Program na RÁDIU DEVÍN - 17.1.2007:
20:30 - 22:00 - Úvodne slovo - Pripojenie sa na Satelit RAVEL
21:00 - 21:30 - Naživo vysielanie programu z Komorného štúdia - improvizovaná elektoakustická hudba. Názov vysielaného bloku -The Big Birthday Opera 2008 - venované oslavám narodenia umenia s témou "Forever Young"
21:30 - 22:00 - Rádio Devín surfuje po satelitoch a zhráva ukážky účastníkov EBU Art's Birthday 2008

PROGRAM FRAGMENTS BY:

THE BIG BIRTHDAY OPERA 2008
Juraj Ďuriš and Gívan Belá

What is a birthday without a birthday song? Based on an original idea by the French artist Robert Filliou, we contribute to this year's Art's Birthday with a radio opera, connecting Bratislava, Brussels and Tokyo in a worldwide celebration.

... Live on stage
robert rudolf
blažej vidlička
marek piaček
martina kedrová
katarina smiková
juraj ďuriš
gívan belá
roman laščiak
vladimír slanínka

... live on the internet:
akihiro kubota (JP)
Isjtar and Annemie Maes (BE)

BIG BIRTHDAY OPERA 2008
concept and description
2008-01-17

Idea

When we go to birthdays, once in a while there is the ultimate moment
in which the cake arrives, the champagne bottles are uncorked and ...
the (non)invited sing the obligate birthday song. Interestingly no one
refuses this on grounds that they have non-trained voices or cannot
remember the words too well. Also, notice this is really a
collaborative creation, and takes its aesthetical pleasures mostly from
the enthousiasme, spontaneity and ... dissonance of the expression (one
can argue the same for sport manifestations, protest marches, and even
church bells ringing). And what is a birthday without a song? I we come
together and celebrate, then let's sing! Together! For art's sake!

Opera description.

The musicians consist of a number of real musicians and a real
audience. Due to the circumstance of the event (both the condition of
art since the beginning of the 20th century, and the issue hinted at
above: it's a birthday!) we tend to make the difference between both as
small as possible. But that needs a structure. The choice of the
material, the technical setup and the organization of all elements in
time, should help us to celebrate this piece effectively.

We selected some songs according to this year's theme "forever young",
which questions former uses of popular music within a critical
socio-cultural context. The songs are:
       No Government by Nicolette (BE) (08:02)
       Eu Error by Tucan (SK)(04:55)
       Jieitai Ni Hairo by Wataru (JP)(03:10)
       Otvarate Casino (SK)(03:50)

These 4 songs are in that order played during the 30 minutes' duration
of the piece. The original songs are heard only in the headphones of
the musicians and the headphones of the audience (some will sing too).
In the room and in the broad/netcast, only the instruments and voices
can be heard.

We will try to bring additional singers from the audience, to available
microphones to sing on the song-parts (in the headphones).

We start immediately with the 1st song that fades halfway into the 2nd
song. The third song will start around the 15th minute, and the last
song around the 25th. In between the musicians can improvize based on
the music they heard before, but during the songs, just your voice can
be used to sing the song along (any part or instrument of the song can
be used to follow, you can even make your own vocal arrangement on it).
Imagine the songs as a fixed score. Please follow it as good as you
can. Keep the headphones tight and close to your ears and avoid any
external noise/sound to disturb you.

At the same time there will be a connection with Brussels (OKNO) and
Tokyo (TAMA ART). They have a different setup that will nicely collide
with ours.

For the in between improvisations, take care of the following four
ideas and hints.

1. No solos. Don't try to attract attention with a specific sound, or
specific instrument. We want the music to sound as heterogenic as
possible, almost timbral like an orchestral machine/ensemble. Therefor
we chose the rhythmical component as almost 'binding' the several
instruments. A voice is an instrument too, and just continue what is
suggested within the previous original song you heard through the
headphones.

