Musik, die uns geprägt hat …
Eine kurze Vorschau, was alles in den kommenden Sendungen möglich sein könnte, abgesehen von dem was alles im Untergrund verblieben ist.

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Die Radiofabrik baut mit Unterstützung durch ein EuRegio-Projekt ein Außenstudio in Bad Reichenhall auf.

Unsere RadiomacherInnen aus dem Berchtesgadener Land und Traunstein müssen in Zukunft nicht mehr den weiten Weg nach Salzburg kommen, um ihre Inhalte on Air zu bringen. Die Sendungen werden via Internet live aus Reichenhall ins Programm übernommen.

Eröffnet wird das Studio voraussichtlich im Jänner 2015.

Auf diesem Blog halten wir euch auf dem Laufenden über die Fortschritte.

Bill Gates, Bill Clinton oder Larry Page sind nur einige der klingenden Namen, die bereits auf einer TED Conference waren. Dabei hat jeder Sprecher 18 Minuten Zeit, dem Publikum seine „Idee“ zu vermitteln – und das kann so ziemlich alles sein. TED steht für „Technology, Entertainment and Design“ – inzwischen haben aber auch andere Themen Einzug in die Konferenz gehalten. Das Konzept TEDx gibt es seit 2010 auch in Salzburg, am 7. November findet die inzwischen 4. Konferenz in der Stiegl Brauwelt statt.

Zu Gast im Magazin um 5 am 5.11. ist Gregor Eistert, Autor und Regisseur, er wird bei der heurigen Konferenz als Speaker dabei sein und wird uns alles über das Konzept TEDx erzählen.

Im Toihaus verwandelt sich die Bühne momentan in einen Ort aus Licht und Bewegung, wenn WOLFLICHT, eine Inszenierung von Katharina Schrott aufgeführt wird. Auf der Bühne performen Myrto Dimitriadou und die beiden Musikerinnen Gudrun Raber-Plaichinger und Yoko Yagihara – eine Performance im Wechselspiel zwischen Licht, Schatten und Dunkelheit. Am kommenden Donnerstag und Freitag, den 6. und 7. November gibt es die beiden letzten Gelegenheiten, das Stück im Toihaus Theater zu erleben.

Und es stehen auch zwei neue Produktionen vor der Türe: Neben Abendvorstellungen ist das Toihaus auch bekannt und beliebt für seine Theaterproduktionen für Kinder. AUFBRUCH ist ein Tanztheater für Kinder ab 1,5 Jahren, nach dem gleichnamigen Bilderbuch von Stéffie Becker. Aufgeführt wid das Stück unter anderem auch im Rahmen der 3. Europäischen theaternacht – dabei wird Theater für alle und jeden geboten – egal welchen Alters, egal ob mehr oder weniger theatererfahren. Am Samstag, den 15. November ist AUFBRUCH das erste Mal im Toihaus zu sehen, in dieser Ausgabe von „So A Theater“ gibt’s bereit die ersten Infos zum Stück.

Und einen Ausblick gibt es bereits auch auf die neue Performance von Hüsyen Evirgen. ANTIPODEN ist eine Experimentelle Sprachkomposition in theatralen Bildern und vereint wieder jene Emente, die auch zB. schon bei HELIADEN charakteristisch für die Produktionen von Evirgen sind: Zukunftsvisionen an der Grenze zwischen Sprache und Musik, ein Kreieren, Auflösen, neu Zusammensetzen von sprachlich-musikalischen Mustern, unterstützt durch Schauspielerinnen auf der Bühne. ANTIPODEN ist ab 22. November im Toihaus zu sehen.

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So klappt’s mit Kind und Hund

heißt das Buch meiner Vereinskollegin, Dagmar Cutka, Tierschutzqualifizierte Hundetrainerin (Spirits of Life,  Schule für Mensch und Hund) und Mutter eines inzwischen erwachsenen Sohnes.  Auch Dagmar Cutka setzt auf Vorbereitung und gemeinsames Lernen von Kind und Hund. Und sie betont ebenso wie Helga Pöschl, die Rolle der Eltern. Einen Hund zu sich zu nehmen, ist eine Entscheidung für einen langen Zeitraum, in dem sich die Interessen der Kids vermutlich verändern. Doch die Verantwortung für den Hund bleibt – und zwar den Eltern, die sich  früher oder später ohnehin um den Hund kümmern müssen!

Sebadja überprüft vorsichtig, ob da gute Leckerchen im Spiel sind.

Zu Hören: Live auf der Radiofabrik 107,5 oder per Livestream immer am 12. November um 12:08 Uhr und am 13. November um 19:06 Uhr. Nachhören unter Cultural Broadcasting Archive oder über den Hunderunde Blog.

