�esk� elektroakustick� hudba
Czech Electroacoustic Music
1 Vlastislav Matou�ek 5 minut p�ed 05:01
2 Alois Pi�os Advent 08:40
3 Eduard Sp��il Hudba pro Plze� 07:51
4 Emil Viklick� Ign�c v koridoru 08:25
5 Karel Odstr�il Agatha Christie 07:58
6 Rudolf R��i�ka Saxophantasy 07:05
7 Milan Slavick� Adventus 11:03
8 Radek Rej�ek Stomatologick� minirapsodie 06:08
KO 0004 TOTAL TIME 63:08
� SOLITAIRE - K.O. Agency Prague 1996. Made in Czech Republic
Reklamn�, neprodejn� v�tisk * Not for sale
�esk� elektroakustick� hudba
Elektroakustick� hudba, jak zn� jej� sou�asn�, ve sv�t� nejroz���en�j�� n�zev, nem� oproti jin�m druh�m hudebn� tvorby stalet�mi prov��en� tradice. Z�klady tohoto tv�r��ho hudebn�ho um�n� vznikly na po��tku na�eho stolet� v hudb� tzv.bruitist�, jejich� hlavn�m p�edstavitelem byl Ital Luigi Russollo. Byla to hudba vytvo�en� rozezn�v�n�m r�zn�ch kovov�ch, d�ev�n�ch a jin�ch p�edm�t�, �asto jen mechanicky zesilovan�.
Pozd�ji, po prvn� sv�tov� v�lce, vznikla �ada hudebn�ch n�stroj�, kter� byly p��m�mi p�edch�dci dne�n�ch syntetiz�r�. Naz�valy se obvykle po sv�ch tv�rc�ch, nap�. Martenotovy vlny nebo Theremin vox. Samostatn�, autonomn� elektroakustick� skladby z na�eho sou�asn�ho pohledu se za�aly objevovat na ve�ejnosti a� po druh� sv�tov� v�lce koncem 40.let. Nejprve to bylo v Pa��i pod p�vodn�m n�zvem musique concr�te, brzy pak v Kol�n� nad R�nem jako elektronische Musik a v New Yorku jako music for tape. Prvn� syntetiz�r v na�em pojet�, tedy p��stroj nebo ji� hudebn� n�stroj na synt�zu zvuku, nyn� �asto ovl�dan� klaviaturou a zabudovan�m po��ta�em, postavil v roce 1958 na columbijsk� univerzit� Robert Moog. Po n�m se tak� cel� prvn� s�rie syntetiz�r� naz�vala.Elektroakustick� hudba m�la ve sv� kr�tk� historii mimo ji� uveden� n�zvy jako hudba konkr�tn�, elektronick� a hudba pro magnetofonov� p�s �adu dal��ch ozna�en�. Byla to tak� hudba experiment�ln�, technick�, m�la i jin� n�zvy. V�echna takto naz�van� hudba se li�ila krom� sv�ho n�zvu obvykle podle druhu sv�ch z�kladn�ch pou��van�ch a zpracov�van�ch zvuk�. Sou�asn� n�zev vznikl ve Francii po��tkem 70.let jako "musique �lectroacoustique", v ned�vn� dob� se op�t ve Francii objevil dal�� n�zev, charakterizuj�c� nov� zp�sob reprodukce elektroakustick�ch skladeb. Je to hudba akusmatick� - musique acousmatique, kdy autor p�i prov�d�n� sv�ch skladeb na ve�ejnosti je�t� dotv��� sv� d�la p�edev��m formou prostorov�ho �e�en�, kter� mu umo��uje ovl�d�n� v�t��ho po�tu reproduktor� v koncertn�m s�le.
Ze statistik, kter� sleduj� tvorbu elektroakustick� hudby, vypl�v�, �e v�t�ina skladeb, kter� v t�to oblasti vznikaj�, jsou samostatn� kompozice, reprodukovateln� v�t�inou jen z magnetofonov�ho p�su, chyb� zde tedy instrument�ln� a vok�ln� hudebn� slo�ka. �ada skladatel� proto realizuje svoje skladby s vyu�it�m interpret� na koncertn�m p�diu a dopl�uje zvuky z p�su, kter� mohou b�t i n�hradou v�t��ho po�tu n�stroj� nebo cel�ho orchestru.Elektroakustick� hudba se k n�m, na �zem� b�val�ho �eskoslovenska, dostala ji� za��tkem 60.let, tedy relativn� v kr�tk� dob� po prvn�ch uveden�ch elektroakustick�ch skladeb na ve�ejnosti v zahrani��. N�sledn� vznikla �ada elektroakustick�ch studi�, pro dobr� technick� z�zem� v�t�inou v rozhlasov�ch provozech. �sp�n� pracovala studia v Bratislav�, Praze, Plzni a v Brn�.
