The name and logo adopted by this training Bergamo, as misleading, they have nothing to do with the congegnerie Bruitist we have torn / delighted / used extremists followers of industrial strand of English and German followers in tow. Despite the stylistic choices and expressive, Officine Schwartz neuromechanics have little debt, and those few, with cross-inheritance rumorista lasciataci dai vari Z'ev, Test Department, Einsturzende Neubauten e compagnia martellante.
Il fatto che questi 20 operai trasformino da 26 anni il palco in una fabbrica, decidendo di accantonare strumenti tradizionali del circuito rock o elettronico in onore di una vitalizzazione dell'inanimato che li vede manipolare e percuotere catene, ferraglie e bidoni non significa necessariamente trovarsi di fronte all'ennesimo campionario di vuoti ed insostenibili clangori.
Questi cugini dei CCCP propongono ammalianti ibridi di violini e ingranaggi, tromboni e scintille, mazzate di bidoni e velluti di soprano, sirene lancinanti e cori melodiosi, vetri infranti e cornamuse, fughe classicheggianti d'organo e stridori delle catene di montaggio.
Le loro mise en scene, spesso ambientate in spazi tutt'altro che convenzionali e ancor più spesso precedute da parate per le strade, non di rado rinforzate da un approccio multimediale che comprende discipline quali la danza e la videoarte, mirano maggiormente al recupero di una memoria storica, alla voglia/ necessità di non dimenticare, di non far dimenticare, piuttosto che allo stordimento e alla provocazione delle platee.
Quest'ambiziosa ma lodevolissima intenzione/ iniziativa si avvale di richiami folcloristici di molteplici estrazioni culturali ed epocali, quali canti della resistenza bulgara e della guerra civile spagnola, liriche tese ad esprimere la rabbia e gli scioperi dei lavoratori oppressi, sfruttati, malpagati, disdicevoli eventi legati alla prima ed alla seconda guerra mondiale.
Fritz Lang, Sergej Eizenstein, Orwell e Marinetti li avrebbero di certo adorati e c'è da star sicuri che anche André Schwartz, uno scrittore che ha lasciato ai posteri una fiabesca trilogia sul potere, li avrebbe considerati con un certo riguardo...
Dopo l'onore e il piacere di una ventina di loro esibizioni decido nell'aprile 1994 di estorecere maggiori ragguagli biografici al capo-cantiere Osvaldo, compositore coordinatore e Von Karajan dell'ensamble
' Tu hai un cuore ardente per un'azione agghiacciante' (Antigone)
MANOLO Magnabosco - We first summarize, for non-experts, such as when and why it started and why you're so baptized?
Arioldi OSVALDO - Officine Schwartz have arisen in the fall of 1983 after a break from other musical experiences, with a dedication to the expression of the will of our industrial civilization. We started with the concepts that abolish systems that it was not valid or appropriate to compose the music.
workshops are especially created as opposed to the musical trend of an era in which various groups "transgressive" of electric sound or rock saw limited by fashion and media. Militants of this objective standard, and they did a radical transformation of the sound of those instruments, the appearance proponitivo, the degree of tension provoked by the events of symbiosis between music, projection, light, shadow, dark, fire, dance and noise. All this to cause a deliberate change of direction from the trend of mass expression, meaning also the large mass congregation "alternative" dominated unconsciously and unwillingly, by yet transient fashion.
The main choices and cutting of expression with which, with his head down, started the workshops were the abolition / boycott of the battery as rhythm instrument, considered in firm evolution for some thirty years and tonally limited. We have "renewed" and replaced with electronic rhythms and percussion instruments such as improper bins iron pipes and cast metal grates, chains, sheets, drills, glass, televisions to be destroyed ... we went to a choir and use of mechanical rhythms, a representation of work in a department of the factory.
What excited us was that £ 20,000 could get tools for four people from a scrap dealer, scrap metal and rusted abandoned long before that had served for completely different purposes. Reuse of material that had served his time for the work has been for us a sort of claim. Another
convention to which the Officine ruthlessly said "no!" is the figure of the singer-man front, which we believe has nothing to do with music but is instead part of an aesthetic taste of doubt created by propaganda and fashion. We objected to the conventional system 'voice singer =' with a redistribution of the choral melody, relegating the solo recitatives and only a whisper.
There was also the awareness of noise as a cultural reference to the industrial era, and then we started to exploit the combination of harmony and noise, nice sounds and noises ...
MM - as well as noise and annoying sounds nice ...
OA - too. Sparing silences. While music imported from America - the land we earnestly hated to bottom, in our opinion, taste and even more expressive potential flat - not attracted to us, we have preferred not to subject us to the colonial Anglo-American music and avoid aping the style with 'use of a language incomprehensible to become something for the chosen few.
