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List of Selected Experimental
Radio Works for Violin

These recordings are short extracts of major radiophonic and media works up to 2012. They are mostly still available through the radio stations for which they were commissioned.

Coming sooner or later:
SLAVE VIOLIN (Serralves Museum, Portugal) 2010 - the extraordinary true story of a Portuguese slave who became the most sort after violinist, composer and music teacher in 19th century South West England.

28' 40"
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  • produced for BBC Radio 3 Between The Ears by Somethin'Else in 2012
  • Texts spoken and sung up by Richard Kennedy, Warren Foster, Andrew McLennan, and Jon Rose
  • Hollis Taylor - violin, Anthony Pateras - piano, Rishin Singh - trombone, tuba, Laura Altman - clarinet, Jon Rose - violin, piano.
  • Special thanks to Jane Ulman, Julie Reid, Nick Shimmin, Corinne Vernizeau, Adam Mountford.
  • Music and text composed or augmented by Jon Rose.
  • Executive producer - Joby Waldman
  • Recorded on location in Victoria and New South Wales by Jon Rose.
A radiophonic intervention by Jon Rose: In 1868, the first Australian cricket tour of England took place; the team was made up of Aboriginal men from the western plains in the state of Victoria. Although a punishing schedule of Cricket matches were undertaken, there were other more sinister motives at play in the trip. Based on historical documents, "Not Quite Cricket" aims to tell the story from the Aboriginal team's perspective, in particular through the experience of Yanggendyinanyuk - a Wotjobaluk warrior (named Dick-a-Dick by the colonial management). Richard Kennedy is Yanggendyinanyuk's great great grandson, and it is through him and his family that some of the text was translated and spoken (by Richard) in the Wergaia language. This language is currently being reconstructed from 19th century sources; over 100 years of silence marks the destruction of the Wergaia peoples and their culture. Are the patronising racist attitudes heard in "Not Quite Cricket" a distant harmless memory of the 1860s, or were they inherent in the development of the pseudoscience of Eugenics and its aftermath? The listener's attention is drawn to the popularity of Blackface Minstrelsy (white people corking up to parody black entertainers) that flourished right through the 1960s and beyond with The BBC's very own Black and White Minstrel Show and the appropriation of Blackface Minstrel ecstatic song and dance though the antics of pop stars such as Mick Jagger.

55' 25"
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  • produced by New Music Up Late, ABC FM; a sonic collision between a galaxy of local improvising musicians and live feeds of media in all its manifestations.
  • Chris Abrahams - piano; Amanda Stewart - poetry; Peter Farrar - prepared saxophone; Carolyn Johns - sousaphone; James Waples - percussion; Mike Majkowski - double bass, voice; Martin Ng - media accessing and mixing; Erkki Velteim - violin; James Rushford - viola; Judith Hamann - cello; Clayton Thomas - double bass; Jon Rose - violin, conductor, media mixing.
  • Talking Back double bassist Mike Majkowsky has demonstrated an extra talent - he can actually repeat any sentence backwards!
  • Production for the ABC: Stephen Adams, Julian Day, Andre Shrimski, Christian Huff-Johnston.
  • TALKING BACK TO MEDIA is dedicated to Jean Baptiste Lully (1632-1687 - the first documented conductor of music containing improvised components and who's enthusiasm brought about his demise - hitting his foot with his beating stick causing gangrene and death).
  • this extract comes from halfway through the broadcast.
TALKING BACK TO MEDIA utilizes the tradition of talk back radio. In this project however, the talking back is articulated by ten improvising musicians, a poet and a sound artist. The ensemble, conducted by Jon Rose, comments in real time on all or any available media - the digital deluge. By trusting the moment, Talking Back to Media reveals a complex train of text, music and sound onto which the listener can jump, allowing our cognitive desire for a story to build a wild group narrative that an individual mind would be unlikely to create. Even the names of the horses called in a race commentary can generate a contemporary socio-political drama or an existentialist meditation. Initially as technology that could not be recorded, radio was only available as a live experience. The speed and execution of new technologies enable us to live again in that dangerous realm.

