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TAG And dAG in de BrAndinG presenT Alvin Alvin lucier in Den HAAg HAAg May 29 2010 coct a tallato, fom 16:00 to mght May 30 2010 lctu a fomac at th royal Covatoy of Th Hagu, 14:00
Th book cota a collcto of txt, co a tvw tvw to accomay th dag Bag ogamm book, ublh o th occao of th TAG/dag Bag vt, A l D Haa . eth is ra th ttl of th lctu by Alv Luc hl o May 30th at th royal Covatoy of Th Hagu. edtos: A A Wm Wm,, Jat lto-gat, Hham Khad Khad laot ad Ds: rowa Mcsk Ptd at Aba Aba dkks, dkks, Th Ha, Ma 2010
publh by TAG publhg, Th Hagu, www.ta004. © 2010
All ght v. no at of th book may b ouc ay fom by ay lctoc o mchacal ma wthout mo wtg fom th autho. isBn 9789490936013
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everything is real Alvin Alvin lucier in Den HAAG
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i BeLieVe THAT ... THe presenT MeTHOds OF WriTinG MUsiC, prinCipALLY prinCipALLY THOse WHiCH eMpLOY HArMOnY And iTs reFerenCe TO pArTiCULAr sTeps in THe FieLd OF sOUnd, WiLL Be inAdeQUATe FOr THe COMpOser, WHO WiLL Be FACed WiTH THe enTire FieLd OF sOUnd. ... THe prinCipLe prinCip Le OF FOrM WiLL Be OUr OnLY COnsTAnT COnneCTiOn WiTH THe TH e pAsT pAsT.. ALTHOUGH THe GreAT FOrM OF THe TH e FUTUre WiLL nOT Be As iT WAs in THe pAsT, AT One TiMe THe FUGUe And AT AnOTHer THe sOnATA, iT WiLL Be reLATed TO THese As THeY Are TO eACH OTHer: THrOUGH THe prinCipLe OF OrGAniZATiOn Or MAn’s COMMOn ABiLiTY TO THinK.
Joh Cag, Cag, xct fom Th Ft of Ms: Ms: cdo (1937) © 1958 by Joh Cag fom S by Joh Cag, Wlya Uvty p, 1961.
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COnTenTs inTrOdUCTiOn HOW eVerYTHinG BeCAMe reAL – A A Wm Wm sFeriCs – A A l noas cos epipHAnies – noas Vespers (1968) – pos pos so inTerVieW WiTH ALVin LUCier – Ato Ato ro A l MUsiC FOr sOLO perFOrMer – A CHAMBers (1968) – pos pos so i AM siTTinG in A rOOM – ots: noas cos r edado Pas Pas inTerVieW WiTH niCOLAs COLLins – r OperA WiTH OBJeCTs (1997) – pos pos so BiOGrApHies ACKnOWLedGeMenTs prOGrAMMe OVerVieW
8 11 14 16 20 23 33 36 41 45 50 53 60 62
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inTrOdUCTiOn
s
hftg t focu fom th cotmoay to th cotuum, TAG ou to t th wok wok of gat Amca o o of xmtal muc muc a ou at, th como Alv Luc. Luc. Th vy cal to of dag Bag fatu-
ing lms, concerts, concerts, installations and a lecture lecture from the artist himself is a rst for Den
Haag, a a ootuty ot lkly to b at th nthla. nthla. dlvg to ou ou fomac twok, w aw togth two ta of aalll vlomt xmtal lctoc lctoc muc, tacg a lag though gato back to commo acto. TAG’ muc ogamm, a th w cotmoay muc mlu of Th Hagu, ha b moul by tut of th dutch como a att dck raajmak at a vy oal lvl. TAG’ AG’ motvato to bg Alv Luc to Holla oot a commtmt to explore the rich, formative inuences inuences on the current generation of Dutch experimental muca a como. Th ojct ojct cocl half a ctuy of vlomt cotmoay muc that tcoct wth Alv Luc a dck raajmak, who both hav hav ha a omou mact, tu, o gato of tut. Alvin Lucier (1931) (1931) was one of the leading members members of the inuential inuential Sonic
At Uo, a c h goubakg Ms fo Soo Pfom (1965), whch h uses brain waves as a central element, he has been a central gure in American experi mtal muc. H wok, wly fom a ublh tatoally, tac both cc a at to val th oty ht th act of ltg. ltg. TAG TAG a dag Bag Ftval t a uqu two-ay howca of th wok of Alv Luc – om of h bt kow aly aly c a mo ct ct wok, wok, may of thm dutch m, culmatg a f, o a fomac of Luc’ Sfs at th ctacula ttg of Jam Tull’ Tull’ csta vat th u u of Kjku. Kjku. Luc, who, t tug 80 xt ya tll tach comoto at Wlya Uvty, wll b t d Haag to gv fomac of votal c fom h ouv, a to lv a ublc lctu at th royal Covatoy th followg ay, suay May 30th. pfomg wth Luc wll b ncola Coll a Ch dahlg as well as recognised Dutch performers including José Pepe Garcia, autist Anne La
Bg, at r r va Hout a noa Mul, Mul, a cut tut of th ittut of soology a itfaculty At|scc. Th ittut of soology a itfaculty At|scc At|scc of th royal royal CovaCova8
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toy a tal to ay cuo of xmtal muc Holla, a t follow follow that uch a cuo mut alo b fac wth th cotbuto of dck raajmak. A t gato of att, cuato, omot fom th Blux aa who a ow actv th ma cotxt cocg w ma euo tu at th itfaculty co-fou by raajmak: Amog th a Joot rkvl, ew va H, K Tazlaa, sa va rj, dal Gb, A Wllm a th cofou a cuato of Bl’ Bl’ CTM (Club Tamal) Tamal) rmco schuub. Whl th 50 raajmak wa a atat at th lctoc muc tuo of th phl rach Laboato ehov, whch woul ov th fouato of what woul lat bcom th ittut of soology, soology, Joh Cag ha alay bought wath chag th utag of muc a fomac to Coctcut and the wider world. Cage was afliated with Wesleyan University in Connecticut
fom th 1950 utl h ath 1993; collaboatg wth mmb of th Wlya Wlya music faculty and composing and performing on campus. Cage was a primary inu c o th wok of Alv Luc fom th aly 1960 wh Luc t tm rom o a Fulbght Fllowh a wt fomac by Joh Cag, Mc Cugham, a dav Tuo. Wh L Cobu wa commo to t th phl pavlo at th 1958 Wol Fa Bul, h t o wokg wth Vaè. L Cobu a Vaè vlo vlo th th Poèm Étoq – a automat fomac fo mac wth mag, colou, ou, a lctoc muc a bulg cally g by ia Xak – fo th vu, vu, whch bcam th hghlght of th lctoc muc actvt at phl. Vaè Vaè wa ehov fo ght moth to ouc th muc a acotal ot hav dck raajmak, a youg como lvg ehov a wokg th phl tuo, cyclg ov to vt hm. -1TAG’ muc ogamm ha ha, c t cto, a clo aocato wth gauat of raajmak’ itfaculty At|scc u th cuatoh of K nug. nug, a mat’ g gauat of At|scc, cuat TAG’ muc ogamm fo fou ao, ug whch tm to fom of th cut generation, uent in a language that had much in common with the one Lucier so ught to develop and rene, were featured. Connections Conne ctions were forged forge d that wove through Hol-
la’ xmtal xmtal muc twok, bgg, bgg, fo xaml, att lk dJ sff (cut attc cto of sTeiM) to dag Bag ftval. rctly TAG’ cuatoal tam wa jo by A Wllm, a gauat of th ittut of soology a a fom tut of Luc at Wlya. i May 2007, Wllm wa tumtal cooatg TAG’ cotbuto to a alzato of Alv Luc’ 1970 comoto Qasmodo th gat lo a at of th tato tatoal al 9
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Taatoal ecolog 1: sou Tavl vt. -2it Wllm’ oal oto btw cott a gato of xmtal lctoc muc, ablg h to aw togth atcat wth cal kowlg a oal cocto to Luc, that wa th ky to th ucc of th ojct, a w a thll wth th xctg ootuty to tag uch a facatg vt. Fo th cal to of dag Bag, TAG TAG mak goo o t commtmt to Th Hagu a cotmoay auo a vual at by xlog th ch htoy of xmtal fomac, coctg att of fft gato gato that ta th am cucy, thu fotg th vlomt of xmtal at a uholg th lgacy of th aly o. o.
Hcham Khal dcto at TAG
-1- s th ocumtay c o VprO 1998: Th eto Pom: eda vaès th nthads, ct
by Wllm Hg a Hak,Ost , ouc by nlly Kam, whch raajmak ak at lgth about th tm wh Vaè wa th natLab ehov to wok o h comoto fo th t h phl avlo by L Cobu fo th Wol Fa Bul. -2- O Thuay May 10, 2007 Alv Luc’ Quamoo th Gat Lov (1970) wa fom wth t twok t wolw. Th alzato wa tat by Laua Camo a Matt rogalky ebugh, scotla a at of th tatoal Tasatoa eoos 1: Sods Ta . it wa ouc wth uot fom th ittut of Gogahy at th Uvty of ebugh, th datmt of Gogahcal a eath scc at th Uvty of Glagow, Glagow, th royal scotth Gogahcal socty, socty, a t collaboatg ttuto wolw.
