[ampf]

notes, poems, sequences & songs

detail

Author:

pieces of spoken sound poetry. 1-voicepoems, vocal notes, dialogues & loops, duets & trios, class works. additional vocals: henri chopin, allen ginsberg, emil siemeister, friedrike mayröcker, falco, vienna-hanoi-medellín-boulder-students & audiences, birds, cars, wind, rain.
"der autor als popstar, allerdings nicht im sinn der aktuellen gecasteten gruppen, sondern pop durchaus im alten stil des widerständigen lebens, das ständig in bewegung bleibt. on the road. manche der tracks funktionieren wie kurze, schnelle punksongs." (karin cerny, homepage literaturhaus vienna, july 29, 2002)

index/tracks/content:

Type [ampf], cd
notes, poems, sequences & songs
language phonetic language
Tracks 76, 74 minutes
extraplatte ex 462-2, austria 2000
isbn 3-221-14622-1

01-10 intro

11-18 1voicepoems

19-40 vocal notes

41-55 dialogues & loops

56-57 duets & trios

68-75 class works

76 coda

reviews

the album [ampf]

author:

denisa mirena piscu, university bucarest, 2009

the album "[ampf]" (2000) is more radical than "30 rufe", as the semantic meaning is eliminated almost totally. it is a matter of course: “"meaning" within a literal culture is mostly seen as "literal meaning", meaning that derives from standardized grammar, syntax and semantics within a written context.

notes, poems, sequences & songs

author:

karin cerny, literaturhaus wien, 2002

literatur läßt sich nie nur auf den inhaltlichen stoff reduzieren. literatur ist immer sprachliche bearbeitung von stoff. im fall von christian ide hintze, lyriker, performance-poet und leiter der schule für dichtung in wien, trifft es sich, daß die sprache und ihr klang der eigentliche stoff sind. hintze schreibt literatur aus dem geist der musik.

beat versus sonore, tracks 43 & 44

author:

denisa mirena piscu, university bucarest, 2009

it is interesting to notice the difference between a poem such as no. 43, "poetik revolu:son" "from a dialogue with allen ginsberg" (listen to the annexed cd), and no. 44, “pu:r o pup u" "from a dialogue with herni chopin”.

on "ss nilla", track 12

author:

denisa mirena piscu, university bucarest, 2009

for creating the poem no. 12, "ss nila" "recorded at orf-studios, vienna" (listen to the annexed cd), ide went to the studio and produced some sounds in front of the microphone – consonants and vowels. afterwards, he picked some of these sounds and computed them.

on "da'ka", track 38

author:

denisa mirena piscu, university bucarest, 2009

the vocal note number 38, “da'ka" "in front of a television set" (listen to the annexed cd), shows ide’s voice seemingly shouting something at somebody outside the room, where he is sitting in front of a tv. the noise of some movie or a show on television is to be heard on the background all the time.

on "ai subi da", track 58

author:

denisa mirena piscu, university bucarest, 2009

apart from the dialogues with important artists and writers, which served him as a starting point for the sound poems in this section, ide also has some "looped & sequenced vocal samples", which don’t have any additional historical importance, but are valuable in themselves, for the sake of the sound, exclusively. we can even listen to a dialogue with a chair – no.