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Talking Piano Angry Schoenberg Message (Ablinger)

Talking Piano Angry Schoenberg Message (Ablinger)

Talking Piano Delivers Angry Schoenberg Message (Videocube)

Incredibly strange Talking piano (speaking piano) by artist Peter Ablinger personifies the voice of 12-tone composer, Schoenberg, both musically and to a man, through this elaborately prepared piano’s ‘voice’, delivering an angry letter to an artist with whom he accuses of compromising his artistic integrity and wishes by employing a woman in the lead for his ‘Ode to Napoleon’… Very pissed off, indeed, and all the more when heard as a talking piano… Totally unique presentation both in concept and invention.

Talking Piano Delivers Angry Schoenberg Message (Ablinger Videocube)

PETER ABLINGER english texts

“Sounds are not sounds! They are here to distract the intellect and to soothe the senses. Not once is hearing ‘hearing’: hearing is that which creates me.”

The composer Peter Ablinger (born in Schwanenstadt, Austria in 1959) is, as Christian Scheib once put it, a “mystic of enlightenment” whose “calls and litanies are aimed at cognition.” At the same time, the composer, who – after studying graphic arts – studied with Gösta Neuwirth and Roman Haubenstock-Ramati, and since 1982 lives in Berlin, is also a skeptic who understands the cultural rules and (destructive) habits enforced by tradition: “So let us play further and say: sounds are here to hear (-but not to be heard. That’s something else). And that hearing is here to be ceased (‘Das Hören ist da um aufzuhören’). More I can’t say.”

Christian Baier, transl. by Bill Dietz

“Once – I believe it was 1986, high summer – I came on something remarkable while on a walk through the fields East of Vienna near the Hungarian border and close to the birthplace of Haydn. The corn stood high and it was just before harvest. The hot summer east wind swept through the fields and suddenly I heard das Rauschen (noise/the sound). Although it was often explained to me, I can still never say how wheat and rye are different. But I heard the difference. I believe it was the first time I really heard outside an aesthetic circumstance (say, a concert). Something had happened. Before and after were categorically separated, had nothing more to do with each other. At least it appeared to me then that way. In hindsight I recognize/remember other comparable experiences that had to do with a jerking open of perception, but the walk through the corn fields was perhaps the most momentous. For one way or the other, it seems to me, all the pieces I’ve made since have to do with this experience. Even the pieces not dedicated to noise, or those played with traditional instruments, etc.”

Peter Ablinger, transl. by Bill Dietz

an essay by Peter Ablinger
written in 2003
generals about opera and musictheater,
seeing them as two anthithetic principles

QUADRATUREN V (Squarings V) “MUSIC” for orchestra (1997-2000)

Quadraturen (Squarings) is the name I have given to a method that seeks to present in visual terms any type of recorded sound. It may be compared to the phenomenon of grain encountered in photographs. Frequency f and time t are used as co-ordinates for a screen comprising a number of small noise fields whose format may, for example, be 1 second (time) multiplied by 1 second (interval).


Posted to What Gets Me Hot via Dogmeat

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