Many artists have chosen a minimalist aesthetic by which to ignore the deluge. In this project, we choose to take the deluge on - and take our chances with it.

28' 40"
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  • produced for BBC Radio 3 Between The Ears by Somethin'Else in 2009
  • Texts spoken and sung up by Ruben Fernandez, Abbot Bernard Rooney, Shakara Wally, Ami Smith, Olly George, Percy George, archive restoration by Jon Rose
  • Gabrielle Mercer - the historic Moser organ at New Norcia, bell ringing.
  • Hollis Taylor, Danny Yeadon, James Cuddeford, Errki Veltheim & Jon Rose - strings.
  • Members of The Blue Mountains Concert Band ≠ brass.
  • Music and text composed by Jon Rose with extracts from the compositions and memoirs of Rosendo Salvado (arranged Jon Rose).
  • Special thanks to Abbot Bernard Rooney for the extra Nyungah translations, Peter Hocking at the New Norcia Archives, Father David, and the Department of Aboriginal Studies Edith Cowan University, Cat Hope, LJ Campbell, and Kath Weston.
  • Recorded on location at New Norcia or in Sydney by Jon Rose.
When Bishop Rosendo Salvado first struggled ashore in 1846 singing Gregorian chant, less than 5,000 Europeans lived in the British colony of Western Australia. No one knew how many Aborigines there were; no one in the white community cared. Within a few years, Salvado and his monks had established a Benedictine monastery in the bush. The land for New Norcia was bought from the British who had only recently moved in and stolen it from the indigenous Nyungah in 1826.

For the rest of the 19th century, Aboriginal tribes attempted to live with a strange, isolated, and violent culture in which they were considered even lower down the ladder than the 9,000 convicts imported to clear the land of Western Australia. When gold was discovered in the 1880s, the population of hardened and desperate men increased and the fortunes of the Aborigines decreased even more.

Within this racist paradigm, Bishop Salvado trod an epistemic and (for the time) enlightened path in his relations with the Nyungah speaking Yuat. His intentions may have been founded on the Christian zealotry for 'conversion of the natives' and his method was without doubt patronising, but he entered into a dialogue with Aboriginal culture and they with him. That dialogue was sustained through music. At the beginning there was a 20-piece Aboriginal string orchestra under the direction of Salvado (himself a skilled composer and pianist), which by 1885 had morphed into a 25-piece brass band. The Aboriginal children sang Gregorian chant in the monastic choir.

Salvado was in turns fascinated, horrified, and amazed by Aboriginal life observed close up. His discovery of the Yuat tribe, its customs, and music is documented in the comprehensive archives of the monastery. What the Aborigines thought of him and this Benedictine enclave nesting in the West Australian outback remains unknown.

28' 18"
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  • produced for BBC Radio 3 by Somethin'Else in 2008.
  • Texts were sung up by Neparrnga 'Joe' Gumbula, Djangirrawuy 'Brian' Garawirr'tja, Amanda Stewart, Andrew McLennan, Lorraine Reichard, Jane Ullman, Tony McGregor, Marguerite Pepper, Stephen Crittenden, Manon Winter, Ian Morrison, Roz Bandt, Tony Bond, Mary Healy, and Jon Rose; with original contributions from Ross Bolleter, Albert Fox, John Mcentee, Jim Cotterill, and Dinky the singing dingo.
  • other keyboard parts played by Jon Rose
  • produced, recorded and mixed by Jon Rose
  • special thanks to the ABC, John Whiteoak, and Alison Rabinovici
A sonic and dramatic survey of the pianos and organs of colonial Australia, sent via bullock dray or camel to the outback - based on documents and the imagination. This is a story of physical and climatic hardships for both instruments and performers. How did the colonialists view this bastion of western culture up against one of the most extreme environments on the planet? What did the indigenous peoples of Australia think of this artefact of empire as their land was taken from them?

