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Born in 1948 in Villach, he lives in Salzburg. He
studied music at the Mozarteum (double-bass, guitar, live electronics and
composition). He has participated in international new music courses in
Darmstadt and Cologne. He received the Composers1 Award from the Austrian
Ministry of Culture (1976 and 1988).
Selected works and music installations: Realtime
(1989), Eisklang (1991), Der Eisenhammer (1992), Identitäten (1995),
autoerotico stomp (1998), Elettrico (1999), Klangplatz (2000).
Selected stage works: Die Lustpende (1995), The Wall of Jericho (1996),
Schnee und Todt (2002).
String-Art
This term includes and describes my projects and performing concepts
relating to string vibrations, which are the starting point for exploring
highly interesting playable variations. For quite some time now I have
been trying to avoid conventional string stimulation by using: (a)
electric vibrations, (b) vibrating spools, which cause a continuous
vibration of the strings, and (c) electric impulses by means of
electro-magnetic pickups.
The main sound sources are two self-made hanging guitars and
electro-polychords, which I have designed recently (two/three lying
horizontally and one vertically).
Generally speaking, the string sound is enriched electronically.
Klangplatz is a concert installation for five electric
string instruments and electronic modulation, based on continuous sound
and continuous stimulation.
The basic elements of the installation are 3 electro-polychords, 2 in
a vertical position (about 180 cm) and 1 lying horizontally (about 160
cm), made out of metal tubes on the basis of electronic-guitar technique,
and two self-made hanging E-guitars. A concert-like sound field is
initiated, controlled by one performer. Because of the stimulants the
strings are continuously vibrating. During the performance the stimulants
will be shifted and exchanged. In addition a surface scanning of the
instruments comes into effect, using the magnetic field induction of a
pickup. The actual sound wall will develop from electronic modulation of
the string instruments. 16 different modulation variations are stored for
each instrument. The sound process is marked on a raster unit. During the
performance the operator chooses different variations. In this case the
operator is not a musician any more. He is basically a sound organizer.
The structural, musical process is not punctual but is based on surfaces
and mass movements. Therefore the visual presentation has a character of
slowness.
Werner Raditschnig
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