Klanghorizonte (am fünfundzwanzigsten Juli)
Part 1: DISTANT HORIZONS
Ank Anum: Song of the Motherland (1985)
(with words from Shabaka Hutchings)
A Lily: Saru l-Qamar
Arushi Jain: Delight
Part 2: IN A STATION OF THE METRO
Warrington Runcorn New Town Development Plan: Your Community Hub
OTON (1) – Erik Honoré
Erik Honoré: Triage (Punkt Editions)
OTON (2) – Erik Honoré
Pan American & Kramer: Reverberations Of Non-Stop Traffic on Redding Road
Part 3: EROS NEVER STOPS DREAMING
Beth Gibbons: Lives Outgrown
William Parker & Ellen Christi: Cereal Music
(In memory of) Richard Horowitz: Eros in Arabia (1981)
(Richard Horowitz)
If I were to think of the most memorable concert experiences of my life, the performance by Sussan Deyhim and Richard Horowitz at Che-Coo-la-la in Dortmund in 1987 or -88 would be one of them. And not because ithere happened the first interview I ever did with musicians. The two of them were, no rocket science necessary, in deep love, and without any hint of ostentation, their stage performance with BDSM elements offered a captivating sound journey of archaic and contemporary elements. Unforgettable.
3 Kommentare
Michael Engelbrecht
Translated with deepl and some little corrections:
If you look after the sailing boats on the Cote d’Azur long enough and practice doing nothing, the boomerang of certain realities at home comes almost automatically, from the poetic zero to the prosaic hundred: I’m familiar with the heat by now, but the workload is piling up: a second program is already due to be produced on 10 July for the end of July. After producing the jazz facts on the evening of July 3 in the air-conditioned rooms of Deutschlandfunk, there is little time left to compose an essay in x stages for Klanghorizonte that swirls between worlds.
In between, the Afghan foster daughter turns eighteen, there is a wedding (not my own), and professional teeth cleaning. There is a lecture on why it has nothing to do with anti-Semitism, but a lot to do with international law, when the war crimes of the heinous Israeli government are pilloried. Bravo, Den Hague! In 80 worlds around the day.
And now back to the radio: what I can do on my own in advance is to find the most beautiful and adventurous music in the world at the moment, and then make the sequence of tracks a little more watertight so that the creative unconscious can go ahead and prepare secret thoughts and things to say, preferably while sleeping.
So here, ladies and gentlemen, music lovers and soul searchers, a sound puzzle in perpetuum mobile status, somewhat windy and unpredictable, like the tracks that the sailing boats cut through the shining sea off the coast of Hyères….
flowworker
Andy Beta on side two of the reissued EROS IN ARABIA
The second side of the record is mostly taken by the twenty-plus minutes of “Elephant Dance.” It’s one of the deepest wades into the mysterious Fourth World sound you’ll find, as immersive an atmosphere as Jon Hassell and Brian Eno’s similarly side-long “Charm (Over ‘Burundi Cloud’).” Utilizing only a Prophet 5 synthesizer and the ney, it creates a state of suspension in 7/4 time. The notes in the upper register of the piece dance like angels on the head of a pin, both as placid as new age music and as amok as a children’s lullaby spun at 78 rpm. Fittingly, for an album whose title suggests the Greek god of love crossing the Mediterranean Sea to ancient Arabia, Horowitz’s music seeks a space in between and finds something magical there.
flowworker
Diese Ausgabe der Horizonte wird aus Urlaubsgründen der Redaktion bereits am 10. Juli produziert, und dann wird dieser Text am Tag der Sendung, verändert, aber mit Playlist, neu gepostet, und zwar am 25. Juli. Im Mittelpunkt, im Mittelteil das berühmte kurze Gedicht von Ezra Pound. Und eine unglaubliche Vertonung von Erik Honoré.