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HOW HOW eVerYTHinG BeCAMe reAL
W
h i jo TAG TAG a th dag Bag latfom th fall of 2009 th uqu ootuty cam u to vt Alv Luc to Th Hagu. Luc acct my vtato, a wh ncola Coll, who wa Luc’ comoto tut th 70, acct ou vtato to fom wth Luc, vythg m to fall to lac. To To bg both Alv Luc a ncola Coll to Th Hagu to fom om of Luc’ mal c togth ma a gat al fo m, oally. oally. Nicolas Collins rst introduced me to Alvin Lucier in 1999 at the ZKM in
Kaluh. sx ya ya al ncola Coll wa th attc cto of sTeiM Amsterdam, which which is when I rst met him. I was studying electronic music at the time at
th ittut of soology Th Hagu whch tlf wa a lbatg xc. A wol o u to m h: mucal matal matal tak fom all act of lf, th u of comut co (algothm) to mak mucal co, mucal fom u to tuctu fomac ath tha tch matal, th lag vaty of cutom bult mucal instruments (from plain objects, hacked electronics, to midi-ed musical instruments
a cutom bult cotoll to lay comut atch) a th u of lctoc to tafom ou uly ma vythg m obl. obl. Aft ya of covatoy tu a clacal voc tag, tag, my utag of muc chag: ou wa a mum whch coul b cult lk clay, a muc wa a acoutc cotmoay at fom whch coul tak may mo act to coato tha uly abtact a ogaz ou. dug my tu at th ittut of soology, soology, sTeiM bcam, fo a whl, my co hom. i 1999 ncola Coll touc m to Alv Luc a two ya lat i bcam Luc’ comoto tut at Wlya Uvty. At Wlya Wlya i wa xo to om of th mot amazg muc that i v ha a oc aga my a chag of what muc a ca b, b, amly: vythg ca b (cv a) muc. 11
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— THe FeSTivAl —
i a xct by by th a of alzg a c th th csta vat by Jam Tull th u of Kjku, Alv Luc c to o a tallato vo of h c Sfs (1981), a c ogally cocv fo locato fa away fom ay cvlzato, fa away fom ay ow o ttlght. Sfs ha to b o of my favot c v. v. so Bam Vv, Hcham Khal a i ma a of tt cog ug fft tm of ay at th locato. locato. A although although lag military and sea trafc antennas are only a few kilometers away and civilisation is just
ow th hll, th Cltal Vault tu out to b fctly utabl fo th c. i Sfs “log loo ata” a batty v qumt a u to mak atual ao-fqucy mo th ooh aubl. A bcau th homa ca bt b ha at ght th tallato wll b u a ug th vg vg of th 29th utl to th ght. Th Hagu ba vual att Bam Vv bh th g a cotucto of th tallato, whch whch Bam a i hav b vlog togth. Th coct ogam at Kozo5Hoog a M2/dBk36 clu wok fom vy ca c th 60. racal aly wok uch a Ms fo Soo Pfom Pfom (1965) for enormously enor mously amplied brainwaves, brainwaves, loudspeakers and percussion instruments, a vsps (1968) fo pas pas wth had-hd hooato ds , a coutot by th latt c ou lcto, Bok l (2006) for ute, vibraphone and piano whch otably uly acoutc. Alog Alv Luc a ncola Coll, acclam dutch fom uch as utist Anne La Berge, pianists Reinier van Houdt and Nora Mulder, and percus ot Jo p Gaca of slagwk d Haag wll b fomg Luc’ chamb muc, a wll a Bl ba oubl ba lay Ch dahlg, who hmlf a fom comoto tut of Luc’. o pas wth had-hd hooato slagwk d Haag wll fom vsps (1968) f o ds (=sool), a acal c whch th fom mov aou th ak with Sondols emitting clicks at various speeds in order to nd their way and create an
mag of th ac th lt’ cto. Cut tut of th covatoy atmt soology soology a itfaculty At|scc a ag th fomac of two mlto fom Luc’ ouv: Ms fo Soo Pfo Pfom m (1965) for enormously enor mously amplied brainwaves, loudspeakers and percussion stmts whch wll b fom by Alv Luc a ncola Coll o satuay 12
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oom (1969) fo o, mopho, odspak, odspak, May 29th; a a lv vo of i am stt a oom royal Covatoy Covatoy of Th Hagu od ad pabak d wth Alv Luc at th royal o suay aftoo May 30th.
Luc’ muc a at val th c of ou a ltg. sc th 60 Lucier has been using amplied sound in unconventional ways: he listens to sound
aft t jouy though fft matal a ac, h u ou wav that a too low fo th huma a to ha but that ca ut a louak to uch moto that t ca ‘lay’ a cuo tumt. Luc u th mot ubtl vbato vbato of a a mucal matal fo h tumtal wok. Th magc l th way h mak u lt a cv. cv. Th wol ot th am aftwa. By xlog th oac of ac a matal though ou Alv Alv Luc t a tly tly w mo of what muc muc a how ltg ltg tlf a catv catv act.
A Wllm Cuato
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sFeriCs A l
s
f c th hot tm fo atmohc, atmohc, atual ao-fqucy mo th ooh, cau by lctomagtc gy aat fom aby o tat lghtg. lghtg. Th gal – oat clck a o, call twk a bok by ctt – occu th aubl ag of huma a may b ck u by ata and amplied for listening. They are best received at night, far from power lines. Oc caoally, cta fc gt caught o a tavl log tac alog th magtc ux lines around the earth, producing whistlers, downward-gliding downward-gliding signals which may
lat u to two o th co. My tt fc go back to 1967, wh i cov th Ba Uvty Lbay a c cog of oohc ou by atohyct atohyct Mlltt Moga of datmouth Collg. i xmt wth th matal, ocg t various ways – ltering, ltering, narrow band amplifying and phase-shifting – but I was unhay wth th a of altg atual ou a uay about ug omo l’ matal fo my ow uo. i wat to hav th xc of ltg to th ou al tm a collctg thm fo mylf. Wh paul Olvo vt vt m to vt th Muc datmt at th Uvty of Calfoa at sa dgo a ya lat, lat, i oo a whtl cog ojct. dt two wk of xtg ata w aco mot of th La Jolla laca a wtlg wtlg wth homma batty-oat ao cv, paul paul a i ha othg to how fo ou ffot. About t ya lat como n subltt, who wa tt tt ao wav of all k, comm a book by Calv r. Gaf, Lt to rao egy, egy, Lght a sou, whch cb a ml mtho of bulg a lag loo ata wth whch whch to cv th atual homa. Sfs wa co o Augut 27, 1981, 198 1, Chuch pak, pak, Coloao. Th ou matal wa collct cotuouly fom mght mght to aw wth a a of homma ata a a to catt ta co. At gula tval th ata w oto o to xlo th ctvty of th oagat gal a to hft the stereo eld.
sval hot aml of th ght’ actvty w lc togth choologcal o, fom 11:30 pM to 6:00 AM. A gl fat whtl ca b ha about t co aft th bgg of th cog a val mo, alog wth a fw 14
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wh (atally fom whtl), ca b ha fom about th mut fom th . Th oc hgh to (fom 10.2 to 13.6 kHz.) that cu thoughout th cog a gal fom th ma-ma Omga navgatoal sytm, whch ov ov position xing and guidance for ships and aircraft around the world.
i Ju of 1984 Sfs wa tall fo ltg ltg al tm a at of th stwok southwt, southwt, Att of eathwatch pojct, pojct, el Moo, nw Mxco. A mall aay of ata wa t u at at a camt o th th to of a ma. Th comg comg gal were routed through through the ampliers of battery-powered battery-powered cassette tape recorders to seval a of haho, o that that vto coul lt to th ou of th ooh throughout the night. From From time to time ashes of distant lightning could be seen
accoma by multaou but of fc actvty. actvty.
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epipHAnies noas cos
Armed with an echolocation device, circuit-bending circuit-bending composer Nicolas Collins nds his bearings bearings
d a pfoma of A l’s l’s vsps vsps
O
of th cula cham of Amca uvt th wam mbac of th clul alcat. A i uta t, amo to Bth hgh ucato
is predicated on one’s one’s having a pretty clear idea of a specic course of study. study. American
collg, by cotat, hav a fo fo th alcat who avow ao fo hyc, hyc, oty a otty qual mau. i wa o of tho tycal cofu 18 ya ol oul wh i av at Wlya Uvty 1972. Alv Luc’ vsps av m. O a Al ay mway though my co mt Luc t h comoto vsps a at of h cla “itoucto To To elctoc Muc”. H haed four of us blindfolds and ashlight-shaped ashlight-shaped electronic instruments called Sondols, Sondols, then dimmed the lights. We shufed awkwardly through the darkness, the Sondols
mttg tam of ha clck. Amg th tumt aou th oom oom a lting to the sounds reect off the walls and furniture, we we were told to navigate across across the
ac by cholocato, mulato of bat. W W coul wtch th tumt o a off, a chag chag th of th clck, but th outut of th sool wa othw uvayg a, a , to b hot, ho t, mucally uomg. u omg. Ltg cafully ca fully,, howv, howv, i fou that th cho coalc to a chly tal, v chagg, mmv clou that hug th a – a tl oc otat of th achtctu achtctu whch w w too. Mot of th lctoc muc i kw cam fom a a of louak – vsps cam fom vywh. Th wa mo tha jut th wt, coolt muc i ha v ha; t chag all my aumto of what muc – a como – coul b. A atv nw Yok, i wa o tag to th avat ga. My moth wax otalgc about takg m to stockhau a iv coct wh i wa a tot, though i lay a cott lack of mucal talt fom ga chool co cla though teenage irtations with electric guitar. I was, however, a fanatical music consumer –
motly o, blu, om jazz a ‘Wol Muc’ – a at ag 17 i bought a coha Tabg l-to-l ta co to ub ao boacat a my f’ co. A t ha, th mach cota a h, uocumt wtch that, wh thow, uc lcou, m-cotollabl woo of fback. i wa mtt 16
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by th call of lctoc ou. A Moog wa way byo ach, but a ml ocllato coul b ha fo th cot of a olg o, a tgat ccut fom a Touch-To ouch-To tlho, a a coy of a hobby magaz. i gaually ck u ough lctoc tchqu fom book a magaz to accomlh th g’ quvalt of og a b a fog ba. ba. My utag of sou Muc, howv, howv, wa hobbl by th fact that i tll flt mo comfotabl at th Fllmo -1- tha th phlhamoc. Bach, Batók a Bo lv o th oth of a oca, thy ok aoth laguag, a i kw i wa mg th uac a jok. i mly ’t hav th tuto fo euoa clacal muc that i ha fo th t of my auo wol. so whl i wok wok ha to la a much muc thoy a obl, i wo that at 17 i wa alay too ol to bcom b com truly uent. Thus my rst year at Wesleyan Wesleyan I studied archaeology archaeolog y, linguistics, history histo ry of sci-
c, tuo at, gology a tabla. Th acamc mogabo wa a accuat otat of my m at th tm. My avo couag m to oll Luc’ cla, omg “h mak muc wth bat a oo”. o o”. i g u. it wa my t to th wok of Joh Cag, Moto Flma, eal Bow, Chta Wolff, dav Tuo, Ty rly, La Mot Youg, stv rch, phl Gla, paul Olvo, Olvo, Th soc At Uo – ou o-o voc fom my of th oca. ev fo a mat-a k fom nw Yok Yok th wa a a-og xc. But othg qut a m fo vsps. To fom vsps to xc ou a uvval ath tha a ttamt. At th am tm, t gagmt wth fuamtal acoutc, th c vok th k of ffabl axomatc mucalty mucalty i aocat wth tct c coutot. eal th mt Luc ha touc Gla’ Ms i Paa Paa Ffths a a “turn to the year zero” in Western Western music: going back to the rst rule of counterpoint,
volatg t a g what k of muc woul volv alog th w bach. i futh, to a -hom tm bfo th vacato vsps Luc ach back v futh, of muc fom all oth ou, a h vt omthg that coct muc to hyc, achtctu, amal bhavou a ocal tacto – ubjct that ha tgu m c chlhoo, but that i ha v ctly aocat wth muc. vsps seemed to tell me that I could make music ‘about’ anything, anything, not just some nite set of
coct ha ow th euoa clacal lag; that comoto wa ot a activity bound by ve lines, but a more amorphous ‘glue’ ‘g lue’ that could hold together my
aat tt. i wt o to tuy wth Luc fo x ya. ya. Oth wok of h (mot otably i Am Stt i A room ) had a profound inuence on my own style, and I could not 17
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hav acqu a mo thoough goug ot-Caga avat ga tha i h touctoy cla, but vsps wa my wath. Fom that momt o, th fact that bat xct m mo tha Boulz vah a a mmt. i coul b a como.