-- PROTEST SONGS --
NO GOVERMENT (BE)
No government is a way of life.
No government means to trust your friends.
I know who I am, and you know who you are.
If everybody knew what they wanted,
There'd be nothing, nothing left.

People would do what they wanted,
And there'd be no government.
There'd be no government,
There'd be no government.
People would do what they wanted,
And there'd be no government.
There'd be no government.
There'd be no government.
People would do what they wanted,
And there'd be no government.


EU ERROR (SK)
Eu eu eu eu eu eu eu eu eu eu eu eu eu
aha tamto sova krici ze ma prsty v zahranici
aha tamto sova krici ze ma prsty v zahranici

Eu eu eu eu eu eu eu eu eu eu eu eu eu
Eu eu eu eu eu eu eu eu eu eu eu eu eu....

Zase tamto ruuz ukazuje na zamrznuty fuz
Zase tamto ruuz ukazuje na zamrznuty fuz

Eu eu eu eu eu eu eu eu eu eu eu eu eu
Eu eu eu eu eu eu eu eu eu eu eu eu eu...

Teraz v riti celkom spolu maju strasne velku smolu
Teraz v riti celkom spolu maju strasne velku smolu

Eu eu eu eu eu eu eu eu eu eu eu eu eu
Eu eu eu eu eu eu eu eu eu eu eu eu eu...

...zatvori ta s pod zubov nad zubov pod zubov nad zubov
E ha es ma zlomeni vez

Eu eu eu eu eu eu eu eu eu eu eu eu eu
Eu eu eu eu eu eu eu eu eu eu eu eu eu...

To je nasa europska unia ktora je dnes celkom ako muumia
To ej nasa europska unia ktora je dnes ako muumia
To ej nasa europska unia ktora je dnes ako muumia celkom ako mumiaaaaaa
Ale nech sa nikto nezlosti ze sa tu len tak kosi
Eu eu eu eu eu eu eu eu eu eu eu eu eu
Eu eu eu eu eu eu eu eu

BIG BIRTHDAY OPERA 2008
concept and description
2008-01-17

Idea

3. Sampling. In a general sense, try to avoid using playback of larger
samples. As we concentrate on the rhythm as a unifyer, try to make your
sound (instrumental or sample) never longer than the length of one beat
from the (previous) song. Keep them very short, and rather work on
changes in their expressivity with amplitude and filtering. Also try to
disguise the origin of all instrumental sounds including samples (as a
contrast to the very recognizable voices). Maybe when there are enough
voices present, it would be a good idea to minimalize the use of
additional instrumental sounds. This you can also achieve yourself by
alternatively singing what you intended to play.

4. Evolution. As we mentioned before we want to go within the given 30
minutes from reduced minimalism to excessive tribalism. This is not
easy, so never play or sing anything just like that. If it is getting
too chaotic, please stop and wait... rather make it within the given
rhythmic context dense. And let's not musically overact!

We will have on the 17th a rehearsal with the musicians at 5pm (please
come in at 4pm sharp) and the performance will start live at 20:30
exactly. There will be cake and champagne for everyone. Let's have fun.
And a nice birthday. See you there!

2. Exactness. When you look at the different songs they are
rhythmically very different and they suggest a kind of transition from
the minimal first to the extravert last one.
That is exactly the envelope throughout the whole piece. The
improvisation parts make the transitions to the next song by pushing
the energy in small steps up. let's say from first legato to more
energetic, to vivace, to ending over the top. But make sure you keep
control, when it is chaos: step back.
Rather, over the given improvisation time try to introduce slight
variations to the chosen rhythm/pitch/envelopes that push up the
treatment, phrasing or energy. But make it slow (when you think "now",
just wait a little) and again, keep it under control.

