Robert Rutman
Robert Rutman | |
---|---|
Born | Berlin, Germany | 15 May 1931
Died | 1 June 2021 Berlin, Germany | (aged 90)
Known for | sculpture, music, painting, etching |
Movement | sound art, contemporary classical music, industrial music, minimalism |
Website | www.rutman.de |
Robert Rutman (15 May 1931 – 1 June 2021)[1] was a German visual artist, musician, composer, and instrument builder. Best known for his work with homemade idiophones in his Steel Cello Ensemble, Rutman is regarded as a pioneer of multimedia performance in his mixing of music, sculpture, film, and visual art.[2]
Biography
Early life and career
Born in Berlin in 1931, Rutman's mother was a
In 1952 Rutman returned to the U.S. and worked as a traveling salesman in
In 1967 Demby and Rutman held several happening-style events that mixed sonic, visual, and performance art centered around big sheets of metal that the artists had found. In one piece called The Thing, Rutman wore a white cardboard box and banged on Demby's sheet-metal creation with "a rock in a sock." In another piece entitled Space Mass, Rutman projected film upon a piece of curved sheetmetal onto which Demby had welded several steel rods that she played as a percussion instrument. Rutman later remarked, "We thought it would sound good as a xylophone, but it didn't."[2] Rutman would later make adjustments to the sheet metal-and-rod contraption, converting it into a fully playable and tunable idiophone.[8]
Central Maine Power Music Company
In 1967 Rutman moved to Skowhegan, Maine, where he built a house in the woods and established another multimedia gallery.[1] Though this gallery sent him into bankruptcy within its four years of operation, it was here that Rutman created the instruments for which he became known. Rutman made these new instruments from large panels of flexible sheet metal affixed with steel strings or freely swinging rods that he played with a bass or cello bow.[9] He named one of his creations the steel cello, and another the bow chimes, describing both as "American Industrial folk instruments".[2]
In 1970 Rutman founded the Central Maine Power Music Company (CMPMC) as his first ensemble to play these sculptures. The CMPMC included Rutman and Demby, with locals Hugh Robbins, Richie Slamm, and Sally Hilmer, and
CMPMC performances had a ritualistic quality that incorporated many non-musicians, such as video artist Bill Etra who added visual elements to their shows.[11] The band toured the East Coast, playing at several planetariums in Massachusetts, as well as Lincoln Center, the World Trade Center, and at the United Nations Sculpture Garden in New York. Rutman told a reporter in 1974:[12]
The best way to describe our music is to call it "not music." You see, it often happens that when people hear us play, they say, either in anger or in delight, "That's not music!" It's somewhat akin to the paintings of Jackson Pollock. When the art buffs first saw his work, with the paint drippings and all, they said, "That's not painting."
Steel Cello Ensemble
As Rutman's instruments piqued the interest of aficionados in both visual art and
The steel cello is 8ft tall and is made from a sheet of stainless steel anchored into a heavy iron stand. It supports one string, which when bowed creates a multitude of resonances, from delicate brittle sounds to deep rich tones. The bow chime, which is shorter, forms a horizontal curve which supports vertical rods, which when bowed produce complementary metallic tones. The Ensemble consists of one steel cello and three bow chimes and together create sounds equal in dynamics to an orchestra.
The Ensemble toured North America, often playing at
In the 1980s Rutman and his instruments began scoring theatrical works by
In 1986 Rutman was invited to play at the
I see the music as the American industrial. They are the product of our society...indigenous American instruments. They really reflect the sounds of our society, and the engines and drones and stuff like that. The indigenous properties of the instruments have a western harmonic tonality, like a brass horn. They produce this brilliant, harmonic, metallic sound. It's what electronic instruments want to do and really can't in the way that the steel cellos can do. It creates the environment that's both ancient and futuristic at the same time. It spans this whole sense of space and future and past. That's what's inherent in the sound of the instrument.
Further developments
Over the years, Rutman developed an interest in Tibetan meditation and music. He spent five years teaching himself to throat sing in the style of Tibet's Buddhist monks and began to match his instruments' low tonalities with his voice.[10][8] He also re-incorporated traditional non-western instruments into Steel Cello Ensemble performances and recordings, including the tabla, Tibetan horn, and didgeridoo.
Because of the steel cello's mass, Rutman developed lighter weight instruments for impromptu shows. First came the buzz chime, a triangular wooden
The styrophone is the exact opposite to the bow chime and the steel cello, which make a very full sound. Instead, the styrophone is like Gänsehaut! It’s the opposite of beauty, it’s like really ugly and I like that.