Ths at oa appad Th W maaz ss 312 Fba Fba 2010. rptd wth kd pmsso of Th W maaz. -1- Th Fmo wa a lgay ock vu nw Yok Cty fom 1968 to 1971.
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Vespers (1968)
F o ay umb of lay who who woul lk to ay th th ct to all lvg catu who habt ak lac a who, ov th ya, hav vlo vlo acuty th at of cholocato, that that , ou u a mg whch, wh t out to th vomt, tu a cho cayg fomato a to th ha, z, a ubtac of that vomt vomt a th objct ob jct t. play ak lac, oo, outoo, o uwat; mly lt ac wa ak gla a lght ac wa blfol. i mty ac objct uch a tack cha, lag lat, o huma bg may b loy loy. . equ youlv wth sool ( soa-do h), h), ha-hl cholocato vc whch mt fat, ha, aow bam clck who tto at ca b va maually. Acct a fom th tak of acoutc otato by by cag th vomt a motog th chagg latoh btw th outgog a th tug clck. By chagg th tto at of th outgog clck, ug a a fc ot a at whch th tug clck a halfway btw th outgog clck, tac ca b mau, ufac ca b ma to ou, a cla gatu of th vomt can be made. made. By changing the the angle of reection of the outgoing clicks
agat th ufac, multl cho cho of fft tch ca b ouc a mov to fft gog gogahcal ahcal locato th ac. scag att houl b low, low, cotuou a o-ttv. Move Move as non-human migrators, articial gatherers of information, or slow ceremonial dancers. Discover routes to goals, nd clear pathways
to ct ot o out lmt, a avo obtacl. dco a to a cto of outgog clck mut b ma oly o th ba of uful th oc oc of cholocato. cholocato. Ay tuato that a fom fom oal fc ba o a of txtu, 20
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ty, movato o comoto that o ot ctly v to atculat th ou oalty of th vomt vomt houl b co vato fom fom th tak of cholocato. slc may occu wh cholocato ma mobl by th makg ffct o th lay’ tug cho u to th atuato of th ac by both th outgog a tug tu g clck, by tfc u to auc atcato, o by uxct ambt ou vt. vt. play houl to a wat fo cla tuato, o to to mak cla tuato fo oth lay. eg may occu wh goal a ach, att tac, o futh movmt movmt ma ma mobl. Fo fomac whch sool a ot avalabl, vlo atual means of echolocation such such as tongue-clicks, nger-snaps, nger-snaps, or footsteps, or
obta oth ma-ma vc uch a ha-hl fogho, fogho , toy cckt, otabl gato of ul ou, thmal o, o t klohtz u to. Dive with whales, y with certain nocturnal birds or bats (particularly (particularly the
commo bat of euo a noth Amca of th famly VtloVtloa), o k th hl of oth xt th at of cholocato. Actvt uch a blla, quah a wat-kmmg may b co k fomac of th wok. wok. Based on the work work of Donald R. Grifn. Grifn.
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inTerVieW WiTH ALVin LUCier Ato ro
Ato ro s th cha cha of itdspa Msoosts’ Spats Spats ad t t at th Ms Tho Tho ad Hsto Dpatmt at th Mosow P. i. Thakosk cosato cos ato..
rOVner: M. M. Luc, Luc, you a a como wth a vy ttg, vual tyl of cotmoay muc, fatug a lot of w vto vto wth tchology tchology a wll a a k of coctual tyl whch oft coul b a to go byo th lvl of muc o xa muc to w alm. Coul you tll u about how you cam u wth th tyl, about how it evolved evolved (such as some of your rst pieces like vsps o i am Stt a room fom the late 60s)? How did this style come about, what were some of your inuences inuences in
you youth? youth? What ol, ol, who w w actv aou aou that tm, tm, o ay mucal mucal o xtamusical concepts inuenced your musical style?
LUCier: Aft i got hom fom rom, wh i tu fo two ya o a Fulbght, i had been trying to nd the kind of music that I could really call my my own. I was not satised with the trends trends of contemporary music that that I had heard in Europe. I was satised with it as music but I realized that these were not the directions in music which I
coul ah to. i alz alz that f i woul wt muc om of tho tyl, uch a th ot-al o oth mla t, i woul b talkg a alct, ot my ow oal laguag. so, wh i cam hom, i jut wat a thought about fft thg – my m wa a blak bcau i wa ot og ay wok o comoto, fo a whl. Th, oo aft that, i ha to hav om fotuat acct, whch bought m to th alzato of my oal tyl. it all bga wh i cam to cotact wth a youg ma who wa wokg fo a comay Boto whch wa gg ha-hl ul-wav ocllato that ma th ha ou that woul go out to th vomt a mak cho at tm lag off of fft matal – wall, 23
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clg, clg, gla, mtal, t a o foth. Th o u a ou wol fo m whch, whl bg lctoc a way, vat fom th uual lctoc muc, ma a tuo, who ult wa o ta. I was also inuenced by by the sonic experiments of John John Cage as well as his co labo dav Tuo, who w og woful coct wth th ow hom-ma lctoc, lctoc, whch f thm fom havg to blog to a ttuto. Uually, Uually, f you wat to mak lctoc muc muc you ha to go to tuo of a ucatoal ttuto, uch a, fo tac, th tuo of pcto Uvty. Uvty. such tuo w vy conned in their attitude towards contemporary music, and they were not open to
vyboy. vyboy. if you ma you ow lctoc muc o hom-ma tumt, you were freed from dependence on the conning atmosphere atmosphere of such institutions. institutions. That
wa what i tat gttg tt . A i wa tatg my w mucal xmt wth th w ou wol, whch i ha ctly cov, i mt emu dwa, a ctt, who uggt fo m to mak a ba-wav c a i follow h avc ug emu dwa’ qumt. i wa vy much o to all ot of w mucal a, ot yt yt havg com u wth ay al w a of my ow. Wh you a that tat you ca ally acct a abob w a fly a utlz thm you ow wok. At that tm, i tat catg a of wok whch whch u ou vaou acoutcal vomt. O of th c call chambs , whch cot of uttg ou to vaou mall objct a cayg thm aou though lag ac. Aoth comoto, whch i wot, wa vsps, whch lay ha ul-wav to a oom, a a ult of whch th th lt ca ha th acoutc of th oom t vaou gaato. gaato. i cat a of wok lk that a that got m o that tack. rOVner: it alway vy ttg to obv th k of cotmoay muc c that wa gog o at that tm, c t wll-kow that th lat 60 th w many other American composers who were trying to nd many different new and ex mtal t muc. Th como of that tm clu Joh Joh Cag, Chta Wolff, Jam Ty a dal Goo, a wll a may oth. Who w om of th oth muca wth whom you aocat at that tm a wth whom you tll aocat amog that gato? LUCier: Y, t wa vy motat fo my mucal vlomt that i mt Goo Mumma a a Bob Ahly A hly,, fom A Abo Ab o,, Mchga at that tm. Thy w volv 24
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th ow vat lctoc tuo, whch, fact, wa qut a ublc tuo, c t wa o to ay youg como who w tt. Both Bob a Goo w og a w k of muc that i’ v v,, v ha bfo. Bob wa wokg wth lmt of mucal that h comoto vy magatv way, whl Goo wa og th mot xtaoay lctoc muc wth hom-ma qumt, gg h ow qumt. i v ach th tag wh i coul ally g my ow lctoc qumt, vthl aocatg wth thm wa vy g to m. Togth wth Goo, Bob a dav Bhma, aoth como who wot lctoc muc, ug h ow qumt, w fom a gou fo xmtal cotmoay muc, whch w call th soc-At Uo. W ogaz hu of coct th Ut stat a euo wh wh w ach woul fom a wok of ou ow. Whl w ot wok a a gou, w fom ou ou ow wok vually, vually, ato to whch, w w ach fom a wok of ach oth’ oth’ at ach coct – th cat a vy g attc ttg. rOVner: Th w muc, c t volv volv a lot of w, w, ttg combato of tchology, ology, cau w oblm a w challg tm of fomac. Ca you tll u a lttl bt about how you mt th challg fomac of you muc cally wh th fft qumt u. it cally ttg to ha how om of you comoto, whch whch may ol kow though cog, uch a i am Stt a room, a fom fo m lv. Alo, coul you tll omthg about you ow ca a a fom? LUCier: som of my comoto a oblmatcal oblmatcal fo fomac. Fo Fo xaml, my comoto, whch u th cho-locato vc wth th ocllato, vy ha to fom bcau i ow tho vc a thy a ot maufactu ay mo. nvthl, nvthl, th co fo that c, c, i o uggt ug gt oth way of fomg that comoto. You You ca th g you ow vc o u cal toy t vc whch a uh o that thy woul mak a clckg ou – th way obl to fom that wok. i hav hav b fomg my comoto, i am Stt a room, lv coct, ug a log ta loo. i ok to a mcoho co at th bgg of th loo, th th loo wt aco th oom oom a th ou of my voc wa wa lay back though th oth co. i hav fom th wok o val occao. sc th co, co, mlaly to may may of th co of may of my oth wok, wok, a t of tucto wtt eglh o, wthout ay otat otat muc, i hav uggt 25
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th co val fft way to fom th wok. i thk of th wok, whch cot of o txt, a ‘o fom’, c thy a ubjct to may fft way of fomac a ot mly o way. rctly rctly i hav wtt a umb of wok fo olo mucal tumt, uch a piano, clarinet, ute or voice, accompanied by sine-waves; the latter are recorded on
dAT ta a th cog lay to th fomac fom ac ac wth th fom fo m layg h o h ow olo at at agat that ta. Ulk th wok mto al, al, th co of th olo wok a mo o l covtoally wtt. i gal, om of my wok a ha to fom, bcau thy o qu cal qumt, whl oth wok, whch qu mo commolac qumt o o ot qu ay qumt at all, o ot o uch oblm fo fomac. i hav ctly wtt a ochtal c that o ot u ay lctoc qumt at all a wll a a quatt fo tg, whch lkw uly acoutcal, a th latt wok ha ha may fomac. so my atttu about tho thg qut boa. i fqutly fom om of my ow wok coct. coct. Fo Fo xaml, th Pso D , whch a c o wok whch i hav fom, call Bd ad Pso wth a lctoc b call a a a of mcoho that i wa o my a. i th fomac i walk though th fomac ac wth th mcoho o my a, catg fback, whch whch alt tlf g wh i am fc to th ak; th ta of fback tf wth th ou of th b call, catg combato to, whch m to locat thmlv ac. To my kowlg, i hav hav b th oly o who ha fom that c, howv howv,, f ayo ayo l wat to fom t, all that th co fo that that c a a cog of th b-call, of th latt i ca mak a ta fo a fomac. fo mac. i hav hav alo fom my wok fo ao a -wav o dA dAT ta. Occaoally i fom fo m cta wok of m, though, mot of th tm, i ov o uv fomac of mot of my wok, wh i am th to o t. rOVner: You hav a book ublh, ttl chambs , whch ha a umb of you o co a tvw wth you. you. Th wok of you, ublh th book, o ot volv ay wtt muc, but cota txt, whch a vbal tucto o how to fom ach of th wok. You You hav alo a comoto, am chambs , whch o of th wok cota th book. Ca you tll a lttl bt mo about th book a wh wa t ublh a whch of you co a t?
