recording & Soundscape
The natural world existed long before the creation of instruments: music made by wind and waves, birds and beasts. During the pandemic, many people have rediscovered the aural joys of nature: music that is always playing, and that can best be heard without headphones. Field recording artists capture these sounds like others do photographs, and share their sonic souvenirs with the world.
This year’s picks travel from the heat of a volcano to the frigidity of Antarctica, with pit stops in between: rainforests, greenhouses, hidden islands and rivers. Some of these sounds exist a long plane ride away; others have been lost forever; still more wait just outside our windows, waiting to be heard. […]
Mahler recorded Song of the Earth in the cozy environment of the Composition House (pictured at the top of this article). Over a century later, Armaroli and Camnasio attempt to recreate his sonic environment using concepts from Cage. Toward the end of this imaginative reconstruction, the strains of Mahler’s labor waft through an elaborate tapestry of rural sounds. (Richard Allen)
link

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Review | By Ettore Garzia / Percorsi Musicali
Mahler (in/a) Cage | Casetta di Composizione – Sergio Armaroli & Alessandro Camnasio
Mahler (in/a) Cage: panorami sonori fisiognomici
Sull’idea del soundscape si può certamente effettuare un’analisi temporale retroattiva per accogliere corrispondenze con il pensiero di un compositore: l’idea del vagare o passeggiare su un territorio per trovare suoni naturali da filtrare nella composizione fu una fonte d’ispirazione per molti dei compositori romantici del periodo ottocentesco. Lo fu per Schumann in Waldszenen così come lo fu indiscutibilmente per i compositori del Nord Europa che l’applicarono con soavità differenziate nella musica (da Grieg a Sibelius); un compositore come Mahler, per esempio, dimostrò di avere un amore fortissimo per alcune zone alpine frequentate fuori da Vienna, che servirono come zone-cuscinetto dell’anima: Mahler incrementò i suoi soggiorni soprattutto negli ultimi anni della sua vita, quando in essa si stavano concentrando parecchie disgrazie (la perdita della figlia, la remissione del lavoro a Vienna e soprattutto un cuore irrimediabilmente malato); il soggiorno prescelto da Mahler fu quello incantevole di Dobbiaco e gli studiosi dell’austro-boemo hanno da tempo sottolineato l’importanza di una delle sue ultime opere, la Das Lied von der Erde (The Song of the Earth) per due voci contralto e tenore più orchestra, riconoscendone un particolare valore finale, un senso di devozione alla natura con riguardo del testo poetico, posto come una riorganizzazione di poesie cinesi tradotte in tedesco. […]