23' 51"
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  • produced for Deutschland Radio in 2007 by Jon Rose
  • featuring the voices of Syd and George
  • string quartet parts played by Jon Rose
This is the story of the relationship between Syd Curtis, a member of Homo sapiens; and George, an Albert's Lyrebird or Menura alberti, who lives in Lamington National Park, Australia.

59' 00" (this production was produced privately after ABC management's destruction of The Listening Room in 2003)
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  • The title refers to composer Percy Grainger's desire to have his skeleton exhibited in his own museum which lies in the grounds of Melbourne University. After his death in 1961, the authorities turned the request down citing reasons of public health.
  • Percy Grainger was one of the great mavericks of 20th century music, coming up with notions of free music, beatless music and, with the help of Burnett Cross in his home at White Plains New York, inventing machines out of industrial waste that were capable of realising this music -utilising a set of musical aesthetics, such as gliding tones, which have become part of the language of contemporary music. Those budding DJs amongst you might like to know that Grainger was also a pioneer in the use of recording machines as musical instruments - documenting and transcribing (if not transforming) the folk music of Oceania, Scandinavia and Britain onto disc only shortly after the invention of the medium.
  • The Blisters Ensemble is an Australian group that has pioneered the use of interactive, do-it-yourself electronics in live performance, in many respects taking Grainger's imaginative ideas and developing them further. They are Jon Rose, Rainer Linz, Tom Fryer, Joanne and Stuart Favilla. Together they spent several days last November exploring the archives, unpublished recordings, and instruments of the Grainger Museum.
  • Some of the following broadcast contains themes of an adult nature which some listeners may find offensive. There is also the first broadcast of a song by Ella Grainger, Percy's long suffering wife and S&M partner.
  • the complete skeleton can be illicitly heard HERE as a real audio file
see also under 'articles'

53' 02" (cut cd version)
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  • live 2 hour radio and internet production for Kunst Radio, ORF
  • produced by Elizabeth Zimmermann and Heidi Grundmann in Vienna and DB at The Western Front, Vancouver
  • original recording by Gerhard Wieser, live sampling Kaffe Matthews
see also under 'projects'

(Mutiny on the Bounty)
56' 32"
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  • commissioned for the ABC Listening Room
  • first broadcast 15/3/99
  • producer for The Listening Room - Sherre de Lys
  • recording engineer - John Jacobs
Jon Rose continues his life long work rewriting the history of the violin; although in the case of The Bounty's fiddle player Michael Byrne, the original story is so bizarre that it is enough to juxtapose the facts and fictions presented by the historians, the descendants of the Mutineers, the descendants of the notorious Captain Bligh and the demands of Hollywood, for a radio drama to emerge that circumnavigates the full pretensions and despair of human hopes. Paradise lost on the oceans of the most audacious Irish fiddle music.

Captain Bligh - Charles Laughton
Fletcher Christian - Clark Gable
Tahitian Women - Latai Taumoepeau and Juanita Tipping
talkback radio and archive voices courtesy of ABC radio (special thank you to Richard Glover)

Irish fiddle music played on a tenor violin (Vatiliotis) by Jon Rose.
All Midi instruments, the quarter tone violin, Tromba Mariner, sound effects, film track reconstructions, and arrangements of The Pitcairn
National Hymn performed in authentic Pitcairn vocal style by Jon Rose.

44' 20"
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  • a production for The Listening Room, ABC in 1997
There are also two interactive improvisations (Orphans) available based on the musical material from the radio piece. Violin interest is maintained by Dr. Virtuus Seltsam, the violin playing undertaker who buries at least one third of Bach's offspring.

see also under 'projects'

20' 00"
  • a production for RAI, Italy in 1998
  • a collaboration with Bob Ostertag
Combining everything imaginable to do with Crows (or is that violins)... from the poetry of Ted Hughes, to Ornithology by Charlie 'yardbird' Parker, to The Birds by Alfred Hitchcock, to the Band Counting Crows, to crow hunting, and on to more references... great wing sounds!