Tento slibn� v�voj byl po okupaci na�ich zem� v roce 1968 n�siln� p�eru�en. V�roba elektroakustick� hudby byla v n�kter�ch rozhlasov�ch provozech zastavena, v �esk�ch zem�ch �ivo�ilo jen elektroakustick� studio v plze�sk�m rozhlase. P�es ofici�ln� z�kazy v obdob� tzv. normalizace a snahu o �pln� utlumen� publicity elektroakustick�ch hudebn�ch d�l se tato hudba ���ila formou neofici�ln�ch koncert�, pozd�ji i hudebn�m samizdatem.Skladatel� elektroakustick� hudby se sdru�ovali od poloviny 60. let ve spole�n� pracuj�c� skupiny, v�t�inou pod tehdy existuj�c�m Svazem �eskoslovensk�ch skladatel�. Nejv�ce se zaslou�ili o tuto spolkovou �innost a t�m i o roz���en� a popularizaci elektroakustick� hudby prof.Miloslav Kabel�� a hudebn� teoretikov� Dr.Vladim�r L�bl a Dr.Eduard Herzog, v Brn� pak rozhlasov� hudebn� re�is�r a dirigent Ji�� Hanousek.
Nyn�j�� Spole�nost pro elektroakustickou hudbu vznikla po��tkem roku 1990. V sou�asn� dob� p�sob� SEAH - "Spole�nost elektroakustick� hudby Praha � Brno", jak zn� jej� ofici�ln� n�zev, za veden� Ing.Karla Odstr�ila a Mgr.Rudolfa R��i�ky. Sdru�uje hudebn� skladatele, muzikology, techniky i program�tory a v�echny z�jemce o elektroakustickou a computerovou hudbu. SEAH realizuje rozs�hlou �innost jak na koncertn�m poli, kde se ��astn� mezin�rodn�ch festival�, konferenc�, sout�� a symposi�, tak i v rozhlase a televizi, vyd�v� CD s autonomn� elektroakustickou hudbou a vyv�j� �irokou publicistickou �innost. Pod�l� se tak� na multimedi�ln�ch projektech a spolupracuje s obdobn�mi zahrani�n�mi organizacemi, zejm�na s International Confederation for Electroacoustic Music (ICEM), kter� s�dl� ve zn�m�m st�edisku elektroakustick� hudby v Bourges, a International Computer Music Association (ICMA) v San Francisku.
SEAH byla v r.1992 inici�torem uspo��d�n� mezin�rodn� sout�e o nejlep�� elektroakustick� d�lo. V tomto roce byla vyhl�ena ji� jubilejn� p�t� skladatelsk� sout� MUSICA NOVA �96 v roz���en� form� o multimedi�ln� projekty s elektroakustickou hudbou.
Z�kladn�m zdrojem informac� o �esk� elektroakustick� hudb� je osobn� slovn�k Miroslava Kaducha "�esk� a slovensk� elektroakustick� hudba 1964-1994".
V�echny prezentovan� skladby na tomto CD byly realizov�ny v Audiostudiu �esk�ho rozhlasu v Praze krom� skladeb E.Sp��ila a K.Odstr�ila, kter� byly realizov�ny v plze�sk�m studiu.
