The Auricle Sonic Arts Gallery, Christchurch, New Zealand
June 1-24, 2017
Jo Burzynska’s Amazuppai work for sound and wine was part of An Audacious Decade exhibition at The Auricle Sonic Arts Gallery in Christchurch, NZ. Amazuppai uses the interactions between sound and wine to explore the physical sensations, conceptual contrasts and subconscious synergies of ‘sweet and sour’. The knife-edge balance between these two contrary but often complementary tastes and their semantic associations is explored in Amazuppai (the Japanese for sweet-sour, comparable to the idea of bittersweet). This is reinforced and destabilised through the interplay of a crisp off-dry Riesling with a modulating soundscape.
This work was created as part of Jo’s current doctoral research at the University of New South Wales, Sydney. In this, she is investigating the interactions between sound and taste and applying this in the creation of installations that work at the intersections of the senses.
Experience the fascinating transformations that occur when wine and sound combine at the inaugural Australian presentation of Jo Burzynska’s Oenosthesia, sound and wine project. Created from blending a soundscape of recordings made from the winemaking process with wines tasted during the piece, the work will premiere in Sydney on 1st March 2017 as part of the launch of the Writing Around Sound journal that Jo co-edits.
In Oenosthesia, Jo explores the way in which sound influences the perception of a wine’s taste and texture through the changing timbres and frequencies of the sonic element in combination with different styles of wine tasted during the work. Oenosthesia brings together Jo’s two professional interests as a sound artist and wine writer to create a unique experience based on the science of sensory interaction. The work was initially created as an installation from a “Suoni dal confine” artist residency in Irpinia, Italy and premiered at the Interferenze New Art Festival’s Factory of Art Rurality and Media 2012 in Tufo, Italy. It has since been presented at Rome’s MAXXI National Museum of 21st Century Arts, at Studio Sienko in London and at the Dunedin Public Art Gallery and Physics Room Gallery in New Zealand.
Jo is currently engaged in research into the interaction of sound and taste as part of a PhD at the University of New South Wales (UNSW). This presentation is being made as part of this research, with participants invited to provide feedback via a short questionnaire at the end of the work.
Jo Burzynska has a career spanning two decades in wine and sonic art. As a wine writer and wine judge she has contributed to wine magazines and competitions internationally and is the author of the book, Wine Class (Random House). She is also an active sound artist, whose work in recent years has increasingly drawn on her interest in taste and olfaction in projects that include multisensory installations and performances, as well as establishing of the world’s first “oenosthetic” bar at The Auricle in New Zealand where she matched wines with the exhibitions and the sounds in the space. She also writes on sound and has had articles published in magazines such as The Wire and is the co-editor of Writing Around Sound sonic arts journal, the third issue of which is launched at this event.
New Zealand winery, Crown Range Cellar commissioned me to create a series of pieces of music specifically composed to complement its wines. The project employs both my own studies into the way perceptions of taste can be influenced by sound, and the current findings of scientific research into crossmodal correspondences. In the presentation on sound and wine that I am making at Pinot Noir NZ 2017 in Wellington, NZ, delegates will be able to experience the synergies between the music I composed for Crown Range Cellar Signature Pinot Noir and the wine itself.
The piece for the Crown Range Cellar Signature Pinot Noir was inspired by its rich and silky notes. A legato melody is played by a cello over a soundscape created from field recordings of the rich but bright tones of bells and the higher pitched sounds of birdsong. The deeper notes bring out the savoury character, while the treble of the birds enhance the aromatics and freshness, and the bell drone its smoothness.
For the Drowsy Fish Pinot Gris, I collaborated with electronic pop artist, Misfit Mod. The resulting music is an upbeat track with an ethereal pop sensibility that echoes the fresh and bright character of the wine.
To accompany the light and bright China Girl Central Otago Pinot Noir, I collaboration on a piece of music with Malcolm Riddoch. This features the smooth timbre of the traditional Chinese Hulusi flute that suits the supple texture of the wine, while the wine’s freshness is accentuated by the high-pitched backing to the traditional Dizi flute. The choice of instruments are also linked to both the wine and the label’s Chinese roots.
Jo Burzynska’s Alone with the Black Spirits has been released under her Stanier Black-Five moniker by the UK-based Rail Cables label on Rail Cables 2016. Those who know Jo’s longstanding interest in the sound of trains will appreciate what a great fit her work is with Rail Cables, a label devoted to showcasing new music inspired by train travel. Given her background, Rail Cables’ Stu Metcalfe also invited her to contribute the personal story of her sonic connection with the locomotive, which was beautifully transcribed by Kiran Dass and forms part of the stunning gatefold vinyl package. Copies of the album are available as a limited edition double vinyl gatefold LP or digital download from Rail Cables.
“Her piece ‘Alone with the Black Spirits’ is a 20 minute exploration of the sounds of a moving train. Since the conception of Rail Cables I have been hoping a musician / sound artist would attempt this. It seems so perfect that the task has been undertaken by somebody who cares so much about the attention to detail in the sonic manipulation of the sound of our chosen form of transport. Reminiscent of the work of Tod Dockstader, it is fascinating wondering how much of Burzynska’s piece is created from field recordings and how much editing has been involved. At times the hypnotic rhythms seem too perfect to have naturally occurred from the train itself. Yet this just helps remind us what a surprisingly musical experience travelling by train can be.” Stu Metcalfe
The recordings used on Alone with the Black Spirits were made on trains of varying eras and platforms in the UK, France, Belgium, Germany, Poland and New Zealand.