13' 23"
  • live performance for SFB at their Radio Festival in Berlin, October 1997
  • a collaboration with Marie Goyette
The problems and terrors of a thorough music education (indoctrination) are revisited through this stage dialogue/improvisation between a pianist and a violinist.

24' 30"
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  • produced between 20 and 23th September 1993 at The RAI studios, Rome for THE AUDIO BOX programme of Pinotto Fava
  • the recording engineer was Vinetta Paraldi
  • the assistant director was Antonella Bottini
A tourist's guide to the treatments and political intrigues of an Ancient Roman Bath... the Bath of Dolabella. Owned by a normal run of the mill corrupt politician called Narone, these baths are a state of the art health paradise for your average under worked, over stressed city bureaucrat with a big arse.
Dolabella runs through her usual sales spiel about the baths for our benefit although the style of her delivery leads us to believe she's rather fed up with her job and the clientele she has to deal with on a day to day basis. For example she demonstrates her massage technique on one of her regular clients. She gives us the facts and figures about how the baths function and the special mineral qualities of the water. The therapeutic differences between cold and hot baths are mentioned in some detail. Dolabella also lists the herbal remedies and some more exotic treatments such as bathing in pig's urine...

The Orchestra of Ancient Guts was conducted by Dr. Johannes Rosenberg.
The voice of Dolabella was played by Sabine Sacchi.
The text was based on an original document found by the Rome City Sewage Department.

32' 45"

  • produced for Manfred Mixner at SFB in August 1996
see also under 'projects' and 'discography'

56' 50"
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  • recorded in China in November 1994
  • put together for John Crawford's NMA show at the ABC in the following year
A sonic panorama of China featuring millions of bicycles, musical arrangements of speeches from Mao and Deng Xiou Ping, the Er-hu (Chinese two string violin) playing key copiers who live in a cardboard box on the streets of Beijing, a flu epidemic, a visit to the people's instrument factory (big on Yang Quins), a Chinese lesson for dumb foreigner (me), lots of fireworks, a political commentary on the great success of CD and video pirating and the future collapse of capitalism.

60' 00"

  • ABC, SR, ORF, RAI, Radio Canada, Swiss Radio
  • various radio versions of SHOPPING were made between 1994 and 1996 for the above radio stations.
see under 'projects' for list of shoppers and the philosophical stuff, and under 'discography'

24' 33"
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  • Heidi Grundmann, ORF in 1996
A ferocious musical deconstruction of the thing known in Vienna as the 'roller'. Some nostalgic parts and an end that never seems to quite get there.

73' 00"
  • ABC originally broadcast on 14/02/1994
  • executive producer Roz Cheney
  • genius engineer as always John Jacobs
A kaleidoscope of short radiophonic soap operas packaged in an orgy of post modern violin music.

'Rosenberg confesses that there are some real problems interfacing virtual reality with traditional art values and the legal ramifications of all this are mind boggling. Who owns what? Who's got the copyright on who, what or even where? Originality can no longer be traded - there will soon only be access. Huge worlds of data from libraries of film, medicine, books, music, conversations (in any language), all knowledge and experience that can be recorded and stored - an unending exploration of every connection conceivable - a SUPERMARKET for the gratification of all fantasy. But as Galousie writes in his essay on insects 'with representative space, the organism is disposed of it's privilege and no longer knows where to place itself'.
That then will be the rub. A world of huge dark spaces where we float by like 'Strangers in the night exchanging glances'. Separate from our bodies, perhaps not even noticing who's body we were with last night, perhaps not caring. On into a void where bits of information float past us like so much space junk - exiles or permanent immigrants swimming around forever in a universe of enforced Zen".
extract from 'The Pink Violin'.