Throughout the 1990s Rutman continued to score theatre and film, including Wim Wenders' sequel to Wings of Desire and Heiner Goebbels' stage adaptation of Walden.[20] Rutman also toured and recorded with German industrial music group Einstürzende Neubauten.[6]
Rutman's training of other musicians has also spawned new generations of steel cellists and bow chimers, many of whom have gone on to compose and perform on the instruments.[21] Among these are Klaus Wiese's Nono Orchestra, Wolfram Spyra and Pete Namlook as the duo Virtual Vices,[8] Mathias Grassow and Adrian Palka.[22] Other sculptor-musicians have designed and constructed their own variations of Rutman's instruments, such as the Dresden-based steel cello ensemble Stahlquartett.[23]
Rutman's instruments are in the collection of the Smithsonian Institution.[1] Instruments similar to Rutman's steel cello and bow chimes continued to appear in Constance Demby's work as "The Whale Sail" and "The Space Bass.” Since their parting in the early 1970s, Demby maintained that Rutman's instruments were adaptations of her own.[24]
Visual art
In addition to his music and instruments, Rutman continued to produce and exhibit drawings, oil paintings, engravings and wire sculptures, examples of which can be seen on his website.[5] His influence is in the work of Jackson Pollock and abstract impressionism, and he is best known for depicting landscapes, nude figures, Catholic themes, and chairs.[19]
Death
Rutman died in a Berlin hospice facility on 1 June 2021 at age 90.[25]
Discography
Recordings listing Rutman or the Steel Cello Ensemble as primary artist
- Sound of Nothing (Art Supermarket Records LP, 1976)[26]
- Bitter Suites (Rutdog Records LP, 1979; reissued by Holidays Records, 2013)[26]
- Steel Cello Ensemble, Live in Europe (Rutdog Records cassette, 1987)[26]
- 1940 (Generations Unlimited cassette, 1988)
- In A State Of Flux (A State of Flux cassette, 1988)
- Noise in the Library (Rutdog Records cassette, 1989)[26]
- 1939 (Pogus Productions LP, 1989; CD with extra track, 1998)[27] [28][26]
- Live At The Waterworks, Berlin (Stuff Records CD, 1991)[28][26]
- Big Waves (under the name Spacebow, with Carsten Tiedemann, Noteworks CD, 1995)
- Music To Sleep By (Tresor CD, 1997)[27][28][26]
- Zuuhh!! Muttie Mum!! (Die Stadt CD, 1998)[27][28]
- In A State of Flux (WCUW cassette, 1998)
- "Schritt Um Schritt"/"Buzz Off" (split single with Asmus Tietchens, Die Stadt 7", 1999)
- Eine Unbekannte Zeit: An Improvised Opera Performed Live In Bremen, Germany (Rutdog Records CD, 2003)
- Rutman, Ginsberg, Hentz, Irmler (Klangbad CD, 2011)[29]
- Buzz Off (Peking Records CD, 2016)[30]
Recordings as a guest musician
- On Dorothy Carter's albums Waillee Waillee (1978)[26] and Lonesome Dove (2000), as well as many concerts[31]
- On William Penn's album Crystal Rainbows, The Sounds Of Harmonious Craft (1978)
- On Geoff Bartley's album Interstates (1987)[26]
- On Meret Becker's album Nachtmahr (1998)
- On Alexander Hacke's album Sanctuary (2005)[32]
- On the Swans' album The Seer (2012)[33]
Other works
Filmography
Rutman's film appearances include:
- The Sun Goddess (Die Sonnengöttin), by Rudolf Thome (Germany, 1992)[34]
- Faraway, So Close! (In weiter Ferne, so nah), by Wim Wenders (Germany, 1993)[34]
- Räder müssen rollen – Fahrplanmäßig in den Tod (1994)[34]
- Living on the Edge, by Luke McBain and Michael Weihrauch (Germany, 1995)[34]
- Killer Condom (Kondom des Grauens), by Martin Walz (Germany, 1996)[35]
- Stimmen der Welt (1997)[34]
- Steel Cello / Bow Chime, by David Chapman and Adrian Palka (UK, 2004)[36]
- Bob Rutman: Artist, Musician, Instrument Maker, by Ira Schneider (Germany, 2007)[37]
- How Long Is Now, by Danielle de Picciotto (Germany, 2010)[38]
- Lievalleen (2019)[34]
Live musical collaborations
- Merce Cunningham's Dance Series (1969)[2]
- Peter Sellars' stage adaptation of King Lear (1980), later made into a film by Jean-Luc Godard (1987)[2]
- Robert Wilson's American Repertory Theatre with music direction by Laurie Anderson (1986–87)[2]
- Heiner Goebbels' adaptation of Walden (1998)[20]
- Einstürzende Neubauten, 1998 U.S. tour[6]
Art exhibitions
In addition to displaying his visual artwork at his own concerts, Rutman has had solo exhibitions all over the world.[5]
- Houston (1959)
- Mexico City (1960)
- Boston (1962, 1978)
- New York City (1963, 1964, 1980, 1983, 1985)
- Berlin (1988, 1990, 1991)
- Barcelona (1990)
- Dresden (1995)
Publications
- Berlin um Mitternacht co-authored with Rüdiger Schaper (Berlin: Argon, 1998)[39]
References
- ^ a b c Hofbauer, Andreas L (2011). "Bob Rutman: Paintings from the 80s". Wonderloch-Kellerland. Retrieved 6 October 2016.
