A corpse of a man killed by NATO missile hitting a bus near Savine Vode, 18 km southwest of Pec lies on the ground May 3. As the air strikes went into their 40th day, Serb officials said NATO had once again hit civilians, killing at least 20 people with a bomb that struck a bus packed with women and children in Kosovo on Monday. (YUGOSLAVIA OUT) ev/Photo by Goran Tomasevicz EV/iL CORPSE OF A MAN KILLED IN NATO ATTACK LIES BESIDE CAR AND BUS HIT BY MISSILE (0P GORAN TOMASEVIC nREUTERS YUGOSLAVIA KOSOVO BUS 719990503 ZSAVINE VODE eYUGOSLAVIA gBEL21IVIO<193244+0000
A Reuter Mini Picture Desk F2.01(8)
I remember very clearly the state of anxiety that emerged between observing the headlines at newspaper stands and the frequent but very peaceful demonstrations of Yugoslavians (not always together with Germans and other nationalities) on public squares in Frankfurt and at the cordoned off US consulate and the tent set up by a spontaneously organised Yugoslav group of people, and the emails I received from Serbia and the Kosovo via John Duncan who forwarded me a bunch of list messages, some particularly sending me shudders up and down my spine. As it seems I unconsciously happen to share some of that slavic spirit which includes the very love of life, but also the very deepest melancholic strains. All this made me at first feel overwhelmed and a little motionless, even if I felt my mind lunatically turning from paranoia…
After some weeks in the beforementioned situation had passed, I decided to use my principal means of involvement in society: sound work. I couldn’t do other than compose a music piece that is structured in the – however reduced – form of a requiem.
This composition is the second one in a series of works dealing with war and politics, beginning with ELAPSED TIME (1996, released by Intransitive Recordings/U.S.A.), which was composed in a reflective way concerned with personal and with war history of WWII, and continuing with abstract, ambivalent, but highly cirtical comments on more recent bellicose developments such as KHABUL RUBBLE (2001, released on the compilation SUL by Sirr/PT) and SKETCH FOR BAGDAD É EM LISBOA (2003, released on the compilation 60 SOUND ARTISTS PROTEST THE WAR by Atak/JP), the latter being generated from a location recording of the war news-infested Lisbon in March 2003.
[Marc Behrens, May 2003]
released April 25, 2015
Composed and produced April through May 1999, during the Nato war on Yugoslavia. Original sound recordings made in Zürich/CH, Amsterdam/NL, Offenbach/D, and in digital virtual space.
Thanks to Markus Maeder and Bernd Schurer (Zürich/CH) for organizing the live presentation of this composition in May 1999 amidst the ‘beautiful’ Zürich street noises. Thanks to Donatella Ruttar and Moreno Miorelli for putting up another presentation after a public talk about the Balkans in July 1999 between two Balkan specialists-by-personal-experience. Thanks to Bernhard Günter for recording a broken speaker with me in Zürich in 1996. Thanks to John Duncan for letting me record his gas stove in the KK6 in Amsterdam in 1997. Thanks to Ios Smolders and Jeff Carey for hosting the composition as mp3 files at the Earlabs web label for some time. Thanks to all the radio stations who played the piece, especially to Vladimir Jovanovic at Radio Student (Zagreb/HR). Thanks to Vadim Sprikut for being enthusiastic about releasing the work in this form. Thanks to Kristian Lukic at Kuda.org
(Novi Sad/YU) for the great evening we had in Bratislava/SK, where we talked about many things in an atmosphere of spontaneous friendship, and for the Serbian title. Thanks to Rozart Pali for the Albanian title. Thanks to Walter Hartmann for language coaching. Thanks to Cornelia Franke and Wilhelm Behrens for cyrillic consulting.
The first edition was released in 2005 as a mini CD-R by Oblast (USA), produced and designed 2003–04 by Marc Behrens. This edition remastered by Marc Behrens 2014. Availabel ala010.
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