1 Vlastislav Matou�ek: 5 minut p�ed (1992)
Ideovou rovinou elektroakustick� skladby Vlastislava Matou�ka (*1948) nazvan� 5 minut p�ed pro bud�k a nahr�vac� studio je podle autorov�ch slov "cosi mimo��dn�ho, velik�ho, v�znamn�ho, a z�sadn�ho, co by p�idalo alespo� ��ste�n� smyslu na�emu omezen�mu byt�. A v�t�inou se pak nestane v�bec nic. Nebylo pr�v� toto nic t�m nejd�le�it�j��m, co jsme skute�n� nem�li minout?". Symbolem tohoto nenapln�n� o�ek�van�ho jsou dv� rytmicky spjat� horizont�ln� zvukov� vrstvy, kter� t�m�� bez post�ehnuteln�ch zm�n monot�nn� zn�j� po celou skladbu.2 Alois Pi�os: Advent (1991)
Alois Pi�os (*1925) chce skladbou Advent "evokovat pojem adventu jako my�lenku o�ek�v�n� dobr�ho a kr�sn�ho, co do �ivota p�ich�z�, jak ji symbolizuje p�edv�no�n� a v�no�n� �as, p�ipom�naj�c� narozen� Spasitele lidstva. Advent m��e pro��vat jako celek ve�ker� lidstvo, jednotliv� n�rod �i jin� v�t�� skupina lid� ,ale i n�kolik si bl�zk�ch lid� ve sv�m soukrom� nebo i �lov�k jako jedinec s�m v sob�." Tento z�m�r za pomoci zvuk� ze syntetiz�ru a upravovan�ch lidsk�ch hlas� vedl Pi�ose k vytvo�en� prost�ho, lyrick�ho a poetick�ho d�lka, dokreslen�ho n�zvuky humoru a naivismu. V�no�n� atmosf�ru zd�raz�uje zvukem zvonkohry, zvon� a z�v�re�n�m s�lem trubky.3 Eduard Sp��il: Hudba pro Plze� (1995)
Hudba pro Plze� Eduarda Sp��ila (*1950), komponovan� pro klav�r, syntetiz�r a magnetofonov� p�s, je v�nov�na m�stu Plzni k jeho v�ro�� v roce 1995. V z�kladu, kter� m��e b�t prezentov�n computerem nebo p�ehr�v�n z p�sku, jsou po��ta�ov� zpracov�ny zvuky akustick�ho klav�ru. S�lov� hra na klav�r a syntetiz�r s interpreta�n�mi jazzov�mi prvky je improvizac� na t�ma zpracovan� po��ta�em v samotn�m z�kladu.4 Emil Viklick�: Ign�c v koridoru ( 1994)
Skladba Emila Viklick�ho (*1948) Ign�c v koridoru pro hoboj a magnetofonov� p�s kombinuje elektronick� zvuky se zvuky hudebn�ho n�stroje, v tomto p��pad� s hobojem Jana Adamuse. D�lo je sou��st� voln�ho cyklu "Ign�c P. zm�t�n v�n�mi". T�et� ��st - Ign�c v koridoru - �mysln� pou��v� vymezen�ho hudebn�ho materi�lu. P�edstavuje sv�tlo na konci tmav�ho tunelu.5 Karel Odstr�il: Agatha Christie (1992)
Agatha Christie Karla Odstr�ila (*1930) je posledn�, des�tou elektroakustickou skladbou z rozs�hl�ho cyklu "Kabinet voskov�ch figur", kter� vznikal cel�ch dvacet p�t let v plze�sk�m rozhlasov�m studiu. Autor zde pracuje jako v ostatn�ch d�lech cyklu s jedin�m instrument��em, jmenovit� ve skladb� A.Christie s lidsk�m hlasem a sborem. Skladba vyjad�uje pocit �ten��e detektivek, ale je v n� obsa�en i zvl�tn� �ivotn� p��b�h A.Ch. D�lo realizoval autor s Ing.�estm�rem Kadlecem za spolupr�ce sm�en�ho sboru �esk� p�se� a s�list� Ta��ny Bubl�kov� a Ale�e Hendrycha.6 Rudolf R��i�ka: Saxophantasy (1994)
V elektroakustick� computerov� kompozici Rudolfa R��i�ky (*1941) pro sopr�nov� saxofon s doprovodem elektroakustick�ch zvuk� nazvan� Saxophantasy byl vyu�it speci�ln� po��ta�ov� program pro vznik instrument�ln�ch skladeb nazvan� "CCOMP" (Computer COMPosition). S�lov� part i podklady pro doprovodn� samplovan� zvuky nato�il vynikaj�c� hr�� na tento n�stroj zejm�na v oblasti jazzov� hudby, pra�sk� interpret Felix Slov��ek.7 Milan Slavick�: Adventus (1992)
Z�kladn�m zvukov�m materi�lem pro vznik Adventu Milana Slavick�ho (*1947) byla vok�ln� realizace �esk�ch ror�t� z renesan�n� doby se vstupn�m textem "Prolom, Pane, nebesa" s nezvyklou intervalovou strukturou, kter� nazp�val komorn� sbor Duodena cantitans ��zen� Petrem Da�kem. Autor o skladb� uv�d�: "Adventus - to je p��chod, o�ek�v�n� lep��ho sv�ta, ��st roku pln� nad�je. Podtitul �elektroakustick� kontemplace' vypov�d� o nekonfliktn�m pr�b�hu, kter� spojuje star� a nov�, vok�ln� projev d�vn�ch v�k� se zvukem syntetiz�r�, do jednotn�ho propojen�ho celku, n�m� p�ech�z� plynule jedno v druh� a v n�m� v�echny pou�it� prost�edky maj� jeden c�l: vyj�d�it nad�ji a v�ru."8 Radek Rej�ek: Stomatologick� minirapsodie (1994)