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LUCier: Th book wth my co a tvw wth a fom fom tut of m, douglas Simon, was rst r st published by Wesleyan Wesleyan Press in 1980. 198 0. It is, by now, now, out of print, howv t ha b ubum aoth book ttl Reections/Reexionen. Th
book, a wll a t ttl, blgual a cota vythg whch wa chamb : : twlv tvw wth M. smo a fout o co, clug chambs, vs ps, i am Stt a room, th ba-wav c Ms fo Soo Pfom , Ms o a lo Th W, a oth c. i ato, th book wa gatly xa wth th cluo of atoal matal. it alo cota tvw wth Wllam Wllam duckwoth, como Jam Ty, a th tvw wth dal Wolff, a wll a a umb of oth of my co a lct wtg wtg of m, clug a atcl wtt by m fo th Msa Qat , a oth atcl fo vaou oth ublcato. it alo ha om agam fo om of my comoto a om xct fom my mo covtoally covtoally wtt co a wll wll a a lt of my comoto. rOVner: Ca you tll u about you xc lctoc muc o you cocto wth lctoc muc? it kow that may of you wok volv volv w tchology. tchology. At th am tm, mot of you comoto, whch whch a mo wll-kow, coul ot ally b call u lctoc muc, bcau thy volv volv yth of lctocally oc ou wth lv ou o wth ou cat by fft tchologcal tumt o ffct. do you hav ay comoto volvg u lctoc o comut muc? if ot, th th a bg cocto wth lctoc lctoc muc you muc? How much lctoc qumt o you u you comoto gal? LUCier: i o ot volv mylf much wth lctoc lctoc muc. Th xo, ‘w tchology’, houl b al vy latv tm th ca of my muc. i u ath bac tchcal qumt, whch mot oft u a tt qumt – ml wav ocllato o ul-wav ocllato, that i u acoutcal ttg. i u th matal to obta cta w oc a acoutc ffct, ot bg vy tt th fact that thy a lctocally gat. i my comoto, whch mak u of u wav i hav hav a g who co th u wav wav fo m. i g th fom of th wav, wav, whch th thy thy w u a ow fo a cta oc ag, a th i bg mucal tumt whch lay agat thm. Th oly ao i u u wav that thy a u a o ot hav ovto, thfo th acoutcal homo, clug aubl batg, batg, tfc att a th way th ou 27
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act ac, bcom much mo obvou. it ot obl to obta that ffct wth a oay ochtal tumt, uch a a vol, c th latt ha a uch a ttg a comlx ou of tmb. You You ca ay that i o u lctoc qumt but a vy mmal way. Fo my comoto, whch u th ba-wav, i mly used a brain-wave amplier that enormously amplied the alpha signal in my brain.
so you coul ay that i am ally ot a lctoc como that , though i u xmtal qumt a coct to xa th wol of w ou cotmoay muc. rOVner: sc you tat tachg at Wlya Uvty 1970, you hav taught lctoc muc a xmtal muc. Ca you tll m about you actvt a a ofo at Wlya Uvty, how o you tach you tut th a how o you actvty of tachg lctoc muc lat ctly o ctly to you ow comog? LUCier: i tat my tachg ca at Wlya Uvty, by tachg lctoc muc, c th wa oboy l at th tm to o t, th i wtch to tachg xmtal muc, whch i hav b og c th. i hav hav b wtg a of comoto fo my tut, tut, whch thy hav hav fom a at of th cla. rctly i como a c, ttl Opa wth Objts , whch th tut ta o different objects that they they nd, exploring the timbre resonance resonance of those objects. I also
como a c call i rmmb , wh th tut g to mlk bottl, t ca a mla objct, achg fo th oat fquc of tho objct. i wot a quatt fo fou tut who com a tg quatt, whch thy xlo fft tfc att, whch you ca cat wth tg tumt by -tug. W alo fom a c of Chta Wolff Wolff ’ whch whch cooat to – th tut wt out a gath to, aft whch i cam a w fom th comoto wth th to. i gal, i am much mo tt th oc xmt wth omucal objct, tha i am th latt lctoc ogam. so a cta i hav a at-tchologcal aoach muc, though i am ot ally agat w technology technolog y, but I nd it much more effective effec tive and fruitful to create cre ate musical experiments experime nts
wth th mlt a mot bac objct, clug objct fou atu, to xa th cto of ou a muc – th what i tach my tut a lt thm cay out uch u ch xmt my cla. 28
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rOVner: You hav a utato ot oly th Ut stat a a como but alo may euoa cout. Ca you tll u about whth you hav c fom euo vy oft, o you go to euo oft to o coct th a how a you cv th? LUCier: My comoto a oft fom euo, a i mylf oft go to euo. Btw Btw stmb a novmb of 1997, i hav b to euo fou tm. i hav hav b to Gmay a rua. Vy Vy oft i fom my comoto coct euo. i ato, th w wok of m fo olo tumt a u wav, whch i hav tol you about, a tatg to cv mo a mo fomac euo by oth muca. A woful clatt Gmay, am Jog F, ha jut co my c c fo wav a clat o comact c. Th a youg gou of Gma a sw youg como who m to b mo o th wavwavlgth that i am tha thy a o th wavlth wavlth of tatoal euoa muc. i hav hav b wtg a gat al mo uly tumtal muc, wthout ay tall tall ffct a th mo i wt th acoutcal c, th mo thy gt lay. My tg quatt, whch i wot fo th Att Quatt, wa fom by thm x o ght tm euo th lat two ya. Aft may ya of wokg wth w qumt my muc, i am ow takg o, to a gat xtt, th actvt of a ol-faho como, como, who wt omthg o mthg a th t gt lay vaou lac, wthout hm caly alway bg at vy fomac. fo mac. rOVner: i hav ha ha may of you c fom th lat 60 a th aly 70, 70, may of whch hav bcom famou, lk Ms o a lo Th W, i am Stt a room , vsps, Ms fo Soo Pfom Pfom a t woul b ttg fo u to ha about om of th c, whch you hav wtt latly, th 1990, whth thy follow th am tato of you wll-kow wll-kow c, o a thy totally fft. do you hav hav ay ojct a fa a comog ay w wok th a futu? LUCier: i jut como como a wok fo th doauchg Ftval Ftval whch wa a tall wok. i hav two fft k of comoto – i o fomac c a i o tall wok; th latt i cat ou ug qumt o o cto, 29
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a th i ogaz a fomac of th ultg tall c a ublc ublc ac, uch a a coct hall o a at gally. Th wok, whch i hav jut como fo th doauchg Ftval, call empt vsss. i ha ght gla wat cota, that i bought at pot imot whch i’v u a ba fo th comoto. i mout thm o a tag a lttl ac a i ut a mcoho ach o – all the microphones are rooted through ampliers ampliers to speakers. Then I raised the volume in the amplier, amplier, which creates feedback, in such a way that each strand of feedback
coo to th z of th mty vl that th mcoho mcoho . A a ult, th a ght aat tch a th fback fom th mcoho, o wh you walk to that oom, ot oly o you ha th ght aat tch, but th c of you boy tf tf wth wth th th fback a that that mov mov th ou aou aou a chag th ou, totg thm may fft way. somtm t ca almot to th sounds in a vessel. I just nished that work a few months ago so that is one of my latest
comoto. i ca mag og a fomac vo of that c wh th th woul b a ac o a umb of ac, that coul ock though th oom a cta att caug th ou to chag. chag. rOVner: You mto a fw comoto, whch you hav b wtg latly, whch a uly acoutc, wtt fo covtoal covtoal ochtal tumt a o o ot u ay tallato, w tchcal vc o coctual o tucto. You mto a tg quatt, whch you hav wtt fo th Att stg Quatt, amog you oth comoto. i th acoutc c o you you follow th am tato of you mo wll kow tall comoto o a thy wtt a comltly fft tyl? Ca you tll u about th tg quatt qua tt gat tal? LUCier: My uly tumtal comoto gally gally follow th tato of my tall c, that thy xlo uuual acoutcal homa a wok o vlog a w ou-wol, a my tall c o. Th o vato fom my uual comotoal cl th acoutcal c – i mly u ochtal tumt a ou ouc a mla way a i hav u u-wav ocllato my tall wok. Th tg quatt that i wa fg to, th naatos fo Sts, a quatt i wot fo th Att stg Quatt ba Loo. it uly acoutc wthout ay tall tchcal vc. Ov a 15-mut tm a, th lay quz th tval of a mo th to a uo by gaually mco-tug xtmly mall tval, om of whch a too mall to b ha. Th tto to o 30
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o motat – aubl batg ult whch faly vv, ot qut o much o a wth wav. wav. Th wok mla to my oth wok that a hycal homo xlo. Th bat a th thg. All oth act, clug mloy, hythm, a oth, a uc o that th auc ca focu o th batg a lat homa. rOVner: Ca you tll u what como euo a th Ut stat who a lvg and working now you are most friendly with and whose music you like the most or nd the most afnity in or the most amount of closeness to your own?
