Virtual Sound Space / Real Space Sound

acousmonic music in the sound gallery / winter church in Parochial

Franz Martin Olbrisch«s cycle as closing event before the winter break




saturday, october 5th, 1996      8:00 pm   Opening Concert
      Kanon á 7    25«22««
      beat    25«22««
      velvet noise    64«30««
 
  10:00 pm    Rhythms
      some people like cupcakes only    31«20««
      Zeitquant (8-Spur Version)    47«30««
      ¡Garrulas aguas!    16«10««
      Schichtwechsel    63«57««
 
sunday, october 6th, 1996      1:00 am   The Long Night
      197 Augenblicke aus dem Leben der Schleimpilze    15«30««
      Bicinium    63«57««
      Virelai    31«20««
      94 MB    63«57««
      adieu ma joye    104«34««
      Im Labyrinth der Zeiten und Orte    34«15««
      Turbulenzen    71«03««
      Begegnungen des John Scott Russel    63«57««
 
  8:30 pm   Morning Concert
      "Klassik zum Frühstück"    71«03««
      blow[z]y    14«45««
      Redundanz    34«15««
      son-io-gramm    21«19««
 
  11:00 am   Matinée Concert
      Studio    22«36««
      blow[z]y    14«45««
      Gravitation (8-Spur Version)    48«00««
      Das Abwesende zum Sprechen bringen    25«22««
      Bruchstücke    71«03««
      Das Ergebnis    79«56««
 
  3:30 pm   The Virtual Orchestra
      Saitenwechsel    25«22««
      "..." (Iteration)    21«51««
      Kanon á 3    35«31««
      ...zwischen ihnen war ein Spalt...    63«57««
 
  6:00 pm   Closing Concert
      studi & speaker    11«30««
      ... and some tape runs on in silence    32«30««
      Bimmelfunk    12«27««
      Erinnerungen    31«29««
      Kanon á 11    24«25««

additonal: akustisches wegeleitsystem

In connection with the Donaueschinger music days in October 1993, an unprecedented and newly finished sound space project was displayed: a "Radiophone Installation" which functioned by means of a specially installed radio transmitter. Fascinated visitors and locals could hear the project, titled "FM o99.5", over the radio for the entire duration of the festival (48 hours) - the sound space consisted of the entire city area.
Numerous attempts were made to create a stage concert out of parts of the cycle, but it wasn«t until July 1995, following an invitation from the architecture department of the Technical College in Darmstadt, that success was achieved - the first concert performance of the entire 48 hours. This performance form was repeated a few times, until Martin Olbrisch became ever more convinced that the concert version needed its own character: he took some parts out, shuffled the remaining bits around, and narrowed the total length down to 24 hours. Olbrisch also recently decided to include in every subsequent performance at least one new composition that would replace an older one, so that the entire work would always be transitory, changing slightly with every new act, a sort of epigenesis of form.
But the cycle is neither a radio programme - only the surface form of the initial version was lent to a regular station - nor a sound installation to be listened to inside out; it is best characterized as a virtual concert. It is a network of relationships between music, commentary, sound, and voices in that the used elements are taken from various acoustic situations that raise paradoxes: as, for example, when a string flageolet is louder than an orchestral tutti; when a hissing, wheezing flute blows an entire wooden wind instrument ensemble away; or when in the middle of a concrete situational description the music suddenly breaks and turns around.
"FM o99.5" is an adventure space that mirrors itself in its architectonic surrounding. It can be created in many spaces, causing them to be defined them in a new way and lending them a new reality. The architecture of a space, its physical characteristics and its socio-cultural surroundings can be explored in detail through acoustic-harmonic loudspeaker arrangements that are specially designed for each place. What results is a virtual sound space in a real space sound.