Kompozice pra�sk�ho skladatele Radka Rej�ka (*1959) nazvan� Stomatologick� minirapsodie aneb Hudebn� elektroakustick� �ert vyroben� ze zvuk� zubol�ka�sk�ch p��stroj� se ji� sv�m n�zvem se sna�� o humorn� hudebn� �e�en� probl�m� p�i n�v�t�v� zuba�e. Nejde tedy o artifici�ln� skladbu v prav�m slova smyslu, i kdy� m� p�ehlednou a p�esv�d�ivou hudebn� formu - jej�m c�lem je t� pobavit poslucha�e. Skladba byla nato�ena po��tkem roku 1993 v zubn� ordinaci a dokon�ena v r.1994 v Audiostudiu.
Czech Electroacoustic Music
To fully appreciate Czech�or Czechoslovakian�electroacoustic music within the broader context of the entire electroacoustic music history, one must first and foremost understand the political context surrounding this medium. Electroacoustic music in the former Czechoslovakia was not only the latest and newest compositional art form, as it was all over the world, but also represented the most defiant means of artistic expression. During the so-called "Normalization" period after the invasion by the Warsaw Pact armies in 1968, all modern art forms were extremely suppressed. For Czech electroacoustic music, this meant the closing, or realignment, of several studios.
Among the first experiments of, and encounters with electroacoustic music in Czechoslovakia, were Prof. Miloslav Kabel��'s visits to Pierre Schaeffer's studio during the late 1950s. Kabel��'s�and indeed many young composers'� interest was so great in electroacoustic music, that he organized seminars on this genre at the Czech Radio in Plze� in 1964. In the fall of 1964, the Brno's Electronic Studio was established, and in 1967 by the initiative of Karel Odstr�il, the Studio for Electroacoustic Music in Plze�. These studios�as were and are all studios�were facilitated in either Czech Radio stations or some other institutions. After 1968 all studios, except the one in Plze�, were closed. In all studios during all decades, the production of electroacoustic music had to be cleverly disguised, if not altogether "masked" as another medium such as film or chamber music. Yet despite these obstacles, Czech electroacoustic music has not only managed to survive�and one may even say prosper�but to make significant contributions. For example, already during the middle of the 1960s, Rudolf R��i�ka was, to the amazement of several leading world figures in computer music, composing computer music. Dr. L�bl and Dr. Herzog developed, perhaps, some of the first methods of analysis of electroacoustic music, which were praised by Schaeffer during his visit to Prague in the late 1960s. No until towards the end of the 1980s and after the revolution of 1989�the overthrow of communism�was electroacoustic music composed without any political dogmas attached to it, and the new Audiostudio in Prague established. This CD comprises the newest Czech electroacoustic compositions, which�except for Eduard Sp��il's Hudba pro Plze� and Karel Odstr�il's Agatha Christie composed in the Plze� studio� were composed in the Audiostudio of the Czech Radio in Prague.
The Czech Republic's Spole�nost pro elektroakustickou hudbu � SEAH (Society for Electroacoustic Music) was established in 1990, and is directed by Karel Odstr�il and Rudolf R��i�ka. As part of its activities, SEAH produces CDs, publishes literature, organizes symposiums, concerts, and interviews with composers broadcast on the radio�all to promote the dissemination of electroacoustic music in the Czech Republic. Its annual highlight is the international electroacoustic competition, MUSICA NOVA, now in its fifth year. SEAH is also a member of ICEM and in close cooperation with the ICMA.
To read more about Czech electroacoustic music and its history, here are two sources.
Zaj��ek, Libor. "History of Electroacoustic Music in the Czech and Slovak Republics, The." Leonardo Music Journal vol. 5 (1995): 39�48.
