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Tempo Reale - Villa Strozzi - Via Pisana 77 50143 Firenze
Scientific & Music Program May 20-22 2011



Bruno PISEK More Listeners. Less Recordings.

To make listening possible seems to be as important as composing new pieces.
Because: it is not only exciting to record the inner life of an anthill and compose a piece with that material. It is necessary as well to bring listeners to the point to listen to these soundworlds, independend from new pieces.
Which at the end also, from one point of view, also just increase the noise level of our world. It seems to be necessary to make this ‚listening to’ possible. That means to move the listeners into the same position of curiosity, which moves us to record and compose.
We are able to create breathers through our work - compositional and as field-recordings - and lead the listeners to the point, that listening to something is an act similar to composing and recording.
I want to explain this intention, to support that kind of listening as one of the compositorial duties, with two examples:
with Example 1: In the radio-piece "Sshhh" there is an alternation between very faint sounds and clearly audible sounds. The very faint sounds have been an irritation for the listeners, which then heard more from their environment than from the piece. And these very faint passages have been a big challenge for the broadcasting station. Because for the duration of the broadcast all emergency transmitters had to be switched off, which otherwise would have started automatically at a longer period of silence.
with Example 2: In the just growing piece "The Geology of Sound-letters" the audio-images are developing out of several narrated sound-scapes and soundwalks told by different voices. The spoken words are changed into sounds by electro-acoustic treatment, which by theirselves are also telling part of the narrated stories. And on a third level the situations are additionally told by sound-poetic and onomatopoetic elements. The fascination of "listening to" evolves from the narrated fascination in the
spoken text and by the unusual but in its narrative style conclusive form of the piece.
What is the value of sound? Economy of listening: what exchange and interchange means in speaking and listening is understandable. In "only listening to" the exchange seems to be not so clear anymore.
Ecology of silence and listening: the reduction of the permanent activation of the nervous system. the increase of the number of sounds and the increase of the volume of sounds is slowly recognized, analysed and valued as part of an ecologic overall system. Which historic value has the sound I produce - for me, for the listeners?



* 1962, lebt in Wien. Komponist. Studien an der Universität Wien: elektro-akustische Komposition bei Dieter Kaufmann, Kommunikationswissenschaft, Theaterwissenschaft. Schule für Dichtung in Wien. Kompositionen, Radioarbeiten, Filmproduktionen.
Werke für Soloinstrumente, Ensembles, Stimme, Sprechchor, Elektro-Akustik, Elektronik, Field-Recordings, Soundpoetry, Filmmusik. Eigenes Label: stimmdruck. Radioarbeiten für das Kunstradio. Tonmeister für Spielfilme und Dokumentarfilme.
Related website: ORF Kunstradio: http://www.kunstradio.at/Kompositionen / Soundpoetry / Radioarbeiten / Hörstücke: (aktuelle Auswahl)
"Periferic" Bogdan Apetri Viennale 2010, "Future of Future" Dox Prag 2010, "Zeitökonomie"
BR2 2010, "Alfred Brendel: Lectures" Mark Kidel 2010, "Dul Mayrau" Mayrau/Prag 2010,
"Du und Ich" Kurt Mayer Film 2010, "fAbia" Festival Divadlo Hradec Kralove 2010, "Hot Pot"
Elisabeth Flunger Echoraum 2010, "dj 16 〫 23' 26"" rhiz 2010, "Sshhh" Kunstradio 2009,
"Gedächtnisfeuerung" BR2 2009, "Das fast vergessene Werkzeug" 5 Stücke aus dem Max Brand
Synthesizer 2009, "Sind Teil von" Akkordeon solo 2010, "Lyrebird I+II" Flöte Solo 2008-2009,
"Spiegelstimme" 2009, "Draughty House" Agnieszka Kalinowska 2009, "Karl Flanner" Franz
Berner 2009, "Mistrust Words" soundpoetryfilm 2009, "Europa Kreuzweise" Blixa Bargeld 2009,
"Das Schreiben und das Schweigen" Carmen Tartarotti 2009;

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