Listen & tracks
2 of 8 tracks have a preview · 2 works · 57:08
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ThrausmataRos Bandt 7 movements24:20
- 1 Parmenides Fragments 1 & 5 :52
- 2 Homer Iliad XI 618-652 5:47
- 3 Sappho Fragment 1, Realisation 1 2:48
- 4 Bacchylides Ode 5 16-49 3:57
- 5 Sappho Fragment 1, Realisation 2 3:45
- 6 Euripides Hippolytus 1199-1233 3:37
- 7 Democritus Fragment 9 (DK 68A, 128) 3:34
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8 Mungo Ros Bandt 32:48
Archaeology uncovers remains and remnants, usually fragments of an unknown whole. Applied to sound—invisible and time-dependent—the questions sharpen. Can we hear the past, and if so how? Are those sounds whole or broken? Is it even philosophically possible to rehear a moment that can never be repeated?
The listening environment shifts constantly: different acoustic spaces, different soundscapes, and a listener in the twenty-first century far removed from the Homeric world or the people of ancient Lake Mungo.
Sonic archaeology takes remnants of ancient language and ancient land as they exist now and rebuilds them as modern electro-acoustic celebration. From the giant aeolian desert harp of Mungo to the ancient Greek texts of Thrausmata, Sonic Archaeologies tries to re-sound antiquity so that some of its essence may be rekindled.
These award-winning compositions were created in the studios of West Deutsche Rundfunk, Cologne.
Reviews
Sonic Archaeologies takes us to the heart of what music is about: the sounding and re-sounding of trans-temporal, cross-cultural, past and present human experience.
[Thrausmata's] collaged sound sources provide a rich web of intertextual interplays with the literal and symbolic content of the ancient texts ... the evocative sound of the aeolian harp [in Mungo] ... it's worth hearing the piece for this element alone ... satisfying listening
[Thrausmata] was a startling and intriguing essay in marrying contemporary sounds with a 'dead' language and exploring their mutual resonances.
This disc chronicles the work of a true original in Australian music ... [in] Thrausmata ... Bandt aims at a kind of excavation of the imagination, re-creating imagined past sound worlds and setting them against a surviving text ... the demeanour is fresh, inventive and engaging ... Mungo is quite the opposite: a still soundscape evoking vast, sparely punctuated expanses of time and space ... it is one of the most thoughtful Australian landscape pieces I have come across.
Artists
Ros Bandt
aeolian harps, renaissance recorder, slide whistle, medieval psaltery, sampler, vocoder, fairlight, fossils, kangaroo bones, shells, sand, sound installation
Ros Bandt is an Australian composer, performer and sound artist whose work joins ancient instruments, environmental sound and live electronics in spatial music, installation and sound sculpture.
Digital booklet
Digital booklet Notes, texts and credits — read online or download the PDF Download the PDFPerformers
- Ros Bandt · aeolian harps, renaissance recorder, slide whistle, medieval psaltery, sampler, vocoder, fairlight, fossils, kangaroo bones, shells, sand, sound installation
- Arthur McDevitt · ancient greek text reader · tracks 1–7
- Alice Kelly · mutti mutti elder voice · track 8
Technical credits
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Contributor
Hans-Georg Andres (track 8)
Steve Naylor (track 8)
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Producer
Klaus Schöning
Ros Bandt
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Recording Engineer
Benedikt Hitzenhofer
Steven Tilley (track 8)
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Editing Engineer
Mechthild Austermann (track 8)
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Co-Producer
Andrew McLennan (track 8)
Details
- List price
- $25.00 AUD
- Total playing time
- 57 minutes 8 seconds
- Release date
- 2003
- Categories
- Australian, Cross-cultural
- Musical work copyright
- © 2003 Ros Bandt
- Sound recording copyright
- ℗ 2003 Move Records
- Catalogue
- MD 3145
- EAN
- 9314574314526
More to explore
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Music from twelfth- and thirteenth-century Spain and southern France. The programme centres on Martin Codax’s sea-haunted Cantigas de amigo, with songs by the troubadour Marcabru and anonymous fourteenth-century istanpittas.
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Seventeenth-century Italian composer Girolamo Frescobaldi was at once conservative and innovative. La Romanesca presents improvisatory toccatas, imitative polyphonic instrumental works, and songs from his arie musicali of 1630.