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30 Rufe

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BürgschaftHuizziKürbishautLahmwedi

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Author: 
Christian Ide Hintze

spoken word pieces, created on 4track cassette recorder. solo voice combined with additional solo voices, multitrack voices, keyboard-samples, drum-computer, silence & other accompagnati. semantic & asemantic lyrics.

index/tracks/content: 

30 rufe (30 callings)
cd, german, austrian, phonetic language
30 tracks, 54 minutes
extraplatte, vienna, austria 1992
EX 162CD

  1. Verlangen 0:20
  2. Gitterwesen 0:47
  3. Nachts 1:30
  4. Bürgschaft 2:15
  5. Vyatthana 3:33
  6. Wind 0:22
  7. Schnee 2:45
  8. Huizzi 0:53
  9. Anfang 1:14
  10. Kind 0:54
  11. Straße 1:20
  12. Stadt 1:27
  13. Erhebung 0:36
  14. Erinnerung 1:54
  15. Köstlichkeit 4:36
  16. Ureinwohner 0:32
  17. Kürbishaut 0:38
  18. Hafen 0:54
  19. Abendstern 0:53
  20. Vorschlag 3:11
  21. Denken 3:36
  22. Wosisog 1:46
  23. Lahmwedi 0:52
  24. Opposition 0:46
  25. Endgültiges 3:45
  26. Hurenduft 2:13
  27. Wald 0:38
  28. Purpurgras 0:25
  29. Wien 6:35
  30. Lingling 1:40

reviews

die "gedichte" sind unterschiedlich angelegt

author: 
neue zürcher zeitung, andré bucher, 1993

manche loten konkretistisch das klangmaterial der sprache aus und spielen mit rhythmischen mustern, einige bleiben dabei witzig knapp unterhalb der sinnschwelle. viele fassen aber lyrische kompositionen von grosser prägnanz. john lennon wird einmal als vorbild genannt - die direkte aussagekraft und die bildwirksamkeit der beat-lyrik sind hier zu neuem leben erweckt.

one of the best poetry works

author: 
luis bravo, festival director, montevideo, 18.3.1996

one of the best poetry works based on sound that i ever heard. perfectly conceived and realized.

methods of using the human voice

author: 
denisa mirena piscu, university bucarest, 2009

language and the new computer codes are the two main concepts which dominate his artistic interests. if he defines poetry as something which “should be connected to language and have an artistic ambition”, language, on the other hand, means above all, “using the human voice”.

the "pure joyful nonsense" of creating sound poetry

author: 
denisa mirena piscu, university bucarest, 2009

the sound poem "huizzi", which is a piece for three voices and two choruses, has no semantic meaning and represents, according to ide, “pure joyful nonsense”.

on "lahmwedi", track 23

author: 
denisa mirena piscu, university bucarest, 2009

the uttered sounds are, in fact, correspondent to the eight letters of the name (kurt) waldheim, president of austria between 1986 and 1992, former secretary-general of the united nations and subject of the international controversy “waldheim affair”, in which he was accused of having hidden the truth about his former experience as a wehrmacht intelligence officer during world war 2.

the riddle of understanding beyond the semantic language

author: 
denisa mirena piscu, university bucarest, 2009

the poem "wosisog", created in 1985, is a voice-voice-chorus poem using asemantic language - not really meaningful, but still containing some plays on (fragments of) words; in this sense the title is a mixture of semantic fragments which can be read as “what i said?” technically, the poem was recorded on a four-track cassette – its composition started with one voice on one track, a second

global creole poetry – the melting pot of literature quotations, common phrases and different languages

author: 
denisa mirena piscu, university bucarest, 2009

another poem partially loaded with meaning is "wien" (listen to the annexed cd), the longest poem on the album (6’37”), which has a different acoustical structure – in the sense that it involves more than just the human voice.