Radio Picnic » Musica per la radio

MUSICA PER LA RADIO

Radio — Tue, 08 Sep 2020 12:26:37 +0000

A series of concerts conceived for the radio and transmitted exclusively on the radio
We talk about Music for the radio because we believed in an initial hypothesis where specific music for the radio exists and whose optimal listening conditions are through the radio, through the radio device and through the radio speaker.

2020
12 July at 20h00: Marc Vernon
19 May at 20h30: Ma Fille
19 May at 20h00: Charo Calvo
7 Avril at 20h00: Caroline Profanter
15 February at 20h00: NuR

2019
18 June at 20h00: Tatum Rush
21 May at 20h00: Taimashoe
16 April at 20h00: Anita
26 March at 20h00: Bit-Tuner
2 March at 20h00: Feldermelder

2018
23 June at 20h00: Lacôme & Frigeri
30 May at 20h00: Martina Lussi
25 May at 20h00: Sapin Magique
19 May at 20h00: Flo Kaufmann
12 May at 20h00: Karen Geyer
21 April at 20h00: Alexandre Joly
14 April at 20h00: Strotter Inst.
27 March at 20h00: Massicot
14 March at 20h00: Joke Lanz
10 March at 20h00: Simon Grab
17 March at 20h00: Antoine Läng
3 March at 20h00: Olga Kokcharova

1 h excerpt from 2018 season

Streaming on LapTopRadio.org and Radioartemobile.it
Broadcast on Colaboradio Berlin (88.4UKw), Radio Campus Brussels (92.1UKw), Resonance Extra UK (DAB)

It was and remains necessary to see the radio not only as a medium but also as art.
Radio art is discordant with radio and music in their traditional perceptions. Music in particular, in its classical diffusion, does not adapt efficiently to the radio medium, because it is not designed for this medium and does not take consideration of its specificity and its paradigms.

Radio should avoid dealing with finite temporal objects with a beginning, a middle and an end, as to avoid to have comprehensible form and avoid the way of predictable appearance. That means having an open acoustic final result and welcoming the idea of losing the control. Considering that we never know how the music is heard, every radio listeners’ ear perceives a different piece and creates its final version from a framework of possibilities.

This restriction has always shaped this kind of art more than could the restriction of the five staves from the musical notation storage medium ever define composition. And we believe that all this paradigms have to be considered while creating music for radio. From the side of the broadcaster and the side of the listeners.

Joke Lanz

Flo Kaufmann

Strotter Inst.

Karen Geyer

Massicot

Martina Lussi

Simon Grab

Sapin Magique

Olga Kokcharova

MARK VERNON

Radio — Sat, 25 Jul 2020 12:18:03 +0000

Mark Vernon is a Glasgow based artist who explores concepts of audio archaeology, magnetic memory and nostalgia through his sound works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound, obsolete media and the reappropriation of found recordings. A rich collection of domestic tape recordings; audio letters, dictated notes, home sing-alongs, answer-phone messages and other lost voices find their way into his unorthodox soundworlds. These diverse elements are incorporated into radiophonic compositions for broadcast, fixed media and live performances.

His solo music projects have been published through labels including Kye, Glistening Examples, Flaming Pines, Misanthropic Agenda, Entr’acte, Canti Magnetici, 3Leaves and his own meagre resource imprint.

A keen advocate of radio as an art form, he co-runs Glasgow art radio station, Radiophrenia and has produced programmes internationally for stations including Resonance FM, VPRO, CKUT, Sound Art Radio, Kunstradio, Wavefarm, RADIA and the BBC.

http://meagreresource.com

Call Back Carousel: Voyages en Grèce
An audio time-travelogue. A found sound road trip. A vicarious vacation.

The basis of this piece is a found reel-to-reel tape labeled ‘Voyage Grèce en 1972’ bought from a flea market in Brussels 15 years ago. As might be expected it is a document of a Belgian family camping holiday to Greece. One side of the tape is an audio diary of sorts documenting the trip moment by moment, much of the time recorded in the car in between destinations it seems. This side runs to an epic 3 hours on long play. The other side is a recorded slide show commentary over a backdrop of traditional Greek music at a more modest 2 hours. Although it becomes apparent that there is a wife (referred to only as ‘bobonne’) and child in tow we only ever hear the voice of the father. They don’t even appear in the background. Maybe they were mic shy or maybe they were just never given a look-in. Either way their absence on the tape is perplexing.

I had been invited to Brussels this summer to make a new radio piece for Radio Picnic’s ‘Musica per la radio’ series. I was also supposed to be going on a family holiday to Greece but because of obvious circumstances neither trip has happened. Out of necessity the production of this radiophonic excursion has been my way of taking a holiday without travelling anywhere –
a sonic souvenir from a vicarious vacation.

In the composition of the piece excerpts from the tape have been combined with my own field recordings from holidays in Greece decades later in 2005 and 2015. Holiday memories of Greece from different times have been transposed on top of one another, intermingle and become confused. In addition, improvisations with a collection of objects selected for their sound making properties that were bought from the flea market at the same time as the tape have also been incorporated.

Commissioned by Radio Picnic for Musica per la radio.

Special thanks to everyone who helped me with translations: Elina Bry, Selene Mauvis, Jonathan Frigeri, Dinah Nuttall, Anne-Louise Kieran, Sonia Dermience, Inès Guffroy and Meryll Hardt.

Extra thanks to Elina Bry for additional Athens field recordings.

CHARO CALVO

Radio — Sun, 31 May 2020 07:27:49 +0000

Charo Calvo studied Physic Sciences at Universidad Autonoma de Madrid, she was an active member of the theater company of the university and became a dancer after an unexpected workshop given by an American dancer of Martha Graham in Madrid in 1980. She arrived in 1987 to Brussels as a founder member of the dance company ‘Ultima Vez’ directed by Wim Vandekeybus, for their first performance ‘What the body does not remember’. Their collaboration lasted four years, international touring and she danced in four new performances and the video dance ‘Roseland’. Giving away dancing in 1992, she started her studies on Electroacustic Composition at Conservatoire de Mons, being diplomated with distinction in 1999. She followed number of workshops in electronic music in Paris and Antwerpen.
https://charocalvo.org