Queue of shoppers - Eugene Chadbourne, Natasha Pschenitschkowa, Fred Frith, Tristan Honsinger, Sainko, Otomo Yoshihide, Lauren Newton, Lucy Bell, Miranda Otto, Laura Seaton, Brain Roony, Chris Cutler, Noah Taylor, Erik Friedlander, Kevin Norton, Chris de Chiarra, Matsubara Sachiko.

see also under 'discography'

THE TRAMP (Der Landstreicher)
37' 00"
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  • produced for Robert Karge at Saarländischer Rundfunk in 1993
A violin playing tramp journeys through the streets and sewers (a huge thank you to the Sewage department at Saarbrücken), meditating on the decline of civilisation. This is a depressing and very black piece! As the tramp goes through the garbage, the chorus shouts out a litany of woe (mainly environmental) and eventually hurls its abuse and hatred at him too. The tramp is not bothered, concentrating on life's little pleasures... like picking his nose. Music is an adaption of Round Midnite by Thelonius Monk (featuring Alexander Von Schlippenbach on midi keyboard).

65' 47"

two live versions on this theme of sport, politics and satire:
  1. recorded at ABC, Sydney; produced by Cathy Peters; 27/11/1991 featuring golden moments of Australian sport.
  2. recorded at Variete Chamäleon, Berlin; produced by Wolf Peter Stiftel; 21/9/1992 featuring commentary from the Nazi Olympics.
see also under 'projects'

26' 12"
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  • recorded by Paul Pignon for Swedish National Radio in 1991?
A party of tourists are lost in a very bad storm somewhere north of Sweden, all they have to help them are a phrase book and a violin. One of the party complains that his violin has come without an instruction book, another complains that her new violin has a hole in it...

30' 00"
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  • produced in 1989 at Le Confort Modern, Poitiers for Fazette Bordage...
  • and later exposed by Kaye Mortley at Radio France (where it had been gathering dust)
A tale of two heroines, both with the same name, both play the violin, both sing, both hate the English, but one is a Joan of Arc figure from the 14th century and the other is a new wave rock star from the 1980's. The earlier one is probably the most interesting as she beat the English at a football match in 1381... "only used to playing with one ball, the invaders became disorientated when the French started kicking 100's of balls at them, believing the French army to be 22 times as big as it actually was". She seems to have been responsible also for the phrase "The English are coming", used by French women to this day to describe their monthly cycles.

40' 00"
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  • produced for SR in 1991 who entered it for a radio competition in Japan
The report came back very critical of the piece "we expected something more serious from the Germans with a hörspiel about Mozart" they said. Anyway Mozart dies and logically enough ends up in Heaven where everything is perfect, instant gratification of all desires. There is a job description however (as pointed out by one of his angel assistants)... "Oh one thing. It's really the only professional requirement concerning your engagement here. As you are probably aware, we all play the violin in heaven - some of us double up on harp, but the violin is our main performance instrument. Indeed some angels do very little else with their time except scrape away with a sublime smile on their faces. And you can imagine how much violin music is required to keep the millions of heavenly creatures satisfied? Get my drift? That's where you come in - we need literally light years of perfect violin music. Like another suck on my tits? There you are."

And so the mediocre scum that controlled the arts in Mozart's day are still running things today as they sell old Wolfgang's 250th birthday for all its tacky worth"

10' 00"
  • ORF 1990
In the months just before East Germany committed suicide, I was on tour there and came across the entire edition of Beethoven's Conversation books in a music shop... bought the lot and took them back to West Berlin These are in fact recordings of Beethoven talking with friends about his horrible house keeper, his obsession with fish, sopranos and soap, and yes... violins. The brilliant voice of Beethoven losing it in the bath is by Otto David.

22' 54"
  • produced for Heidi Grundmann ORF July, 1989
  • the engineer was Gerhard Spurny
The Devil's instrument indeed! Confessions of an S & M freak (Elke Hartmann) and 'witch hunting made easy' - also known as the Malleus Maleficarum (Franz Josef Csencsits). "It started to get serious a few years ago. First the normal things - safety pins through the nose and cheeks - but it wasn't enough for me. That's why I got into using clamps and putting hooks through my lips - and then finally I got into the thing with violins... it was technically hard to do. I used very long thin nails."