Officine have always tried to create something which was fruitura for everyone: for children, for old partisans, workers, youth, provided that anyone listening would be willing to leave their home fashions.
references to the ways of symphonic composition include sounds and silences, pianissimo and fortissimo, contrasts between harmony and bruitismo.
The subjects on which he worked mainly sound / rhythm / sound of the car mechanics, the historical culture of work, the transition from peasant to industrial, work during the war, accidents in the factory, love / hatred for modern times and cultural exchange, chosen or forced, as emigration and immigration of workers.
All without using tools of symbolic culture as rock bass and electric guitar, except for non-traditional (low arch or larsen).
We were never interested in having a gender or a way to define, how to create sound atmosphere and using various tools and sonic dimensions dictated expression in the subject, then the consequences of different forms with each other.
At the beginning we were five brave investigator, during these years have come and gone about forty persons. Currently we are in the wind.
The criteria for work that I have exposed are still operating.
MM - Officine Schwartz Why?
OA - Call the group "workshops" put us beyond an expressive barrier civettuoleria far from the trend and its plastic content. Schwartz
instead is a name that belongs to my way, my children's culture, to my way of life. The name was chosen for reasons of aesthetics euphonic.
Now a name like this it could anyone use, because since 1980 has witnessed a great degeneration aesthetics, an overflowing extended a little bad taste 'everywhere, in whatever his name is mangled or abbruttita right for the tone to do something "new" and " original.
In 1983, a band that is signed and multimedia workshop was special, even disturbing. At the time, so call and make a set of drums and sheets on a stage needed a little 'hair. Now between TV and modern times they have combined for each color.
time, however, were innovations; am glad I did something and felt that they had the chance, thanks to the many colleagues succeeded from time to time, to continue always to do things that we liked.
A similar name in the proposal for aesthetic and expressive "positive" of workers, artisans, clerks, students, workers, metal workers, volunteers. But do not believe in the joy of work to work more closely and to oppress the people, as the Duce wanted, but in being able to be present in a physical manner, working with their strength, their energy, their ideas for a contribution.
MM - The constants of the most unpleasant job such as exploitation, work as Orwellian trick of oppression, unemployment and alienation from work seem to be your most expressive anger on stage and on vinyl ...
OA - When I was younger I worked in a factory, and this experience was rather heavy and ugly. Shops were born
When we chose to express in our music contents of a certain thickness, which directly concerns the experience of everyday life for almost all people. Hence the choice of work as a theme, with all its ugliness and its burdens.
stand on stage in front of you and feel little or a lot of people watching you or listening to you, puts you in a position to have something important and not trivial to express.
Speaking of work for us encompasses a multitude of different aspects, which are also cultural references and historical accuracy. When we go on stage dressed in the blue suit, the worker to whom we refer, in a sense that we represent in that moment, it is the engineering of the first industrialization, nineteenth-century worker. This entity, linked to the car, which for more than ten hours a day repeating the same gestures, which is exploited and bullied by the owner, which is poorly paid, no rights and who defended them, confined to that state for their material survival becomes for us an almost mythical figure, a symbol of the human condition.
This worker wants to be a metaphor for everyday life of those who feel crushed by a reality that is not its size, which tends to create distance between people and fractures, and no conflicts communication.
It 's the symbol of those who feel deeply uncomfortable in a world of a state, a city that seems to be happier than those who are more equal than others, according to which controls the master-TV, the owner -fashion, owner-money ... the worker continues to work, but is dreaming and planning the destruction of the factory.
The theme of work in our shows is not only in that its symbolic aspect. The worker, the worker and, more generally, the figure becomes a very real and present when we talk of strikes, accidents on construction sites and factory workers who would go home-country and unemployed foreigners from Italy are sent back to Africa.
Moreover, in many aspects of our songs, we also try to help claim a historical memory about the facts of the recent past.
What we have done, for example, with the show "remanium Dentaurum. In addition to spontaneous assembly of sound experimentation, it was felt the need for a more composite, more total. It all started with an architecture - or structural - basic ... remanium Dentaurum was a breakdown by area based on the rotation and time synchronization of media used. For the "background color" using a historical fact in the work culture: the bombing at Dalmine. This steel factory, located in the province Bergamo, produced, among other things, the warheads for the German V2. The Warenkopf did not sound the alarm plane to stop production, so U.S. bombers dropped their loads all over the heads of workers at work.
Other dyes, as well as lighting and projection were the elevations given by mechanical singing complaints of workplace accidents, noise and more noise. The project cost him four years of development, was presented for a single time in March 88 and runs for 18 elements.
