In week 15, Robert and David discuss Soundscaping in Argentina, and we listen to Radiophonics I from Volume 1 of the 1995 Soundscapes CD series.
Following King Crimson’s return to active service in Buenos Aires in 1994, Robert Fripp made a return visit to the city early the following year, shortly before the band embarked on an extensive European, Japanese and American tour in support of their new album, THRAK. His visit began with the second Guitar Craft course in Argentina, held from March 27 to April 1, followed by a week-long residency at the Goethe-Institut in downtown Buenos Aires, where he performed Soundscapes. Beginning on Monday, 3rd, at 8 pm, performances were held on consecutive evenings, culminating in two shows each on Saturday, 8th, and Sunday, 9th of April.
The entrance to the Goethe-Institut at Av. Corrientes 343 (photo: Jglsongs Creative Commons).
Support at the concerts came from Los Gauchos Alemanes, a trio of players with a background in Guitar Craft, Hernan Nunez, Fernando Kabusacki and Steve Ball, who shared the stage with Robert, alternating segments featuring their acoustic guitar pieces with the long-form improvised Soundscaping. At the conclusion of the concert, Robert joined the trio in the middle of the auditorium with an acoustic guitar for an encore comprising core GC repertoire and an unplugged take on the recently released Crimson instrumental VROOOM. Additional support came from the Guitar Craft students, performing in the venue’s foyer as The Guitar Ensemble of Argentina.
Programme for the week of performances at the Goethe-Institut.
The Goethe-Institut is a worldwide cultural organisation funded by the Federal Government of Germany, aiming to promote German culture and language. Los Gauchos Alemanes, who originated in Berlin, had already performed there prior to these performances, and this paved the way for Possible Productions to stage this concert series.
Robert Fripp with Los Gauchos Alemanes, Buenos Aires, 1995.
Robert had previously introduced his Soundscapes in Buenos Aires in June 1994 in the formal setting of the Teatro Cervantes, but had requested a smaller venue for this follow-up, preferring the more intimate surroundings of the institute’s auditorium of some 370 capacity. A strict no-photography policy was in place, adhered to by all except for one reviewer who, on having film from his photographer’s camera confiscated, wrote a negative review in a leading Argentinean newspaper. Large copies of this were hastily printed up by the Possible Productions team for prominent display in the Goethe-Institut windows to warn prospective audience members of what might be in store.
Writing in the sleeve notes to Radiophonics Robert described the experience:
The people of Argentina have been exceptionally kind to me, far more so than I deserve, and the generality of the Argentinian press have made exceptionally generous comments. There have also been two negative reviews of Soundscape performances, coincidentally both from reviewers who arrived at the theatres accompanied by photographers who were not admitted.
Sr. Federico Monjeau, the reviewer and lecturer upon contemporary music, reviewed the Monday performance at the Goethe-Institut for the Buenos Aires Clarin of Saturday 8th. April. Sr. Monjeau considered that Fripp’s “rigidity and control are not at the service of musical impulses” and concluded that “so much discipline and control seem to be an end in itself rather than a way to achieve an innovative music... Even though they may seem different, there is something in these Soundscapes which still resembles the primitive synthesisers of so-called symphonic rock, with those held chords which once seemed justified by a fascination with technology but which today appear unbearably vulgar”.
Radiophonics I is the first piece from the first performance on Saturday April 8, 1995.
Listen to this week’s commentary for the full story.
Download Robert Fripp @ 80 Vol.15 Radiophonics I (edit).
Listen on the Spotify playlist: Robert Fripp @ 80
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