-- GENERAL SONG --
OTVARAJTE CASINO (SK)
Láska to je Vám vec čudná
zavše máva ubolenú tvár
niekedy je celkom nudná
raz je z nej mlieko potom cmar
Dlho na ňu rôzne lieky skúšam
všetko pre jej spásu duše dám
jenu myšlienku za druhou zhášam
až tu zrazu hop a už to mám

Ref.
Otvárajte Casino doslal som chuť na víno nalejte mi silné červené
Nech ma slabosť preklína ponorím ju do vína, víno to je pre ňu stvorené
a keď jeden pohár bude málo, dám si naliať ešte takých pár
až ma pri ňom zastihne i ráno, to mi bude hej! a v očiach žiar - preto -
Otvárajte kasíno doslal som chuť na víno nalejte mi silné červené
Nech ma slabosť preklína ponorím ju do vína, víno to je pre ňu stvorené

Víno zázračnú moc máva
žiaľ mení pri ňom svoju tvár
láske vďačnú silu dáva
víno aj zimu mení v jar
Keď sa začne slabosť vadiť s láskou
bez váhania hneď ju stranou dám
netrápim sa viac nad jej otázkou
pretože už liek pre ňu mám

Ref.
Otvárajte Casino doslal som chuť na víno nalejte mi silné červené
Nech ma slabosť preklína ponorím ju do vína, víno to je pre ňu stvorené
a keď jeden pohár bude málo, dám si naliať ešte takých pár
až ma pri ňom zastihne i ráno, to mi bude hej! a v očiach žiar
Otvárajte kasíno doslal som chuť na víno nalejte mi silné červené
Nech ma slabosť preklína ponorím ju do vína, víno to je pre ňu stvorené
la la la la la la la la la la la la la la la la la la la .....

a keď jeden pohár bude málo
dám si naliať ešte takých pár
až ma pri ňom zastihne i ráno
to mi bude hej! a v očiach žiar - preto -

Otvárajte Casino doslal som chuť na víno nalejte mi silné červené
Nech ma slabosť preklína ponorím ju do vína, víno to je pre ňu stvorené

Jieitai ni hairou / Takada Wataru
Let's enter the SDF (Self Defence Forces) / Wataru Takada

Minasan gata no naka ni, Jieitai ni hairitai hito wa imasenka?
Is there anybody who wants to enter the SDF?

Hirohata agetai hito wa imasen ka? Jieitai ja jjinzai motometemasu.
Is there anybody who wants to make a name in the world? The SDF wants
talented people.

       *Jieitai ni hairou, hairou, hairou
       Let's enter the SDF, SDF, SDF.

       Jieitai ni haireba konoyo ha tengoku
       If you enter the SDF, this world is paradaice.

       Otoko no naka no otoko wa minna Jieitai ni haitte hana to chiru.
       Everyman among men die heroically.

Supoutu yaritai hito ga itara, itudemo Jieitai ni okoshi kudasai.
Please enter the SDF, if you want to play any sports.

Yari demo Teppou demo nan demo arimasu yo. Tonikaku karada ga kihon
desu.
There are any wepons such as spear and guns. Anyway, your strong body
is most important.

* (refrain)

Teppou ya sensya ya hikouki ni kyoumi wo motte iru kata ha itudemo
Jieitai ni Okoshi kudasai.
Please come to the SDF whenever you like, if you like guns, tanks and
airplains.

Tetori ashitori oshie masu.
We will teach you how to use them with great patience and care.

* (refrain)

Nihon no heiwa wo mamoru tame nya teppou ya roketto ga irimasuyo.
In order to keep peace of Japan, we need guns and rockets.

Amerika san ni tetudatte morai, warui soren ya cyugoku wo yattuke
amsyou.
Let's beat evil Soviet and China with the help of America.

* (refrain)

Jiei tai ja jinzai motomete masu. Nenrei gakureki wa toi masen.
The SDF is looking for talented people, irrespective of age and
educational background.

Sokoku no tame nara dokomademo, sunao na hito wo motome masu.
The SDF wants gentle and obedient men who love their own country.