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  • commissioned by New American Radio in 1991
As the promotional material says... "Now from VETA MUSIC SYSTEMS comes THE VIRTUAL VIOLIN. This violin is a completely new sensation in music. It arrives with a free display helmet and Italian designed goggles - which is your access to violin cyberspace. By combinations of pitch, you can access any of the 256 historic and future time/space continuums. With authentic sound, the violinist can wander through simulated 3 dimensional space and participate in seemingly real performance situations by Bach, The Emperor Nero, Henry the Eighth, Madonna or the young Mozart - all amazingly there in person. Play along with a band of cowboys from the 1800's, or sit in with the orchestra at a Beatles or Michael Jackson recording session, or jump into a little jazz at a legendary smokey nightclub (the smoke is only simulated, no health risk involved).
Alternatively, you can flip the parameters and create your own 'post modern' settings. Just by wiggling your fingers and playing in tune, you too can move into the Data Life Syndrome! Get the Indians to attack a performance of a Bach Cantata; watch King Henry chop off the heads of eight Michael Jacksons (surely one head is enough?); get the young Mozart stoned; or ask the Emperor Nero to burn down your local McDonalds. Yes VITA will indulge your fantasies.
Also, you should audition our special VETA 'History' sampler. VETA has acquired the rights to historic recordings by famous violinists of the past. Simply press the 'Finger of God' button and you will sound exactly like an authentic Heifetz or Menuhin (up to 16 different virtuosi available). Or alternatively you can create your own archive recordings by simply playing a few notes on the violin. Amazingly, your on board computer will convert these notes into an historic recording - a piece of fascinating culture that will impress your friends!"

34' 40"
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  • ABC 1990
The second in a trilogy of radio pieces about the Rosenbergs.

A tale of appropriation and lost identities. The psychotic Captain Karajan is determined to prove Rosenberg's Theory of Music Relativity by crashing his Jumbo jet at full power into the Sydney Opera House. Dr. Karen Rosenberg explains what it is like to be a Dr. Rosenberg ("you wait to see what people will do with it"). Shelley Hirsch sings a song remarkably similar to 'As Time Goes By'. Lesbian couple Sherlock Holmes and Dr. Watson make an appearance chasing the fakes and forgeries... There are countless mutant flies buzzing around as the science of multiple personalities goes bottoms up.

see also under 'rosenberg'

58' 55"
  • originally produced by Bernie Jugel for BR, March 1993.
  • recording based on two live performances from Bayerischer Rundfunk 31/3/93 and Österreichischer Rundfunk 17/11/94
Karl Valentin was a brilliant satirist, surrealist, radio and film maker, and instrumentalist who walked a dangerous walk and survived at the time of Hitler's Germany. With the help of Konstanze Binder and Bernhard Jugel, Jon Rose has constructed a new history for this important Monty Python figure. Interference and censorship in the original version led to some novel solutions in the text which concentrates on themes of exploitation, political expediency, the manipulation of language, mechanisms of control, religion, how to buy a violin, the relativity of train timetables, social rejection, etc. There's a bunch of laughs too. Music is mostly deconstructions of the cafehaus music of the 20's, 30's and 40's. Heaps of live sound affects in true radiophonic tradition.

Featuring the talents of Lauren Newton (who discovered her perfect role), Max Gold (who discovered he wanted to sing), Rudi Widerhoffer (who was Valentin), Uli Gumpert (who was Mr. Piano and de rigeur lost his place), Connie Bauer (who was the circular breathing train), Peter Hollinger (who became the Black Hat) and Frank Schulte (who sampled his way out of trouble).

see also under 'discography'

50' 25"
  • recorded January 1992 ABC for Roz Cheney
The third in the Rosenberg Trilogy.

