Release Date: 2013
Total Time: 57:24 | 46:11
2CD | 32-page booklet | digipack
01. Vladan Radovanović – Voice from the Loudspeaker (1975) 4:15 english version translated and read by Paul Pignon
02. Szablocs Esztényi i Krzysztof Wodiczko – Just Transistor Radios (1970/2012) 5:21 performers: Wim Deca, Nina Fukuoka, Marcelina Gładysiak, Jan Gromski, Iwona Lebioda, Rafał Nicze, Maciej Ożóg, Paweł Wdowicz – transistor radios
03. Wojciech Bruszewski – Junction (1973/2013) 8:02 reconstruction: Wiktor Skok
04. collective action – Music Within and Outside (1984) 7:07 performers: Andrey Monastyrski, Nikolai Panitkov, Sergei Letov, Georgy Kizevalter, Elena Romanova, Sergei Romashko
05.-08. Eugeniusz Rudnik – Scalars – technological study (1966) 19:12 Eugeniusz Rudnik
09. Hugh Davies – Shozyg (1964) 12:37 performers: John Tilbury, Bohdan Mazurek, Eugeniusz Rudnik
01. Rudolf Komorous – Tomb of Malevitch (1965) 3:40
02. Arne Nordheim – Ode to Light (Sculpture) (1968) – studio mix 1 10:27
03.-06. Milan Grygar – Acoustic Drawings (1974) 14:24
07. Arne Nordheim – Ode to Light (Sculpture) (1968) – studio mix 17:25
The album is a natural alliance of the producers working with the Polish Radio Experimental Studio’s archives and the curators of the exhibition dedicated to intersections of technology and body in art of the 1960s and 1970s. The thematic “common” field was operationally called “early Eastern European sound art”, although none of us really meant it literally. Undoubtedly, we were all interested in such works of art where the sound was approached from the perspective of other art disciplines. Leaving film, theatre, dance and radio art to other occasions, we mainly focused on visual arts, performance and architecture – mostly due to their conceptual connotations. We followed the two fundamental issues discussed in the 1960s: object and space.
In this context, the exhibition Sounding the Body Electric was a breakthrough. For the first time, the history of sound of the above mentioned period was told from a different point of view than the musicological one. On the following pages David Crowley and Daniel Muzyczuk write about the Experimental Studio’s place in the wide spectrum of Eastern European art. To us, it is more important to see what the latter one tells us about PRES.
Experiments undertaken in Warsaw’s Studio found their reflection on the magnetic tape – a fixed object presenting the final vision of the composer. In consequence, space was usually understood as a parameter of musical form defined by stereophonic system. The most vivid examples of this compositional legacy is an unfortunate and never fully exploited Oskar Hansen’s project of adjustable acoustics of the Studio as well as Tomasz Sikorski’s attempts at composing reverberations of instrumental sounds – brilliantly faked on console by Bohdan Mazurek.
For this album we were trying to find the pieces in PRES’ archives that would deviate from this dominant tendency.
Michał Libera and Michał Mendyk