LUCier: Th a val como lk that. Th a two youg Amca como, who wok i am. am. Th am of o of thm ro Kuvla, Kuvla, who a collagu of m (although i o ot mto hm jut bcau h my collagu). H o bautful wok wth comut, mco-comut a ou tallato. Th co como that i hav m ncola Coll – h lv Amtam fo a fw ya, ow h lv Gmay. H mak woful hom-ma lctoc pieces with instruments, such as, for instance, trombones, that are modied to drive
mco-comut a thg of that k. i Bl th th a como am Walt Walt Zmmma, who a ofo at th Bl Hochchul, Hochchul, a who muc m to hav hav th t of Amca xmtal muc. rctly rctly i ha a comoto by a dutch como a at, lvg Gmay, Ato Bug, who ha a bautful ochtal wok fom at th doauchg Ftval. Th’ alo a woful como Bl, am pt Ablg, Ablg, a a ou att am rolf rolf Julu who mak xqut ou c that h tall vaou ac – i am tt tho ol’ wok. Of cou i lov th muc of LaMot Youg, Youg, Chta Wolff, Wolff, Bob Ahly, Ahly, dav Bhma, Goo Mumma a como of that k.
Ths tw took p nomb 7 1997 ad oa appad th o maaz Msa-ukaa www.msakaa.odssa.a. rptd wth kd pmsso of th atho. atho.
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MUsiC FOr sOLO perFOrMer A l
T
h a fo Ms fo Soo Pfo covato i ha Pfom m (1965) cam out of a covato 1964 wth hyct emo dwa. i wa tachg at Ba at th tm a dwa, a vot amatu ogat, ha com ov to th Muc datmt ag to ha h a a qumt wth ay como tt xlog th hthto uchat go. At that tm dwa dwa wa gag ba wav wav ach ach fo th A Foc. Foc. it wa blv that low oll w lockg oto coog ba wav fquc of acaft lot, caug zz a blackout. i wa ot comog muc ug th tm a a w a. Wth othg to lo i took dwa u o h off. Wokg log hou alo th Ba Uvty elctoc Muc stuo with Dewan’s equipment (two Tektronix Type 122 preampliers, one Model 330M
Koht Baa Flt) i la to ouc alha faly cottly. i ot attmt ay xmt bo-fback a uch but wa awa of th focmt focmt of my ow alha-oucg ablty whl motog al-tm th ou that cam out of th tuo louak. A i wa gatg alha th Ba tuo i wa tuck by th volt volt movmt movmt of th co of th acoutc uo louak that w movg a out aly wth lag xcuo. i alz that th louak w caabl of og hycal wok, wok, ot jut oucg ou. Fom th bgg, i wa tm to mak a lv fomac wok t the delicate uncertainty of the equipment, difcult difcult to handle even under controlled
laboatoy coto. coto. i alz th valu of th eeG tuato a a thatcal lmt a kw fom xc that lv fomac w mo ttg tha co o. o. i wa alo touch by th th mag of th mmobl f ot aalyz huma bg who, b mly chagg tat of vual attto, coul commucat with a conguration of electronic equipment equipment with what appears to be power from a
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Ms fo Soo Pfom Pfom
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tual alm. i fou th alha’ alha’ qut thu xtmly bautful a, ta of olg by ocg, ocg, cho to u t a a actv foc th am way o u th ow of a v. v. i gg th wok i c to u alha to oat a lag batty of cuo tumt, clug cymbal, gog, ba um, tma, a a um. i mot ca, t wa cay hycally to coul th louak to th tumt, although th ca of hghly oat ba um a tma, th louak coul b lac a ch o o away fom th umha. Music for Solo Performer was rst performed on May 5, 1965 at the Rose Art
Muum, Ba Uvty, Uvty, wth th couagmt a atcato of Joh Cage. I sat on a landing landing between between the two oors of the Museum, electrodes attached attached to my scalp. scalp. The mono output of the alpha ampliers ampliers was routed to the inputs of 8 home stereo ampliers, the outputs of which were were sent to 16 loudspeaker-percussion
a loy aou aou th Muum. dug th cou of th 40-mut fomac Cage randomly raised and lowered the stereo ampliers’ volume controls channeling
th alha gal to vaou tumt aou th oom.” i 1982 two vo of Ms fo Soo Pfo Pfom m w la o Lovly Muc Lp Vr 1014. O s A th como umo ght ght a of Wt Clacal cuo tumt, a wll a a caboa box a a mtal tah ca. O s B paul Olvo Olvo co fou vo, ach wth a aat aat Wol Wol Muc cuo ochta. Fo that vo como ncola Coll g a umb of voltagcotoll olo that w u a lctc umtck to lay vaou mall um a gog.
imag o vou ag: illutato fo Ms fo Soo Pfom
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CHAMBers (1968)
Collct o mak lag a mall oat vomt. sa shll room Ct Tul Cu Ha Mouth subway stato Bowl sho Hollow Cav sutca po staa Wat sout Bay Tomb Cout Cayo Bol pot Ov Bal Bulb Bottl Cab Wll Bll Caul 36
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Cat emty Ml Cact B Wb pool Boat Co Ful Bo stll G daw Tub That Ca sg Flum T Oth F a way to mak thm ou. Blowg Bowg rubbg scag Tag Movg Fgg Bakg Bug Mltg Chwg Jgglg Wag swgg 37
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Bumg dog Obtg Cakg Cag Boucg Jkg Jkg Flg Lvtatg Hatg skmmg igog Talkg sgg sghg Whtlg Walkg sag Cackg sog Bog payg Lovg sayg Bowlg Chalg Fzg squzg Fyg exlog pokg scwg Lowg shakg img dacg Oth 38
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sou of otabl oat vomt uch a a hll a cu ha may b ca out to tt, couty’, ak, camu, though bulg a hou, utl out lmt a ach wh mmum auo cotact ca b mata by a lay wth at lat o oth lay. sou of th out vomt coma by th lay may b ha wth fc to th ou of th otabl oat vomt ca by th lay. sou of tmat tch th out vomt may b ha ml o comlx latoh to th tch of th otabl oat vomt. sou of th tmat tch th out vomt may b ha to tak o th tch, tmbal, yamc, a uatoal chaacttc of th ou of th otabl oat vomt. vomt. Sounds of xed resonant environments environments such as cisterns and tunl may b ma otabl by by ma of cog, o ao o tlho tamo, a ca to o out vomt. Wh ca to vomt, uch a that to b, th ou of th ow-otabl oat vomt vomt may th mgl wth o tak ov th ou of th vomt. vomt. Wh ca to out vomt, uch uch a bol to ak, th ou of th ow-otabl oat vomt vomt may b tat a ogal otabl vomt. Mxtu of th matal a ocu may b u. icag a lg lg of ay chaacttc chaacttc of ay ou may b bought about.
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i AM siTTinG in A rOOM
l nots b noas cos, cos, Mah 14, 1990 fo th cD i am stt stt a oom b A A l, l, lo Ms 1990
Th c bg wth a taghtfowa, uaccoma ag of th followg txt: “i am stt a oom dfft fom th o o a ow. i am od th sod of m spak o ad i am o to pa t bak to th oom aa ad aa t th soat fqs fqs of th oom fo thmss so that a smba smba of my speech, with perhaps the the exception of rhythm, is destroyed. destroyed. What you will hear, hear,
th, a th ata ata soat fqs of th oom atatd b sph. sph. i ad ths att ot so mh as a dmostato dmostato of a phsa fat, bt, bt, mo as a wa to smooth ot a ats m sph mht ha.” -1Th fom oc to cay out h tak. W W ha 32 tto of th txt, a wth ach tto th yllabl a aw out a oat. By th w caot tguh wh o wo a aoth bg; th txt comltly utllgbl. utllgbl. What wa oc a famla wo ha bcom a whtl th-ot motf; what wa oc a ml claatv tc ha bcom a cuouly toal mloc fagmt; what wa oc a aagah of uaffct o ha bcom muc. somhow, how, omwh th cou of 40 mut th mag of what w’v w’v b ltg to ha l fom th oma of laguag to that of hamoy. hamoy. “ am stt a oom” woul m to b a c that o futh xlaato. it bg, aft all, by tatg la eglh xactly what gog to ha a why – a acal oto at th tm (1969), a o that aw a whol chool of
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comotoal actvty th Ut stat a egla. Ug two ta co, a mcoho, a a ak, th fom cycl th co txt a oom. Th acoutcal ot of th ac tafom th ch: fquc oat oat to th oom a atly foc, whl th oth a attuat, utl oly th hythm of th wo ma cogzabl a th vg foc bh a att of gg tones. Alvin Lucier was probably the rst composer to realize that an architectural
ac coul b mo mo tha a uotv ttg fo mucal tumt, that t coul b an instrument itself. itself. He was certainly the rst to create a substantial body of work out
of that alzato. Bfo am stt a oom , h chambs (1968) asked performers to nd ways of makg ou wth “bottl, cab, wll, bll, caul, cat, mty ml,” a 41 oth hollow objct o “lag a mall oat vomt” lom bfo thought of a tumt.- 2- Th fom vsps (1969) “ay th ct to all lvg catu who habt ak lac a ... hav vlo acuty th at of cholocato.”-3- Cayg cal-uo lctoc ccut that mt ha clck, thy u ou to xtact fomato fom th vomt; th hythm a ot ba o mtc att, but o th mag tak of maug a avgatg th ac. Luc ha oft b cb a a ‘homologcal como’, but to o o t h muc of much of t ch. H H wok ‘about’ acoutcal homa, homa, but chambs a much about covy a tafomato, a V V about ocal oblty a uvval, a a am stt a oom about th ubjct, t aator. tor. By the end of the piece, with with its magnicent ringing of architectural architectural space, one
omtm fogt that t wa a calm huma voc that t th oom to ocllato. As if viewing a slow-motion lm of a ute player attacking attacking a note, we experience experience the
gaual bul-u of gy a th tumt tat to ou, but h w w bg ot wth a magl uff of a but wth wo. wo. What w w ha a ot mly “th atual oat fquc of th oom atculat by ch,” ch,” but ath th tcto of o ma’ ma’ voc wth h mmat vomt; vomt; tho whtlg to a th jut ay o all of th oac, but but oly tho that a ha by both th voc a th oom. it ot ug that Luc cho ch a th ouc matal fo th c. i a tvw wth dougla smo h ay: “My rst impulse was to use various musical instruments playing a wide vari t of sods, bt bt i tossd ot that da bas t ft too ‘ompos.’ ‘ompos.’ istad i ddd to s sph; t’s ommo to jst abot bod ad s a maos sod so. it has a asoab fq sptm, os, stops ad stats, dfft dam s, complex shapes. It’s It’s ideal for testing the resonant characteristics characteristics of a space because it puts so much in all all at one time. time. It’s It’s also extremely personal.” -4-
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i Luc’ ca t all th mo oal by vtu of h ch ‘mmt’ – h tutt – whch bcom th th hythmc gatu gatu of th c. Ml Tll, a fllow fllow tutt, clam to fl lbat by muc bcau a log a h gg to a v nahvll bat h tutt aa. But Luc, ath tha kg to a h muc th tutt that m h covato, u th uqu vbal ummg to ol th c. sch th voc ubou, tmbly ch a thck wth mag. sog, o th oth ha, foc th voc to aow om, o m, tg ul of toalty, toalty, hythm, txtu, a cott that hav lttl to o wth ay laguag. i am stt a oom Lucier frees the voice from the restraint restraint of song and makes a truly new music rmly
oot th ow of ch – Sphstmm m by cotat m l vc to th ottal of ok wo a muc. A h ot out, ch mak goo ‘scientically’, but but more importantly it also transforms “a demonstration of a physical
fact” to a vy tmat fomac. Luc o ot “mooth out ay gulat [h] ch mght hav,” ath h lvat thm to val a acal lkag btw laguag a muc. At th tm of t comoto, th oly way to alz th co of am stt a oom wa wth ta: ug two co th txt wa cycl a -co, a th all th vo w lc togth choologcally choologcally.. Coct fomac fo mac cot of layg back th comot ta, oft cojucto wth a of l by May Luc ba o a lat vual homo. i th hyay of ‘Lv elctoc Muc’ th m a aachotc aachotc thowback to th tato of tuoba ta comoto. Th c coul hav b fom lv, wth a vy log ta loo (jut a t coul b accomlh toay wth gtal lay o aml), but to o o woul hav b to m a ubtl ub tl but motat tal: “i am ttg a oom fft fom th o you a ow.” Wh vsps ma th fomac ac stt a oom bg aoth ac to th co th c of th auc, auc, i am stt ct hall; t bg th ublc to a vat vat ac. Lucier’s Lucier’s rst recording of the piece was made made in the fall of 1969 in the Electoc Muc stuo at Ba Uvty ug h lat ay tachg th; t wa, h ow wo, “hah, tt.”- 5- The second attempt, which became the deni tv vo fo coct u fo th xt ca, wa co o Mach 10th, 1970 a mall t aatmt at 454 Hgh stt Mltow, Coctcut, wh h ha jut acct a faculty oto at Wlya Uvty; t wa “bautful.”- 6- Th cog o th Cd wa cat o Octob 29th a 31t, 1980 th lvg oom of Luc’ hou at 7 Ml Avu, Avu, Mltow, wh h ha lv fo t ya. i xtcably lk to oto oto of “hom” – of a oom ath tha am stt a oom xtcably 43
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a coct hall, of ttg ath tha tha labog, labog, of akg ath tha gg, gg, of ltally bg th ght lac at th ght tm. l am ttg a oom covy th of ght a way way that tac tac th mcham, homa, a txt txt of th c. it ull th lt alog wth a oc that, whth utaabl o ot, m fctly atual, totally facatg, tly oal, a ogatly mucal.
