I love Lisa Bielawa's music, but I am a bit skeptical of this:
Announcing Airfield Broadcasts in Berlin & San Francisco
Parallel Large-Scale Spatial-Musical Celebrations Featuring Hundreds of Musicians
Composer & Project Director
May 10-12, 2013
Tempelhof Field | Berlin
October 26 & 27, 2013
Crissy Field | San Francisco
Free and Open to the Public
Crowdfunding Campaign for Tempelhof Broadcast: www.startnext.de/tempelhof-
Berlin & San Francisco — In 2013, two legendary urban airfields – Tempelhof Field in Berlin and Crissy Field in San Francisco – will be turned into vast musical canvases as part of renowned composer and San Francisco native Lisa Bielawa’s expansive new project, Airfield Broadcasts. Tempelhof Broadcast will take place on Friday, May 10 at 7pm; Saturday, May 11 at 3pm; and Sunday, May 12 at 2pm on the historic airfield-turned-public-park Tempelhof Field in Berlin in partnership with the Berlin Parks Department (Grün Berlin GmbH) and under the patronage of the U.S. Embassy. Crissy Broadcast will take place on Saturday, October 26 and Sunday, October 27 (performance times to be announced) at Crissy Field in San Francisco, part of the Golden Gate National Recreation Area. Each Broadcast is 60-minutes long, and all performances are free and open to the public.
Bielawa’s Airfield Broadcasts are massive, spatialized symphonies involving approximately 1000 professional, student, and amateur musicians, including orchestras, bands, choruses, and experimental new music groups from Germany and the United States. On the selected days in May and October, hundreds of musicians will perform on the grounds of the former Tempelhof Airfield and Crissy Airfield for thousands of music lovers (and unwitting park goers).
The goal of the pieces is to interpret and celebrate these public spaces, allowing listeners to draw their own meaning and experience from them. Bielawa hopes that the projects will have a palpable and sustainable impact on the cities involved. She says, “I would like to see Airfield Broadcasts bring about new partnerships, new vitality, and new relationships between arts and civic institutions, between different generations and economic strata, between arts or music lovers and totally non-arts-identified park-goers enjoying a surprise encounter with music as a ‘happening’ in the middle of their familiar and beloved city.”