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In Stimmen aus den Schützengräben #18 we deal with an often disregarded topic: animals at war. During WWI millions of animals were used for various tasks on all fronts. Horses were not only used by cavalry but also by artillery regiments to pull the heavy artillery pieces. Mules were also used to convey supplies, especially in the mountains. Dogs could have different tasks: sentry, scouting, conveying messages, finding casualties, providing psychological comfort as mascottes. Pigeons were also widely used to convey messages, with an astonishing 95% rate of success. This episode focuses on horses and mules, presenting different aspects of their life and death on the frontline. They were by far the most exploited animals: in 1917 the British Army alone had to buy 15.000 horses a month to mantain the number they needed!

Italian prisoners burying horses. 8 November 1917 (Österreichische Nationalbibliothek)

The first document of the week is a letter by Johann Görtemaker (see episodes  #5, #12, #13,  #14 and #15) ), written in Flanders on the 12 August 1917. The German soldier tells to his parents: „in our previous positions we also had artillery barrages, but it has never been such a Hell as here. The Somme was surely not worse“. In that barren land full of mud and holes, artillery batteries had to be moved quite often to avoid counter-battery fire. Sometimes guns, men and animals would get stuck in the mud. „suddenly I fell with my horse, which sunk belly-deep into the mud. Hopefully the bavarian gunners finally managed to pull me from under the horse“. In such conditions,  animals were sometimes enduring more than men: „Horses suffer the most, because they must remain for hours in one spot and they only get a small amount of fodder“. A transcription of the Görtemaker’s letters is available at: http://www.europeana1914-1918.eu/de/contributions/462

Dogs at work, Austrian Army. (Österreichsische Nationalbibliothek)

The second document is a passage from an interview with British Sgt Leonard J. Ounsworth (see episodes #1, #3, #7 and #8).  As a soldier enlisted in an artillery regiment he was always in contact with horses, and he says the training of animals was even more important than that of men. When a cannon had to be moved teamwork between men and horses was crucial, because only with a well-coordinated effort it was possible (for exemple) to pull a gun out of the mud. The full interview  can be downloaded at: http://www.oucs.ox.ac.uk/ww1lit/gwa/document/9404?REC=1

French soldiers pulling mules (gallica.fr)

The third „guest“ of the week is Italian Lieutenant Paolo Caccia Dominioni (see episode #15). We selected two interesting passages from his diary. The first is from an entry dated 20 September 1917. The officer mentions the presence of a dead mule exactly in the middle between two batteries, that stinks horribly because nobody wanted to bury it. The two gun crews are insulting each other while stating it is not their duty to bury the animal. During WWI, dead mules and horses were often part of the landscape. The second passage is taken from the entry dated 21 September 1917. Some mules got sick and died after being fed only rice (see episode #15), and Caccia Dominioni got into some trouble with the army. His comments are very sarcastic: when a men died, nothing happened, but for mules enquiries would be started and the whole bureaucracy would be involved. The war journal of Paolo Caccia Dominioni has been published under the title: „1915-1919. Diario di guerra“

Sick horse in Gorizia, 1916 (Österreichische Nationalbibliothek)

The last „guest“ of the week is French soldier Paul Lintier. He was enlisted in an artillery regiment and fought from 1914 until 15 March 1916, when he was killed in action. He wrote a book of memories („Ma pièce, souvenirs d’un canonnier„) that was first published as feuilleton by the newspaper L’Humanité in spring 1916. The first passage depicts a sick horse, so emaciated that „one wonders, how the bones of his hips aren’t piercing his skin„. The second one tells of a wounded horse that had to be killed by the author with a shot in the head („there is human suffering in the eyes of this beast„). The full book can be read at: https://archive.org/details/avecunebatterie00lint

-Credits-

Editing: Romana Stücklschweiger, Matteo Coletta.
Commentary: Matteo Coletta.

Voices in this episode: Hannes Hochwasser as Johannes Görtemaker,  Matteo Coletta as Paolo Caccia Dominioni  and Paul Lintier, Leonard J. Ounsworth as himself.

Jingle:

Music: Gregoire Lourme, “Fire arrows and shields”
Concept: Matteo Coletta
Voices: Hannes Hochwasser, Matteo Coletta, Roman Reischl, L.J. Ounsworth, Norbert K. Hund.

„Es geht um das Herz der Sache, Charlie. Es geht um Magical Mystery“
Ein Buch wie ein Rausch: Man braucht 48 Stunden, die Droge heißt Sven Regener. Am Start: eine Handvoll ziemlich verrückter Techno-Freaks. Und am Steuer: Karl Schmidt, der beste Freund von Frank Lehmann.

Am 14. Oktober war Sven Regener, Autor und Mastermind der Band Element of Crime im Rockhouse zu Gast und las aus seinem aktuellen Buch „Magic Mystery“, ein Spin-Off des Erfolgsbuches Herr Lehmann. Wir haben uns mit Sven Regner über das aktuelle Album Lieblingsfarben und Tiere und über das neue Buch „Magic Mystery oder die Rückkehr des Karl Schmidt“ gesprochen, ihr hört das Interview am 30. Oktober 2014 im Magazin um 5.

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Stimmen of the Schützengraben #17 deals once more with the Alpine front (see episode #10).  In the first half of the show we try to give a general impression of war in the mountains while the second half is dedicated to specific episodes and situations.