-1- Fom th co of “i am stt a oom” (1969). -2- Fom th co of “chambs” (1968). -3- Fom th co of “vsps” (1969). -4- Alv Luc a dougla smo, “chambs,” Wlya Uvty p, Mltow, CT, 1980. -5- ib. -6- ib.
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inTerVieW WiTH niCOLAs COLLins
ema tw b r edado Pas Pas (lsbo) wth noas noas cos (chao) Jaa Jaa 24, 2000
pAes: Was a Dak Dak ad Stom Sto m nht Th ctal lac that txt ha you muc c it Was a cally th w Sod Wthot Pt m m of th wtt co co by Alv Luc, Luc, you comoto tach, tach, whch w mo ltay tha mot of th co th Fluxu ya. do you thk th’ ay cocto – a ot of “ltay” acacy, acy, a k of ‘ltatu a muc/muc a ltatu’ qualty? Tll Tll m all about abou t you uo th oma. Why, Why, ow, ow, th u of txt g by oth ol? COLLins: Although th a oth como who wok i hav cutz, o wth whom i hav fom, o whom i hav jut kly am (Chta Wolff, dav Tuo, Joh Zo, Joh Cag, robt Ahly – to am th mot obvou), Luc wa my oly al tach – i t a total of x ya u h guac at Wlya Wlya Uvty, fom 1972 though 1979. i am stt a oom was probably the most inuential single piece during the early early stages of my ‘nding ‘nding myself ’ as a composer. composer.
Th ao? Wh to tat? i wa lbat by th a that o coul mak a c of muc ot bult (ovtly (ovtly,, at lat) o th fouato of euoa at muc (fo whch, at th ag of 18, i tll ot hav hav a tctv, ‘gut’ flg) but o omthg ‘o-mucal’ – th ca achtctu, whch coct all too atly wth my backgou a oth tt (both my at w achtctual htoa, a a a k i wa tak to look at vaultg fa mo oft that to coct.) Th chool of Amca muc muc of th lat 1960 a a 70 that cam to b call ‘Mmalm’ wa a agogcal golm – tho o co gav o o much to talk about. A i am stt a oom wa th o lu ulta: a c that xla tlf, mgly comltly, whlt tll lavg oom fo myty a, wll, “muc.” [s my ot fo th Lovly Cd l la a of th wok fo mo tal. [. [. 41] Th ‘oac’ ol 45
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of language was actually more signicant signicant to me than any overtly overtly ‘literary’ qualities the
txt mght hav – a wth th ‘o-mucal’ ubjct matt, matt, th a of a tctly ‘uL’, o-otc txt fo a ‘og’ wa acal. pfomg t (whch qu o ‘mucal’ kll) ma o fl lk a alchmt, not a mere mere interpreter of a xed score. The notion of gradual transformation of the mundane mundane into the sublime, with attendant attention to ne details, has remained core
to my muc. U th ll of Cag’ “ay “ay ou ca b a mucal ou” aag, i flt mylf qut caabl of choog btw ay ay o ou a aoth. aoth. Thfo a oom – wa vy ‘oc’ – vogu th 1970 a ctaly ctal to i am stt attactv. My aboto of i am stt a oom l to a fatuato wth fback (howl-ou, a th eglh call t). i wa mtt wth a Z-by-way-of-Cag mag of feedback as the innite amplication amplication of silence, and devoted devoted my student years years to cre atg a of fback c, culmatg pa pa sou (1973-75), a lf-tablzg fback ytm that u a ml ccut to cat volvg fback mlo out of th oat fquc fquc of th oom – a ot of tm-alg vaato vaato o i am stt a oom. Ultimately Lucier’s inuence on me was somewhat reciprocated: as he says in h tvw wth dougla smo ( chambs a Refections/Reexionen ) my wok wok wth Pso D . feedback inuenced his creation of Bd ad Pso Wha my tt matc a cott go back futh, futh, my facato wth th homology of ch – t ou, mloy, mloy, hythm a athology – wa uoubtly by Luc. Luc. i my mgly atoal avoac of ctabl ul o ca ha h tutt: th quky hftg loo of D’s Ms a th offklt wg of th kg Cd Bok lht a St ls ow mo to Luc’ uttoal “vbal ummg” tha to th th ya i t tuyg Tabla Tabla a a ugauat. pAes: it’ wth om luctac, i kow, that you call youlf a ‘lay’. so, o you co youlf a como that lay, a mo tha that, that mov omtimes, or a composer AND a player, an improviser? It’s signicant that, after eight
ya of lc, you tu wth two Cd, o como, a th oth o mov... COLLins: Th fomatv ya of my ucato w w omat by th mgt a of th ‘como/fom’: v by aquat aquat fomac by uymatht47
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c mbl, th uut of w mucal tumt (uch a lctoc lctoc ytm) o h mgalomaa, cta como tu to fomg th ow wok. LaMot Youg, phl Gla a stv rch fom th ow mbl, th soc At Uo fom th wok of t fou t como; Ty Ty rly wt olo .... Although ha a taumatc t fo my l, fo my gato th oto of fomg o’ ow muc gw atually out of th o xc (hakg back to th ‘g/ogwt’ ovato of th ‘Bth ivao’ that challg th umacy of th T pa Ally Ally tato Amca th aly aly 1960). Luc wa cuouly ‘at-movato’, ‘at-movato’, howv howv – i thk that may of th como who ha abao tatoal co fo o otato a oal tucto th ha oblm wth tt ‘takg lbt’ o mly flt fv about jutfyg th bg ‘al’ como como wthout ‘al’ co, a thu btl at th u of th tm ‘movato’. ‘movato’. so i fll to a at-movatoal atttu atttu that wa at o wth my tt o a jazz, my my tuy of ia muc a – a Goo Mumma oc ot out to m – cally lly at a uvty lk Wlya, wh th tcto btw comoto a movato mly ’t xt may of th tato t t wol muc ogam. For the last few years I’ve I’ve been thinking that the ultimate signicance of ‘elec toc muc’ mght l mo t agogcal valu tha t tfyg chaacttc (uch a t ou alat, fo xaml); that xtv aly xc lctoc a comut muc coul b a mly a altat ucato mucal fom, lag to th comoto of wok fo covtoal covtoal tumt ug lctocally fom a tuctu – lag vtually, ha, to a acato of th tmologcal tcto btw ‘lctoc muc’ a ‘muc’. Th coul b mly th lf-oubt of ml m-lf c, but but o coul ot to Luc a a fct xaml of th voluto: 1987 i tol hm that vtually h woul b kow a Amca’ Amca’ -mt como of chamb muc (o u t) a – 12 ya o – th o m to b th cto h hag (who woul call hm a ‘lctoc muc como’ toay?). pAes: Electro-acoustics are your exclusive eld in music, always in contexts with acous -
tc tumt (lk th uo wth pt Cuack) o wth voc, ot tat lctocally mot of th tm. Ay atcula ao fo that? COLLins: Luc , of cou, th mot acoutc of ‘lctoc muc como’ a – 48
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t mmg mylf lctoc tchology – i’v b acoutcally ob from my rst compositions. (In his interview in Robert Ashley’s Ms Wth roots th Ath , Lucier states that, “circuits are at, sound is three-dimensional” – which greatly tat a fllow tut como at th tm, but vy tu.) … Th oc of i am stt a oom ha oft b mltcally cb a “bgg wth mag a g u wth muc”. pAes: You muc alway m to m ‘-btw’. it’ ot ‘cotmoay clacal’, but t’ ot, too, too, a k of o muc; t’ ot nw Muc a t’ t’ ot ‘mov muc’. COLLins: i ctaly o’t follow follow ay ‘chool’ of comotoal thought. Luc v t to tu out lttl Luc, but o i ou lk hm? i thk i ty ha ot to, but am obvouly attact to may of th am coc. it obl that my ‘tyl’ a atual xto of th Caga “lc of lf” athtc comb comb wth Luc’ Luc’ lo that you ca mak muc about vtually aythg. aythg. O’ muc coul bcom othg more or less than a slightly mediated reection reection of one’s everyday everyday experience – i.e., i.e.,
othg cal, xct that vyboy (a thy ay Calfoa) ‘cal’.