A train story (As reproduced in the inside cover of the release)
Curlews call and the soft syncopated panting of a steam train comes into earshot. As it builds in volume, the wheels on jointed tracks fall into a regular metrical beat, whistles blow and the birdsong is drowned out as the Stanier Black-Five thunders past.
A lull follows and then rain, through which another locomotive can be detected. This time its approach is an irregular jolting as it slips and labours on the rails before a loud hiss heralds its screeching halt. Then there’s a crackle and the sound of a needle hitting the end of the record. “Turn it over!” I urge, and my grandfather carefully flips the 45.
“Now this gradient is not as steep,” he explains as the B Side train breaks into a steady rhythm. “But hear how it changes as it goes over the bridge … and listen out for the bird when it reaches the other side.”
Many days of my early childhood I would travel like this, speeding through the British countryside and its towns with my grandfather, Stanley. Our only conveyance in most instances would be one of his train records; recordings made long before I was born of the last steam engines as they cut their final noisy passages across the country.
Sometimes these would have visual accompaniments, in the form of one of Stanley’s model train sets. I’d give the “right away” to a miniature engine, starting it on its trip as Stanley set off the record he’d cued up, breathing thrilling sonic life into their muted circuits.
Our excursions were driven by Stanley’s desire to share his passion for the railways on which he’d been raised. The son of a stationmaster, he’d longed to drive steam trains. It was a career derailed by a short sightedness that saw him become a teacher instead and the stridence of steam replaced by the subdued whirring of diesel. However, when he retired, he found in his similarly myopic granddaughter a willing companion to guide down the tracks he’d enjoyed travelling when young on these now decommissioned locomotives.
Forget the simple melodies of nursery rhymes and children’s songs; I revelled in the rich roar of the footplate’s fire. My lullabies were the pounding of pistons. I heard symphonies in the clatter and grinding friction of steel on steel.
When I was a little older, while the trains themselves were reduced to a distant rumble in my memory, they seemed to incline me towards similarly visceral and rhythmical soundscapes. But they were to return in full force on the eve of my family’s move overseas that heralded the start of my solo adult journey, when Stanley passed away and left me his record collection.
Alone with the black spirits which rage in the belly of rogue locomotives, the 33s, 45s and 78s offered comfort, conjuring fond memories of the happy hours I’d spent sonic trainspotting with Stanley. They didn’t simply hark back to a nostalgic age, but were heading forward to my next decade when they were to run through the sounds I myself would create.
Living with the vibrations of the Northern Line beneath me and Kings Cross Station metres from my house, my early adult years saw me once again immersed in train noise. It seemed fitting to mix Stanley’s records into this domestic environment, and before long I began incorporating them into my DJ sets. I found myself often playing only train records, which developed into performance pieces in their own right, culminating in the release of the Train Tracks 7” in homage to Stanley and his beloved historic recordings.
Fascinated by the sound of trains of all types I started documenting them myself: from steam trains on British heritage lines, through trans-European rail travel to Alpine crossings in New Zealand and the high speed bullet trains of Japan. These sounds have provided the material for numerous performances in recent years, as well as the track on this record.
I may now make my own recordings, but the impact of my grandfather’s vintage vinyl collection remains. It resonates in the way I hear the world and create my own work, living on as a powerful family legacy passed on to me in sound.
Studio Sienko – 57A Lant St, Borough, London, SE1 1QL, UK
Experience the fascinating transformations that occur when wine and sound combine at the UK premiere of Oenosthesia. In this multisensory sound and taste work created by Australasian-based sound artist, wine writer and multisensory academic, Jo Burzynska a soundscape created from recordings made in vineyards across the world works in harmony with a selection of wines that are tasted by the audience thoughout the piece.
In Oenosthesia, Jo explores the way in which sound influences the perception of a wine’s taste and texture through the changing timbres and frequencies of the music in combination with different styles of wine. It’s a work that both includes and is created from wine, bringing together Jo’s two professional interests to create a unique experience that draws on the science of sensory interaction.
The work was initially created as an installation from a “Suoni dal confine” artist residency in Irpinia, Italy and premiered at the Interferenze New Art Festival’s Factory of Art Rurality and Media 2012 in Tufo, Italy. It has since been presented in Australasia, as part of an exhibition at Rome’s MAXXI National Museum of 21st Century Arts and this special one-off London event is its UK premiere.
Before the presentation of Oenosthesia, Jo will provide a brief overview of the project and current research into the often powerful interactions between sound and taste. She’ll also demonstrate through the tasting of a couple of initial wines how music can enhance or detract from what you have in your glass and offer tips on matching wine with music at home.
The event is supported by Lant Street Wine and Sienko Studios with wines kindly supplied by Waipara West and Cloudy Bay.
Jo Burzynska (Stanier Black-Five) has a career spanning two decades in wine and sonic art. After starting her wine writing career in the UK, after moving to New Zealand she’s penned one of the country’s most widely read wine columns in the New Zealand Herald and is the author of Wine Class: All You Need to Know About Wine in New Zealand (Random House). She is also an active sound artist, whose work in recent years has increasingly combined her professional interests in multisensory installations and performances; the founding of the world’s first “oenosthetic”bar, at The Auricle in New Zealand where she curated a wine list to match the music in the space; as well as and running regular wine and music matching workshops. She is currently engaged in research into the interaction of sound and taste thorugh a PhD at the University of New South Wales in Sydney.