Austrian soldiers on the Ortler, September 1916 (Österreichische Nationalbibliothek)

We begin with Fritz Weber (see episode #16), an Austrian Lieutenant who witnessed the war against Italy from the very first days (he was at Fort Verle when it was heavily bombed by Italian artillery in may 1915) to the very end, fighting on different scenarios such as Monte Cimone (see episode #16) and the Alpine front, but also taking part in several battles on the Isonzo front (see episodes #13, #12, #11, #5, #4, #1)). At Fort Verle Weber became friends with Luis Trenker, with whom he wrote several books related with the war on the Alps. Trenkler also directed a film on this topic, released in 1931 with the title „Bergen in Flammen“, here with Italian subtitles:

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The Source of this document is the book „Der Alpenkrieg“, also published with the titles „Das Ende einer Armee“ and „Das Ende der alte Armee“ (for more details about the editions of this book see episode #16).  The selected passage belongs to the first part of the book, „Granaten und Lawinen“. At pages 82-83 the author gives an impression of what the war in the Alps looked like: avalanches, cold, deadly nature. But also enemies that could dig silent galleries under fresh snow, spring all of a sudden out of the ground, kill and capture in the twinkling of an eye. They would then vanish in the snow, before any help could come. These pages are related to the winter 1916-1917 on Mount Pasubio.

Italian Alpini in 1915 (Bibliothèque Nationale de France)

The second document of the week is a passage from the book „Un anno sul Pasubio“, by Italian officer Michele Campana. He was assigned to the infantry brigade „Liguria„, which defended a very difficult position from July to November 1916. In some sectors there were only 9 meters between Italian and Austrian lines, with only one barbed wire fence in the middle. The stress was extremely high and the soldiers had to lay on the ground most of the times, with their rifle and hand grenades ready for use.

Austrian sniper, 1916 (Österreichische Nationalbibliothek)

Austrian snipers were one of the biggest dangers, because they rarely missed their shot. Most of them were used to hunting big game before the war and already had a great experience with scoped rifles. Moreover, the adoption of explosive rounds by the Austro-Hungarian Army is well documented, although their use was forbidden against human targets by the Saint Petersburg Declaration of 1868. Their shots, usually aimed at the head, were extremely deadly.

In his book, Campana recalls a conversation with one of these snipers. The man came from Tirol and had been taken prisoner, but still carried with pride the case of a rifle scope.

Curiosity: the Italian word for „sniper“ is „cecchino„. During WWI Italian soldiers often referred to the enemy as „Cecco Beppe„, short form of „Francesco Giuseppe“ (Fanz Josef, the Austrian Kaiser). „Cecchino“ is a further diminutive of „Cecco Beppe“. It is not possible to say who started using this ironical nickname to identify the invisible threat, but it became so popular that  it is still part of the common language. Using a common man’s name for the enemy is a well documented practice: British soldiers were called „Tommys“ by the Germans, who in return were called „Fritz“ by the British. Similar nicknames were used during WWII, and during the Vietnam War American troops referred to the Vietcong as „Charlie“.

Austrian soldier on the Ortler, September 1916 (Österreichische Nationalbibliothek)

The third document is an extract from the war journal of Thomas Bergner (see episode #10). The was written on the  24 July 1915 in the Soča valley, and it shows how hard the life on the mountains was, even in summer. the weather was windy and rainy, very cold, and the only source of drinkable water was the snow in the fissures between rocks, that soldiers had to fetch risking their lives. A transcription of the diaries and letters of Thomas Bergner is available at: http://www.europeana1914-1918.eu/en/contributions/13071.

Italian Alpini during WWI (www.nondimenticare.com)

The last document of this episode is a short passage taken from the memories of Italian soldier Giacomo Pesenti (see episode #10). He once was on watch duty with two other soldiers on a ridge of the Königsspitze (Gran Zebrù), on the border between Sud Tirol and Lombardy. They wanted to shoot against the Austrian trench to let them know they were awake and alert, but as soon as they pulled the trigger they were struck by lightning. Pesenti says the weather was not stormy, and there was only one single black cloud above them. He was thrown against a wooden balk and hit his head, but one of his comrades was less lucky, and was seriously injured. Pesenti informed his headquarters and unplugged the telephone to avoid attracting more lightning.
The short extract comes from the book “La Grande Guerra in Lombardia”, by Giuseppe Magrin.

-Credits-

Editing: Eva Schmidhuber, Matteo Coletta.
Commentary: Matteo Coletta.

Voices in this episode: Norbert K. Hund as Fritz Weber,  Matteo Coletta as Michele Campana  and Giacomo Pesenti, Roman Reischl as Thomas Bergner.

Jingle:

Music: Gregoire Lourme, “Fire arrows and shields”
Concept: Matteo Coletta
Voices: Hannes Hochwasser, Matteo Coletta, Roman Reischl, L.J. Ounsworth, Norbert K. Hund.