Ths s a dtd so of th tw O rsso r sso Do ‘ito’ whh appad itaa maaz Pomúsa 2000.
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OperA WiTH OBJeCTs (1997)
Collct val mall oat objct, clug cay ja, mall caboa box o latc coff cu. Lay thm out o a tabl. Holg a cl ach ha, tat tag o agat th oth. Lt to th y ou of th cl; th low th ta cl oto th ufac of o of th oat objct. objct. Lt to to th lou mo oat oat ou a th ta cl touch a ymathtcally oat th objct. Ta gula hythm o that th focu o th chag lou a tmb of th objct, ot o th hythm of th tag. Oc th ta cl touch th objct, o bjct, mov t ov t ufac, xlog mall chag ou. Aft layg o objct fo a whl, mov to aoth, th aoth, aoth, utl all hav hav b lay. Vay Vay th of you tag a you mov fom o objct to aoth ao th.. Fom Fom tm to tm mak ma k vv fo listeners the natural amplication amplication inherent in physical physical things.
Lt fo cho fom fom th ufac of th oom ouc by by th ha tag of th cl o th objct. Alv Luc novmb 18, 2005
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— enD nOTeS nOTeS —
Th ublcato wa cocv a a accomamt to th ogamm book o th occao of th xtth to of dag Bag: Th Tag a dag Bag cooucto of ‘Alv Alv Luc Th Hagu’ May 2010. Th txt, cotg of o co, atcl a tvw lct by by cuato A Wllm, w cho wth th tt to ov cotxt fo th fomac of Alv Luc’ Luc’ comoto th ftval a off a ght to Alv Luc as a composer, composer, his relevance to the arts in The Hague, his inuence inuence and a taste of the
htocal mlu uoug h wok.
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BiOGrApHies ALVin ALVin LUCier Alv Luc wa bo 1931 nahua, nw Hamh. H wa ucat nahua ublc a aochal chool, th potmouth Abby school, Yal, a Ba a t two ya rom o a Fulbght scholah. Whl at Yal h tu muc thoy wth Howa Boatwght a comoto wth rcha doova, dav Kahbuhl a Qucy pot, pot, a at Ba wth Athu Bg a Haol shao. dug umm of 1958-60 h tu ochtato wth Aao Cola Cola a comoto wth Luka Fo at Taglwoo. Fom 1962 to 1970 h taught at Ba, wh h couct th Ba Uvty Chamb Chou, whch vot much much of t tm to th fomac fomac of w muc. i 1966 h co-fou, wth robt Ahly, dav Bhma a Goo Mumma, th soc At Uo, whch, utl 1979, gav umou coct th Ut stat a euo. sc 1970 h ha taught at Wlya Uvty wh h Joh sc Cam pofo of Muc. Luc’ aly aly lctoc muc clu th u of ba wav lv lv fomac Ms (Ms fo Soo Pfom , 1965); th gato of vual magy by ou vbatg ma, (Th Q of th Soth Soth, 1972), a th vocato of oom acoutc fo mucal uo (vsps, 1969 a i am stt a oom, 1970). H ct wok clu a of ou tallato a wok fo fo olo tumt, chamb mbl, a ochta whch hythm hythm a atal atal homa a cat by ma of clo tug. H mot ct tumtal wok clu coda Vaato fo 6-valv olo tuba; Twos fo cllo a ao; cao, commo by th Bag o a Ca All sta, a Ms wth Mss Pats, a -ochtato of Mozat’ rqm, m at th Mozatum, salzbug dcmb 2007. Alv Luc ha collaboat wth Joh Ahby a robt Wlo a itala att Mauzo Mochtt. H ct ou tallato, 6 rsoat Pots Ao a cd Wa , accoma sol LWtt’ omou cultu, C d Wa , Gaz, Auta, a th Zlkha Gally, Wlya Uvty Jauay 2005. Luc ha atcat umou ftval a c, clug th dAAd Kutl pogam Bl; nw Muc day, Otava, Czch rublc; Ju 53
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Buffalo, a th sak Ftval at th Uvty of Mota. i Al 1997, Luc t a coct of h wok o th Makg Muc s at Cag Hall. i Mach 2008 h t a coct of h wok o th mucahoy Ftval Ftval Ma, a Mach 2009 th MazMuk Ftval Bl t a otat coct of Luc’ wok, wok, clug To fo Clat, Cllo a Tuba, Tuba, commo by th ftval. Luc gulaly cotbut atcl to book a ocal. Reections/Reexco, tvw a wtg, avalabl avalabl fom o, a b-lgual to of Luc’ co, MukTxt, MukTxt, Köl. Köl. i ato, val of h wok a avalabl avalabl o Atoc Atoc (sgma eto), Cam (italy), dqu Motag, souc, Matam, Mo, nw Wol, CBs Oyy, Lovly Muc, nouch a Wgo. i 2006 Alv Luc wa awa th Lftm Achvmt Awa by th socty fo elcto-Acoutc Muc th Ut stat a dcmb 2007 cv a Hooay doctoat of At fom th Uvty of plymouth, egla, ug th datgto Collg of th At Awa. Awa. a.wb.wsa.d niCOLAs COLLins nw Yok bo a a, ncola Coll tu comoto wth Alv Luc at Wlya Uvty, wok fo may ya wth dav Tuo, a ha collaboat wth umou olot a mbl aou th wol. H lv mot of th 1990 euo, wh h wa Vtg Attc dcto of stchtg sTeiM (Amtam), a a dAAd como--c Bl. sc 1997 h ha b to--chf to--chf of th Loao Muc Joual, Joual, a c 1999 ofo a a ha of th datmt of sou at th school of th At ittut of Chcago. Th co to of h book, Hama elctoc elctoc Muc – Th At of Hawa Hackg, Hackg, wa ublh by routlg routlg 2009. Coll ha th ubou tcto of havg lay at both CBGB (th ogal o gal nw Yok Yok Cty haco a uk ock club) a th Coctgbouw. www.oasos.om
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— PAr PArTiciP TiciPAnTS AnTS —
BrAM VreVen Bam Vv a vual att who lv a wok Th Hagu th nthla. sc 1998, aft a ca a a jazz muca, Vv Vv ha ma th-moal ktc wok a ou tallato whch lctoc a u to cotol moto a th acoutc ou of movg at. i ato to vaou vaou olo xhbto th nthla a Blgum, Vv Vv ha atcat gou xhbto , amog oth, Ftval Ftval va Vlaa (Bul), Lll 2004 (Lll), niCC (Atw), d Bakk Go a th Cootum (Amtam), At Ct sTUK (Louva), Auofam (Kotjk), th Ultma Ftval (Olo) a Club Tamal (Bl). www.bam.om Anne WeLLMer TAg’s Ag’s ato fo th 16th dto of Da d Bad. Bad. A Wllm a como, fom a ou att. H wok clu tactv comoto, comoto, fomac, ou tallato, tallato, auo walk a ao at. rctly rctly h wa commo to cat wok fo soutackcty Amtam a th ittut fü Kut m Öfftlch raum Gaz, a ha alo t wok at th nw Yok elctoc At Ftval, A elctoca Lz a at Loo ftval Bacloa. i 2007 h cuat a dck raajmak ftval fo TesLA Bl. sc 2009 Wllm ha t TAG at th dag Bag latfom. sh tu lctoc muc muc at th ittut of soology at th royal royal Covatoy Covatoy of Th Hagu a comoto wth Alv Luc at Wlya Wlya Uvty Mltow, CT (UsA). A Wllm lv a wok Th Hagu. www.oa.dmo. HiCHAM KHALidi Hicham Khalidi followed his studies in nance and economics with work in the
faho uty a x ya a a flac ogamm. i 2003, togth wth a gou of f, h tat th ogaato TAG TAG (ttut fo cotmoay at a muc). At th momt h fully mloy at TAG TAG a attc cto a cuato of projects in the eld of contemporary art, specically building building up expertise in the eld of crossovers crossovers between applied and autonomous art and ne arts and media art.
