„Kennzeichnung von Zusatzstoffen“ was the first collaboration of Gerhard Zander and Gerald Fiebig. The piece was conceived specifically for the festival Experimentelle Musik in Munich, which back then was held annually in the refectory of the Technical University Munich.
The sound material of the piece consists exclusively of sound recordings made during the everyday business of the refectory. The sounds were collected using various recording devices (minidisc and MP3 recorder, analogue dictaphone). There was no processing of the sounds other than that effected by the technical properties of the respective recording media. The compositional principles of the piece are editing and montage.
For the performance, selected parts of the field recordings were distributed among several playback devices. These were assembled into a musical structure through the live interplay of the two performers. The construction of the piece arises from the specific qualities of the found sound materials.
„Kennzeichnung von Zusatzstoffen“ makes use of the everyday sounds of the TU-Mensa, especially its characteristally reverberant spatial acoustics (including parts of the building not usually accessible to the public), and integrates these in a transformed, but still recognisable form into the special situation of a musical performance in the same place. The title, too, is a found object from an information placard in the foyer of the refectory.
The piece is based on an idea by „die grenzlandreiter“ (Mathias Huber and Gerald Fiebig) and was realised with the kind support of Thomas Pliatsikas.
After the performance, Simone Rist – a soprano who had had pieces dedicated to her by John Cage and who during her formative years had worked as an assistant to Pierre Schaeffer at GRM in Paris – came up to us and said how much she had enjoyed the way it had reminded her of the 1960s musique concrète style. In 2007, the now-defunct Institut de Musique Electroacoustique de Bourges gave the piece a honorary mention at their annual awards.
We had fallen in love with electroacoustic music, and with this piece, the world of electroacoustic music started loving us back. The confidence gained from this initial collaboration launched us on our way as a duo, which produced numerous live performances and a series of releases between 2007 and 2012. As you will note in the list below, the first release was called Modul 2, but – not unlike the Annual Reports of Throbbing Gristle 🙂 – the first module remained missing until today. Well, now, here goes.
Zander/Fiebig, September 2020
Further releases by Zander/Fiebig:
Modul 2 – brainhall.net/popups/zehn.htm
Modul 3 – emerge.bandcamp.com/album/modul-3
SoundCycle – emerge.bandcamp.com/album/soundcycle
Raumpunkte – emerge.bandcamp.com/album/raumpunkte
Elektroakustisches Picknick (Mischtechnik) – www.youtube.com/watch
Recorded live in performance at the festival Experimentelle Musik at TU-Mensa, Munich, 9 December 2006
Composed and performed by Gerhard Zander and Gerald Fiebig
Recorded and mastered by Gerhard Zander
Commissioned by Stephan Wunderlich and Edith Rom
Original festival programme note in German:
Das Klangmaterial des Stücks besteht ausschließlich aus Originalton-Aufnahmen aus dem alltäglichen Betrieb der TU-Mensa. Diese wurden mittels unterschiedlicher Aufnahmegeräte (Minidisc- und MP3-Recorder, analoges Diktiergerät) „gesammelt“. Über die jeweiligen technischen Besonderheiten der Aufnahmemedien hinaus wurde das Material keiner Verfremdung unterworfen. Die einzigen Kompositionsprinzipien des Stücks sind Schnitt und Montage.
Für die Aufführung werden ausgewählte Teile des O-Ton-Materials auf verschiedene Wiedergabegeräte verteilt. Die Elemente werden im Zusammenspiel zwischen den beiden Aufführenden live zu einer musikalischen Struktur montiert. Der Aufbau des Stücks ergibt sich aus den spezifischen Qualitäten des vorgefundenen Klangmaterials.
„Kennzeichnung von Zusatzstoffen“ greift die alltäglichen Geräusche und insbesondere auch den charakteristischen Raumklang der TU-Mensa auf (auch aus Teilen des Gebäudes, die normalerweise nicht öffentlich zugänglich sind) und integriert diese in transformierter, aber noch erkennbarer Form in die besondere Situation einer Musikaufführung am selben Ort. Auch der Titel ist ein Fundstück
aus einem Aushang im Foyer der TU-Mensa.
Das Stück basiert auf einer Idee der Gruppe „die grenzlandreiter“ (Gerald Fiebig und Mathias Huber) und wurde realisiert mit freundlicher Unterstützung von Thomas Pliatsikas.
by ARTIFICIAL MEMORY TRACE / GERALD FIEBIG / EMERGE / PBK
Artificial Memory Trace aka Slavek Kwi and PBK aka Phillip B. Klingler have been pillars of the global DIY experimental music culture for decades. Both of them have released work on attenuation circuit before. Here, they team up with label owner EMERGE aka Sascha Stadlmeier and his colleague Gerald Fiebig. Each one of the four artists contributes one track of about 10 minutes to the album. But while the four-way split LP is a common format in the global sound culture scene, “fiction circuit” is more than just a compilation.
All of the artists on this album share a love of creating electroacoustic music from field recordings or found sounds. Therefore, label manager Stadlmeier invited Artificial Memory Trace (AMT) and PBK to supply source sounds from their archives. These were then used as the basis for the compositions. Leaving the source material identifiable was not the task – it was to be used as raw material to be sculpted, very much in the spirit of acousmatic musique concrète. On the AMT side, we find the tracks by PBK and Gerald Fiebig. They both used AMT’s source material to create their tracks. PBK delivers a dense, rather rhythmic track with a decidedly “industrial” feel. Fiebig’s track, on the contrary, uses the front cover artwork – a digital collage by EMERGE of visual works by Kwi and Klingler, with other works by them reproduced on the lavishly printed LP insert – as a graphic score for realising a rather harmonic ambient piece. On the PBK side, Artificial Memory Trace and EMERGE “play” the source sounds supplied by PBK. The piece by Artificial Memory Trace qualifies as exuberant rhythm noise, while EMERGE goes all the way into rather meditative laminar lower-case drone minimalism. Therefore, regardless of which side of the record one plays first (“AMT” and “PBK” are engraved on the vinyl itself to guide the listener), one will experience, thoroughout the whole album, a change between very different sonic textures and temperaments that showcase the wide range of expressive possibilities of electroacoustic music. This is not the product of good luck, but of planned collective composition: AMT and PBK, as the “guests” on the label, were invited to create whatever they liked without any formal restrictions. As it turned out, both of their works were rather intense and direct in character. Therefore, EMERGE and Fiebig both made an effort to complement each side with a more subdued, quiet piece.
File under: Electroacoustic music, musique concrète