The composition was designed for eight hours, as long as a turn and we we were acting on the perimeter of a shed, leaving the audience in half, in contrast to what happens normally. Everything is
already been done. We just have to repeat. So why not do it consciously, giving various reports whenever different keys, motivated and free at the same time? There is always a justification, there is always an agreement, willy-nilly. In this magma
combinations, contradictions and dissonances that was remanium, we wanted to make a final order or proposal for a possible convergence, which is not the final solution, however, everything goes and repeats beyond the hours at our disposal, with the same chaos, the same stubbornness, the same become inevitable.
Transform tools or goods produced by workers is also an instrument sound like a big revenge, and revenge of reinterpretation.
MM - So how much value buys a ritual that happens in your stage?
OA - A ritual?!?
MM - Yes, the integration of an exorcism or something missing ... I've just said that you tend to turn a wreck into a musical instrument, in revenge, this process of resuscitation and claim it makes me think that somehow you are going to operate an exorcism. Up to a point that your show can be seen as a tribal rite?
OA - No, not at all mean that what happens on stage during the nostri spettacoli sia un rituale. Il rito è qualcosa che ha a che fare con la parte più istintiva dell'uomo. Nel rito non ci sono spettatori, non c'è un palco; tutta la tribù è intorno allo sciamano, danza e canta con lui. Il rito riguarda una credenza, una fede che accomuna tutti.
Ciò che avviene nei nostri spettacoli è più simile alla rappresentazione di un mito. Il mito è un'architettura della realtà che appartiene al livello razionale, non istintivo, dell'uomo.
Sul palco noi raccontiamo un mito, una storia senza celebrare nulla: non c'è nessuna tribù, nessuno sciamano, ci sono gli attori-musicisti e c'è il pubblico che guarda e ascolta... forse l'estetica e le sonorità proposals are thought to aspects tribal / ritual. When we play a piece of iron does not believe any exorcism to work, simply use our divergent thinking, it would be to say that "the brain" that everyone has - that many people ignore and do not use - which allows you to be creative and imaginative in our case of turning a bin that contained the oil in a bidompano (gable + drum).
MM - About result, blood that runs through it? Can you establish a dialectical pole?
OA - The approach Officine Schwartz always held with the public is kind of theater: we introduce ourselves as workers in a factory at work, have a duty to perform, con un inizio e una fine, lasciando sempre libero chi ci guarda e ascolta di farsi idee proprie o di non farsene affatto.
Comunque dobbiamo sottolineare che il livello di comunicabilità con il pubblico è cambiato nel corso degli anni. Le prime Officine, ponendosi in netta contrapposizione con le mode musicali dell'epoca, avevano come intento prioritario quello di provocare, di scuotere, musicalmente e contenutisticamente chi stava davanti a loro, portandoli in una dimensione fatta di temi e atmosfere pesanti, di terrore e di gelo.
Non c'era intenzionalità comunicativa, ma quella di trasmettere una forte scossa.
Mantenendo fermo nel tempo lo spessore dei temi che le Officine hanno affrontato e affrontano, è andato maturando nel a group more intent, but not covered by the convention relational mass, remaining out of the game propaganda, didactic and moralistic. We are also equipped with irony, cynicism, trying to make visible and palpable with every aspect of reality.
The same fact, such as the shift on the assembly line, can be explored artistically in various ways: the environment is overwhelming dominated by the strident and timing of the machine, the worker who creates a bond with the grotesque His car-executioner.
Who we face we give the coordinates on the source of the work in its history and its construction. Everything else - interpretations, emotions, feelings, opinions - and the public.
MM - The current industrial outsiders were concerned with analyzing the relationship between man and machine with a dose of cynicism, nihilism, and unspeakable impulses iconoclast, offering products violent themes and sounds draconian, authoritarian attitudes and often quarrelsome and limits of permissible with audiences ... by one of their show is coming out annihilated, stunned, angry, sometimes shocked. To the representatives of the current tense interested in creating functional transmission and perception of that universe desolate and bleak that George Orwell prophesied nearly half a century ago. Officine Schwartz seems to me that the move in a direction that includes over the din to lose perspective, even if I throw the bad word-romantic, positivist ... rust and clash often give way to massive injections of harmony brought by choirs, horns, organs, violins, bagpipes, accordion, folk songs, elegies, kyrie ... which tends to soften significantly the speech, almost romantic to see him in an angle or a positivist, which is the syncretic background of an operation like yours and what do you think are the main differences between you and an industrial?
OA - I think the real industrial music in the sense of "produced for mass consumption" is the rock.
The first time I heard the term "industrial music" was during a conversation on modern music and its uselessness, and it was a musician friend of mine to use it to define the importance of expressing a cultural reality closer to us, even if aesthetically unattractive - housing, disfigurement general, workers with their problems -, So ' I thought that the expression is that he had invented him.