��. Oral History of Electro-Acoustic Music of the Czech and Slovak Republics, An. Master's thesis, San Jose State University, 1995.
1 Vlastislav Matou�ek: 5 minut p�ed (5 Minutes Before) (1992)
The main idea behind Vlastislav Matou�ek's 5 minut p�ed is according to the composer's own words "something extraordinary, great, significant, and essential that could add meaning to our restricted existence. And usually, nothing happens at all. Isn't indeed this 'nothing' the most important that we should not have missed?" The symbol of this unfulfilled expectation are two rhythmic, horizontal layers which sound during the entire composition almost unnoticed.2 Alois Pi�os: Advent (1991)
Alois Pi�os (b. 1925) states that Advent wants to evoke the feeling of advent as a thought of the awaiting of the good and beautiful which enriches our life, as is symbolized by the time before and during Christmas, a reminder of the Savior of all people. Advent can be experienced by all people, a single nation or a majority of a people, a close community of people in their privacy, or indeed even by an individual." This philosophy, with the help of the sounds of a synthesizer and processed human voices, lead Pi�os to the creation of a modest, lyrical and poetic composition, completed with a pinch of humor and naivity. A Christmas atmosphere is evoked with the use of glockenspiels, bells, and a closing solo trumpet.3 Eduard Sp��il: Hudba pro Plze� (Music for Plze�) (1995)
Hudba pro Plze� of Eduard Sp��il (b. 1950) for piano, synthesizer, and tape is dedicated to the city of Plze� on its anniversary in 1995. The sound source, either from computer or tape, is computer processed piano sounds. The solo part for piano and synthesizer using jazz sources is improvisation on a theme which was edited/processed with a computer.4 Emil Viklick�: Ign�c v koridoru (Ignatz in a Corridor) (1994)
Ign�c v koridoru for oboe and tape by Emil Viklick� (b. 1948) combines electronic sounds with those of the oboe, performed by Jan Adamus. Ign�c v koridoru is the third movement of the cycle Adventures of Ignatz P. This movement, using only a limited sound source, symbolizes light at the end of a dark tunnel.5 Karel Odstr�il: Agatha Christie (1992)
Agatha Christie is the tenth and last electroacoustic composition of the cycle Cabinet of Waxen Figures, which was composed over a twenty-five year period at the Plze� studio. Karel Odstr�il (b. 1930) works, as in the other compositions of the cycle, with only one sound source, in this case, the human voice and choir. The composition expresses the feelings of the detective stories reader, but also Christie's unique biography. Christie was realized together with sound engineer �estm�r Kadlec using the �esk� P�se� Choir, soprano Ta��na Bubl�kov�, and tenor Ale� Hendrych.6 Rudolf R��i�ka: Saxophantasy (1994)
CCOMP (Computer COMPosition), a computer composition program created by R��i�ka, was used for Saxophantasy. The solo part, as well as the samples used for the accompaniment, were performed by the superb jazz saxo-phonist Felix Slov��ek.7 Milan Slavick�: Adventus: Electroacoustic Contemplation (1992)
The musical basis for Adventus: Electroacoustic Contemplation were Czech Rorate chants with unusual intervallic structures of the Renaissance on the words "Prolom, Pane, nebesa" (Break, Oh God, heaven) sung by the chamber choir Duodena Cantitans, directed by Petr Dan�k. Slavick� (b. 1947) adds, "Advent is a time of arrival, of anticipation of a better world, a time of the year full of hope. The subtitle suggests a nonconflicting process which combines the old and new�vocal song of by-gone ages with the sound of synthesizers� into one, combined whole, in which the old goes smoothly into the new, and in which all used means have one common goal: to express hope and faith."8 Radek Rej�ek: Stomatologick� minirapsodie (Stomatological Mini Rhapsody) (1994)
Radek Rej�ek (b. 1959) of Prague composed Stomatologick� minirapsodie, or an electroacoustic music joke, using sounds of instruments found in a dentist's office. As the title suggests, the composition humorously attempts to resolve the problem of a visit to the dentist's office. This composition is not as much about art music in the real sense of the word�even if it has an obvious and convincing form�as it is about entertaining the listener. Stomatologick� minirapsodie was recorded in a dentist's office at the beginning of 1993, and completed in the Audiostudio in 1994.
Text: Rudolf R��i�ka, Libor Zaj��ek