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CHris dAHLGren Ch dahlg dahlg wa bo bo nw Yok. Yok. H cv h BM Jazz stu fom th Collg-Covatoy of Muc Ccat (1986) a a MA Comoto/ exmtal Muc fom Wlya Wlya Uvty (2003). Ch ha tu comoto wth La Mot Youg, Youg, Athoy Baxto, Baxto , Alv Luc a a Chta Cht a Wolff. Wolff. Bgg Bg g 2003, Ch ha b a gula mmb of mbl of Athoy Baxto. Baxto. sc 2004, h ha b lvg Bl, Gmay, fomg, comog a collaborating with signicant European musicians, composers and artists. He has received
umou gat a awa muc comoto fom th natoal eowmt fo th At, Oho At Coucl a Hala At Ct (UsA), a wll a cvg commo fo h comoto fom vat vual a ogazato. www.allaboutjazz.com/iviews/cdahlgren.htm
JOsé pepe GArCiA Bo Vacuz, Mxco 1980. p a vatl cuot g Th nthla. nthla. Mmb of slagwk d Haag a ea Maag cuo quatt (2 z itatoal Gauamu itt Comtto 2009 a 3 z ipCL 2005). p ha fom coct hall of Blgum, UsA, Tawa, Koa, Luxmboug, sa, slova, Coata, Mxco, sba, sw, Gmay, egla, Auta, Hog Kog a all aou Th nthla. nthla. O of th majo tt h ca ha b th th collaboato wth youg youg como a att gal, vlog altatv altatv mtho of aoachg w muc though th a of ucovtoal ucovtoal mtho of mucal otato, gg gg w tumt, fug tchcal ouc fom o wt cultu a xtg th oblt of tatoal cuo tumt though lctoc oc. www.amassa.om reinier VAn HOUdT r va Hout tu ao at th Lzt-Akam Buat a th royal Covatoy of Th Hagu a vlo a facato fo matt that ca otato: colou a tmg - th ot wh ttato touch movato. H acqu hmlf – cuttg though chool, tyl a g – a cal to that cottly ult fom a oal qut; b t fom collaboato wth como, fom ach achv, achv, fom th ‘comog’ a ‘tagg’ of coct ogamm o fom a uothoox tuyg of th clac. r va Hout ha collaboat wth, amog oth, robt Ahly, Alv Cua, Maa Alva, Chalmag palt, Luc Fa, Ya Kyak, Joh Cag, Facco Loz, 56
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Olv Ma, thatcomay thatcomay Hotl Mo Mo a L & robaa; h oga lag cal ojct aou Kakhou shauj soabj, ek sat, Gacto scl, Jy Hut, Chal iv, Colu Caw a Alv Luc. Luc. H alo at th embl MAe, th iv embl a Kne-mucthat. www.ahodt. sUKAndAr KArTAdinATA sukaa Kataata caft mo mucal tumt that a ma fom mco-lctoc a comut co. H g a uually cutom-ma ing on the specic needs of individual musicians musicians and media-artists. Sukandar Sukandar is instru mtal om ct alzato of c by Alv Luc. Luc. H ha fqutly wok for Nicolas Collins since they rst met at STEIM in 1993, where at the time Collins
wa th attc cto a Kataata wa og a th fo h tu of comut cc a lctcal gg. Kataata bult th sool u fo vsps by slagwk d Haag. www..d, www.skada.d www.skada.d Anne LA BerGe Anne La Berge is a autist, composer and improviser, currently resident in Am -
tam. H ca ttch aco tatoal a tyltc boua. H mot ct fomac bg togth th lmt o whch h utato ba: a vtuoc comma of h tumt, a chat fo movg movg mcotoal txtu txtu and melodies, and an array of percussive percussive ute effects, all combined with electronic
ocg. Th hav tguh h a ‘a o a w aay of w tchqu’. May of h comoto volv h ow atcato, though h ha ouc wok t olly fo oth fom, uually volvg gu movato. ovato. Th lat fw ya hav a w ato to h wok: gmatc txt that fom at of h comoto a movato. i ato to catg h ow wok h h gulaly fom oth att’ ojct a ag of ttg fom mo chamb muc to mov lctoc muc. www.aab. nOrA MULder noa Mul tu ao at th covato of rottam rottam a Maatcht, h took cou at th Mozatum salzbug a L’Acam Vllcoz Vllcoz.. Lat h tu pa wth Clau Hlff to calz calz th fomac of cotmoay como muc. noa ca b ha a olo fom fo m,, a flac wth vaou mbl a a olot wth ochta. sh alo wok wth vual att, collaboat that a ac fomac a mak fqut cog fo ao a Cd. www.oamd. 57
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sLAGWerK den HAAG sc t foug 1977 th muca of “slagwk d Haag” hav hav focu o fomg a vlog cotmoay cuo muc t mot v fom: fom xtg to, va a lag umb of w commo a ogog collaboato wth como, to achg th futht lmt of ogaz ou. A a calz mbl “slagwk d Haag” ha bult u a lag oto, both atoally a wll a tatoally; a oto, whch ha bought thm to vtually all euoa cout, th Ut stat, th Ml eat, Jaa a Koa. www.sawkopdhaa.
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— ACKnOWLedGeMenTs — FiLMs And dOCUMenTATiOn: ladsap wth A l , at 3 of Ms wth roots th th Ath (1976) by robt Ahly ublh by Lovly Muc A Tbt to Joh ca (1973) by nam Ju pak o loa fom elctoc At itmx, nYC, nYC, UsA sOUnd And reCOrdinG Joha Vamal: ou g. www.amps.b Jua paa: cog g. www.japaa.om ABOUT TAG TAG a ttut fo cotmoay auovual at. Th ogaato vtgat a t lvat vlomt th vual at a muc. TAG vt both known and unknown artists to show their work. Specically, this results in exhi bto, lctu, wokho, coct, c a ublcato (wb a t). TAG collaboat wth a umb of ttuto a t t ogam at vaou locato at hom a aboa. TAG ma obl by stchtg Moaa, Gmt d Haag OCW, nFpK+, stoom d Haag, Amtam Fo voo Kut, Ht VsB Fo. www.ta004. TAG Hcham Khal (cto), A Wllm (cuato), Joh W (oucto), dah va i (maagmt), dall Bollg (commucato), (commucato), B va G, Bo Kmaat (Uloa Cma), rowa McCuky (g). ABOUT dAG in de BrAndinG Th ftval dag Bag a 12-hou muc maatho hl fou tm a ya that wa lauch o 16 stmb 2006 vaou that a locato Th Hagu. Th ftval oga by platfom fo nuw Muzk, a tatv fom 2005 a com of th followg ogaato alhabtcal o: Joha Wagaa Wagaa stchtg, stchtg, Kozo that, that, paa va Toj, rt Okt, Th royal royal Covatoy of Th Hagu, That Zwmba d rgt. rgt. i 2006-07, Loo Fouato, TAG a That aa ht su bcam latfom mmb. 60
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Th dag Bag taff cot of Aat sg (gat wtg, TAG TAG,, Johan Wagenaar Stichting), Caroline Bakker (production and nances Johan Wagenaar
stchtg, C va Zla (t platfom dag Bag), Jola Hu (oucto dag Bag), pt pt Aaaz (attc boa of th Joha Wagaa stchtg), stfao Oothof/ volut (pr a maktg), dajl Mhajlovc (hotogahy a vo). www.dadbad. speCiAL THAnKs scal thak to pt Aaaz who a to o a c by Alv Luc at th Cltal Vault by Jam Tull ak off th t ojct, to Aat sg a Caol Bakk.. Bakk.. stoom d Haag, th royal Covatoy of Th Hagu, slagwk d Haag, Mattha Otwol, Hauk Ha, Ggo Hotz, sukaa Kartadinata, Stefe Weissmann, Manfred Fox, Lex van der Broek, Moniek Toebosch,
K Tazlaa, Matj pag, stm/Jol rya, Ya Kyak, Jut Btt, rozal H, ravv Gachow, ew va H, Joha va Kj, sua va el, Luuk nagtgaal, Cla Gallagh, sth Büttch, il vo na, Aw Gbg, Ato rov a BMB co. sUppOrT Th book wa ma obl by stchtg Moaa, Gmt d Haag OCW, nFpK+ a oo by Alba ukk. pHOTOGrApHY CrediTs i fot cov: i am stt a oom (1969), (1969) , fom Alv Alv Luc’ Luc ’ Achv. / p.6: p.6: Alv Luc Luc by Amaa Luc Lu c / p.19: p.19: Amplier and Reector One (1991), t fom Reections ublh by MukTxt, Köl, 1995 / p.22: Ots of Psos Psos ad Ths (1975), vo tll fom Ms wth roots th Ath (1976) by robt Ahly ublh by Lovly Muc / p.32: Ms fo Soo Pfom (1965), fom Alv Luc’ Achv / p.34: dawg of th tu fo Ms fo Soo Pfo Pfom m , t fom Reections ubPso D (1975), fom Alv lh by MukTxt, Köl, 1995 / p.40: Bd ad Pso Luc’ Achv / p.46: ncola Coll a Alv Luc at Coll’ gauato fom Wlya Uvty, May 1976. by Gog a Luk Coll / p.51: Opa wth Objts (1997), vo tll fom lv fomac © Tat 2005 / p.59: Sfs (1981), fom Alv Luc’ Achv / cov back: Ms fo Soo Pfom Pfom (1965), t fom Reections ublh by MukTxt, Köl, 1995.
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prOGrAMMe OVerVieW ALVin LUCier in den HAAG
— SATurDAy MAy 29 2010 — 16.00 - 22.00 KOrZO5HOOG, FOYer: viDeO DOcuMenTATiOn ladsap wth A l : vo otat of th como Alv Luc at 3 of Ms wth roots th Ath
(1976) by robt Ahly A Tbt Tbt to Joh ca (1973): vo otat of th como Joh Cag by nam Ju pak
16:30 / KOrZO5HOOG, FOYer: inTrODucTiOn TO TO Alvin Alvin lucier By nicOlAS cOllinS 17.00 / KOrZO5HOOG: cOncerT 1 St ls (1995) fo pao ad sow swp osato / r va Hout, ao Opa wth Objts (1997) fo pfom(s) wth soat objts / Jo p Gaca, slagwk d Haag wave oscillators / Anne La Berge, ute 947 (2001) for ute and pure wave
18:00 / KOrZO5HOOG, FOYer: Dinner + FilMS 19.30 / On LOCATiOn AT deBinK36: cOncerT 2 Ms fo Soo Pfom (1965) for enormously amplied brain waves and percussion / performed by Alvin
Luc a ncola Coll / wth louak-tumt a by tut tut of th royal Covatoy a At Acamy of Th Hagu: Auma Bavak, Jua Jua Catzza, Matto Maago, Albto novllo, Mchal schuo, schuo, pablo saz; wth cuo tumt of slagwk d Haag. Haag. cooato: A Wllm. scal thak to p Gaca, K Tazlaa, Joha va Kj, Lx va Bok, th soology a pcuo atmt of th royal Covatoy of Th Hagu. performer, binaural microphone, microphone, ampliers, loudspeakers and electronic Bd ad Pso Pso D (1975) for performer, bcall / fom by Alv Luc a ncola Coll
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20.30 / KOrZO5HOOG: cOncerT 3 vsps (1968) fo lay wth ha-hl cholocato vc / fom by slagwk d Haag oubl ba a u wav wav ocllato / Ch dahlg, oubl ba A Tbt Tbt to Jams T T (1986) fo olo oubl Bok l (2006) for ute, vibraphone and piano / Anne La Berge, ute / José Pepe Garcia, vibraphone /
noa Mul, ao Forever) (1990) for piano, amplied teapot, tape recorder and miniature miniature noth s ra (Strawberry Fields Forever)
ou ytm / Alv Luc, Luc, ao a taot 22.00 / On LOCATiOn in KiJKdUin AT THe CeLesTiAL VAULT BY JAMes TUrreLL ata , cog qumt a layback ytm Sfs (1981): ou tallato fo log-loo ata, / ralzato by Bam Vv a A Wllm / o locato atat: Joh W, davy dulk, Kya Bo, Bo, Thoma Hma, H ma, dal va staal, Xav va pxt, Tm Tta, Tta, Lott Kauffma, Mlj va ejk, dall Bollg, dah va i, payam shahal, Mau Klaa. Wth cal thak to stoom d Haag Haag..
— sUndAY, MAY 30
— 14:00 / rOYAL COnserVATOrY OF THe HAGUe, Kees VAn BAArenZAAL eth is ra , Lctu by Alv Luc i am stt a oom (1969) / fom by Alv Luc wth ew va H’ satal itacto
Lab of th itfaculty At|scc. Th satal itacto Lab a: Luca Bck, Jua Catzza, iva Hqu, slva Jaokova, daa Joha, Bo Kbb, La Ky, Ky, Matto Maago, Maa go, Matthj Muk, na poov, pablo saz, Jo stjbo.
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