* (refrain)

Essay about the memory ... [30:00]

Be in my radio, darling, every night! I will rent a cage for you ... [remix] [4:00] - CSERES & MURIN

Homage to John Cage [BA-992.SK] - Juraj DURIS [4"33]

Edisonika - PSY [3:00]

Warm-Up with K. Wojtyla - KasioBoy, Gejza DEZORZ [3:22]

Passé recent - futures radieux? - Robert RUDOLF [3:40]

Tolstoj Lobby [3:03] - Bohdan FEDOR

Errory Memory - [2:04] - Oliver REHÁK

Radio Star - [11:48] - Slavomír Krekovič

7 rozkolísaných antén - [2:58] Daniel KORDÍK

and others ...

Tolstoj Lobby [3:03] - Bohdan Fedor

Using radio in performance shifts its context from the utilitarian to the aesthetic.

The radio is able to bring multiplicity in a way that one cannot expect into a performance. I think the point of all this is that the creativity comes at the point of juxtaposition.

The radio also integrates another media into performance.

Perpetual variation is one of the central features of the radio.

Radio is a synthetic object.

Radio adds to the polyphony of timbre. It has its unique texture unlike anything other in the ensemble. Yet paradoxically, radio is also able to engage in imitation.

Radio replaces the exterior contribution of the composer.

Radio as environment.

Tele reduces the space in a room, radio expands it because you start to travel and to create those spaces and images that the broadcast sound unlocks.

Radio art: Is there anything, left, to be squeezed from that old chestnut? And, once squeezed, who would ever want to drink such bitter juice?
Gregory Whitehead

Of course, radio has an incredible power. A power we are terrified of.

Homage to John Cage [BA-992.SK] - Juraj DURIS [4"33]


John CAGE in Bratislava 1992

Be in my radio, darling, every night!
I will rent a cage for you ... [remix] - Jozef Cseres & Michal Murin

Live radio manipulations, voices, CDs, Alien Production (Martin Breindl, Norbert Math, Andrea Sodomka) - live radio broadcasting; Berndhard Loibner - live radio broadcasting; Berndhard Gál - live radio broadcasting; Gordan Paunovic - solid sounds; Pál Toth - live radio broadcasting; Tóth - live radio broadcasting; József R. Juhász - mixer manipulations;
Project realized in collaboration with Štúdio erté, Kunstradio ORF Wien, Radio Free B92 Beograd and Tilos Rádiom Budapest;
Special Thanks: Michael Berger, Zoli Bottlo, Gabriel Cuc, Julo Fujak, Róbert Fügedi, Heidi Grundmann, József R. Juhász, Ivan Kamenický, Otomo Yoshihide, Gregory Whitehead, Elisabeth Zimmermann and all partitipating artists.

16.1. 2000, hodinu pred polnocou, začali teda pozvaní umelci v troch rozhlasových štúdiách – Rádiu Free B92 v Belehrade (Gordan Paunovič), Tilos Rádiu v Budapešti (Pál Tóth) a Kunstradiu ORF vo Viedni (Alien Productions, Bernhard Gál, Bernhard Loibner) – vysielať vlastné audioartové produkcie. My sme ich na verejnom predstavení v novozámockom KLIKK pube cez internet prijímali, manipulovali, mixovali a náš soundartbruit obratom vysielali do už i tak dosť znečisteného kyberéteru. Zostrihaný 40-minútový mix, ktorý Slávo Krekovič nazval priliehavo „mediálnym virvarom“ (a eufemisticky „hudbou sfér“), sa neskôr objavil na CD-dokumente Sound Off 1999/2000: „Beams & Waves“ (SNEH CD 003, 2000). Tentoraz sme zámerne venovali väčšiu pozornosť prenosovému médiu než prenášaným ideám. Chceli sme ťažkú, premočenú špongiu vyžmýkať, aby mohla nasiaknuť novými myšlienkami. Napriek silným pochybnostiam Gregory Whiteheada, ktorý vraví: „Radio art: Možno z toho starého gaštana ešte čosi vyžmýkať? A ak áno, kto by už pil takú horkú šťavu?“ Na narodeninovej párty Umenia sme žmýkali celú hodinu a svoj kalich horkosti média sme si poctivo vypili až do dna.