John Krummel is the dentist; Phil Minton is the Judge; Shelley Hirsch is the brain weather; The piece features also Gillian Jones, Marie Mart and 100's of Rosenbergs world wide in their various hallucinary dispositions. There is the jazz violinist, the metal violinist, the club violinist, the classical violinist. There is a Dylan (Rosenberg) wanna be, a shrink's couch, a hairdresser, a TV psychic, Sci Fi close encounters with other Rosenbergs, a family reunion, and a hideous golf course that seems to cover the entire continent of Australia leading to a hole in one nightmare. The plastic surgeon appears to have the last word. Get the picture? John Jacobs delivers another brilliant recording. As one reviewer suggested "everybody is mad here or needs to play the violin".

see also under 'discography' and 'rosenberg'

24' 50"
  • a high speed production for John Crawford ABC... can anyone remember the year?
A brave radiophonic attempt to realise Rosenberg's Sinfonia Concertante...

"But what should we make of the second section? - so radical in implication that the audience at the first performance in the Sydney Opera House thought the concert had finished. The score instructs all string players to leave the concert platform, get into taxis driven by a singing Italian, and play the written parts while under way to prescribed destinations in the suburbs. Certainly Cage never composed with this kind of trafficflow problem as an inspirational source.
A later feature of the second section is the great number of trills and grace-notes, to which Rosenberg has long been addicted. Sometimes grace notes have to be carried across the entire orchestra in a wave like motion - from the west to the eastern orchestra in a wave like motion - from the west to the eastern suburbs on an upbeat and from south to north on the downbeat. Again, the taxi drivers remain in radio contact even though they have a notorious B flat. And notice if you will, the strict tempo required for synchronisation with the traffic lights..."

40' 00"
  • produced for Klaus Schöning at WDR in 1990
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The first of the Rosenberg Trilogy (see Rosenberg Archive, Melbourne for full text).

The key to the structure of the Rosenberg Violin concerto is to be found on line 9 in the Berlin subway system. The entire orchestra is cramed into one of the trains as the full scope of the audio score is revealed. Rosenbergian concepts are demonstrated in an Italian Footbal match, a famous racehorse, multi lingual search programmes, official East German broadcasts to its spies in the West, the notorious BACH motive, a Laplander in mid orgasm, a monkey's fart, an industrial pneumatic hammer, the weekend factor, dozens of desperate illegal immigrants that the authorities would rather remove, and not forgetting the explosive version of Beethoven's violin concerto recorded as the Berlin Wall sadly fell. As the text points out "In his youth Rosenberg was attracted by the Epimenides Paradox... he went on to consider a violin language in which the violin could pronounce 'this is not a violin'."

see also under 'rosenberg'

55' 00"
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  • WDR 1987
A violinist goes from table to table in a restaurant. Each table exists in a separate time and space and consequently demands a different kind of violin music for each situation. Others sharing their restaurant experiences on this recording are Derek Bailey, Misha Mengelberg, Barre Phillips, Joelle Leandre, Eugene Chadbourne, and Luc Houtkamp. Imagine the historical and practical ramifications if, instead of wine and bread, the Last Supper had consisted of Dutch Stew?

In the largely unsuccessful career of former restaurant violinist Jon Rose, this recording (available in CD version) has been something of a hit.

see also under 'discography'

56' 58"
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  • commissioned by The Listening Room, ABC 1988
Based on the letters of Paganini himself, the listener discovers a violinist who was as much a faith healer and bewitcher of the masses as conjurer with sound. A full range of violins including the ten string double violin, the baby megaphone violin, the 19 string cello, and amplified bow are used and cut with the ravings of evangelical preachers from America's Bible belt. An edited version of the original appears on this web site under the Violin World section.

90' 00"
  • ABC 1986
A full radiophonic investigation into the life and times of the violin. Episodes include Spaghetti ma non Troppo, the eating habits of the violin; interview with a street violinist; straight batting/bowing - cricket and the violin; the position of the left hand; open belly surgery with a well known Sydney violin maker; what to do about perspiring fingers; road testing the double piston, 3 neck, wheeling violin; how to play authentic Brahms (like actually get to play with the old bastard himself); Intermezzo extravaganza - waltzing sheep music; self defence for violinists; perpetuum mobile - how to masturbate with a violin bow; violin levitation; those really long violin strings; aerobic violin master class, etc.

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