Only two years later I found a magazine, "Industrial Music", published in 78 by Throbbing Gristle, he spoke of what were then the most famous artists 'noise' - Z'ev, SPK, Non, TG etc - and of their unique ...
fully agree that the line of duty in the current industry is in its rather violent and extreme sounds in his compositions, and is undoubtedly the effect that has on the public action of sound Vivenza, Bruitist of Grenoble.
Again, when the workshops were born, everything was unknown to me, my work was spontaneous, noise and everyday life were my dream ever since. I find it extremely wrong
compose strong intensity and persevere in them. Also because the ear becomes accustomed, after a few seconds what was extreme becomes the norm, and after a fad. Much more interesting and effective is to compose whispers that speak of an explosion, which may reach more than emotional intensity aroused by a roar.
not a way to soften the speech or to make it all romantic and positivist, today we are deeply opposed the idea that to communicate something to the public need intense disgust. The music industry in its development has been polluted mainly by trends in music from time to time in fashion - dance, house, techno - we prefer to be infected by the subjects and situations that we express.
You can not talk of war in the mountains playing the background noise of a metropolis.
Your use of workers' and popular tradition of singing and choirs, horns, bagpipes is placed, as do many other choices of expression, which we are engaged in research on recovery of historical memory. This is not nostalgia for lost values \u200b\u200band traditions, is simply the need to recover ritmi e tempi più a misura d'uomo.
MM - Però il gusto retrò di molte vostre composizioni mi induce a pensare che a vostro modo vi portate dietro una certa dose di nostalgia... Ecco, in questa componente nostalgica che tu e le Officine avete - o comunque, trasmettete - è implicito il desiderio di voler tornare a certi valori e tradizioni persi, irrecuperabili o incerti, a certa bellezza della vita popolare sfuggita sempre più di mano dalla nascita dell' era industriale in poi?
OA - Infatti la bellezza della vita popolare se n'è proprio andata, non esiste più. Parecchio tempo addietro i nervi del prossimo erano un po' meno veloci e di conseguenza si viveva meglio. Porto con me della nostalgia peace that I need to lean in the compositions. We
behind the factory but also the ground beneath your feet and the sky ahead, we aim to do well, we're not masochists. If our sound is sometimes "bad" is because of the ugliness of the picture represented.
MM - What is the imaginary political and ideological Officine Schwartz? You are supporters or opponents of particular elements or situations past and present?
OA - Officine assume not ask for or against something, but to bear witness, to be the rolling of the historical memory of oppression and struggles of the workers in particular and social man will generally forward steadily asserting their existence, their dignity, their rights.
Witnesses bombings, massacres of state, victims at work, exploitation and intolerance exasperated man.
MM - Rumor has it that you interact with renowned entities such as La Fura dels Baus and John Ferretti. you planning future jamming with other persons "artistic"?
OA - The collaborations and interactions with other groups and artists have always been for us a very fertile ground for creativity and construction of new jobs. About the Fura dels Baus and John Ferretti, I have personally contacts and relationships, but they have never worked with the workshops. They were instead initiated worksite expressive with Andrea Chiesi, painter, and Valerie Prandi, poet, which culminated in the multimedia presentation of "The Factory" and "De Machina war."
Another productive collaboration has taken place with Ravenna Teatro, we proposed a paper on resistance having listened to the chorus of "Hello Beautiful" during our concert.
This music, which originated spontaneously, it was later made as an objection to the popular "Hello Beautiful", a symbol of the partisan resistance, who spoke of dead buried in the mountains in time to the polka. With Ravenna Theatre have come a long way to search the memory of the Resistance, the direct testimony of Ravenna and the partisan activity, mediated by the Workshop, with songs of struggle and resistance of the Romagna.
MM - Considering that you have never represented twice on the same show, there is a disk or a job in particular that there is more?
OA - making records is not our job, let alone our goal; incised just to have a wider range of communication, for declaring its presence. They are also a kind of economic vehicle - but not in our case .... We make them because at least there will be someone who knows you exist and you could give a chance to perform and do shows, which is what most of us interested. Our size is that of a department at work, active and dynamic, not the one behind a recording console. All work performed
represent us, every show is a new arrival, a summary of our evolution, in that particular historical moment of our journey.
Among them, besides the aforementioned remanium Dentaurum, I remember an exhibition took place in a natural theater, among the rocks, using only the acoustics of the place and the reverberation environment. I also remember a former church and I also pleasant memory of the factory in Bologna.
We play on the road, the workshops are also ready to organize a band parades.
MM - What should we expect in the future productions made in Schwartz?
OA - We are currently preparing a new show, which has no external collaborations, and will require a long time. Not belong to a genre we have never done two things equal, everything you create is always new and different. The training itself is not always what the people come and go, the people coming brings something of his, who goes off the road. Who is left is working on the new material.
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