- ^ a b c d e f g h i j Palka, Adrian (2015). Dogantan-Dack, Mine (ed.). Artistic Practice as Research in Music: Theory, Criticism, Practice. London: Routledge. pp. 219–36.
- ^ Morris, N.S. (21 July 2016). "The Soul of a City: Berlin and Memory". LARB. Los Angeles Review of Books. Retrieved 5 October 2016.
- ^ a b "Bob Rutman's Steel Cello Ensemble". Klangraum Krems Minoritenkirche. 2007. Retrieved 4 October 2016.
- ^ a b c Rutman, Robert. "Bildhauer, Instrumentenbauer, Klang- erfinder, Maler, Musiker und Zeichner". Bob Rutman. Archived from the original on 15 October 2016. Retrieved 3 October 2016.
- ^ a b c d Ward, Ed (14 January 2000). "Bob Rutman: Have Steel Cello, Will Travel Anywhere". The Wall Street Journal. Retrieved 3 October 2016.
- ^ Lamantia, Philip (2013). The Collected Poems of Philip Lamantia. University of California Press. p. 139.
- ^ a b c d Chapman, David (2004). "Steel Cello / Bow Chime". David Chapman. Retrieved 6 October 2016.
- ^ Kostelanetz, Richard (2013). A Dictionary of the Avant-Gardes. London: Routledge. pp. 533–34.
- ^ a b c d Lewis, Bob (23 August 1989). Bob Rutman: The Studio Sessions. Newton, Mass: VideoVisuals Inc.
- ^ Continuo (11 December 2012). "Central Maine Power Music Company". Retrieved 4 October 2016.
- ^ Van Der Heide, Anna (1974). "Central Maine musians play 'not music' music". Athens. Central Maine Morning Sentinel. Retrieved 4 October 2016.
- ^ Johnson, Tom (14 January 1980). "Robert Rutman, Bruce Fier, and New Instruments". The Village Voice. Retrieved 4 October 2016.
- ^ Hatleberg, Earl (1977). "Museum of Modern Art opens month-long SUMMERGARDEN "POPS" on July 1st" (Press release). New York: Museum of Modern Art. p. 2. Retrieved 4 October 2016.
- ^ "Summergarden" (PDF). New York: Museum of Modern Art. 1977. Retrieved 4 October 2016.
- ^ Warren Sender: Hanging Out With the Man From Saturn
- ^ US Steel Ensemble putojefe.com
- ^ McLaughlin, Jeff (4 September 1989). "Rutman Throwing Own Farewell Party". The Boston Globe.
- ^ a b Antunovic, Martina (2013). "Report: Bullshittin' on a Chair with Bob Rutman". Platoon Kunsthalle. Retrieved 5 October 2016.
- ^ a b Hewett, Ivan (22 June 2012). "Interview with composer Heiner Goebbels". The Daily Telegraph. Retrieved 4 October 2016.
- ^ Poole, A.C. (2011). "Halfway between a whale and a squadron bomber: sublimity and the now chime". CURVE. Coventry University.
- ISBN 9781317178217.
- ^ "Stahlquartett / Remko Scha". Metaphon. 25 September 2011. Retrieved 14 January 2019.
- ^ Demby, Constance. "Origin of the Sonic Steel Instruments". Cosmic Electronic Symphonic Music. Retrieved 4 October 2016.
- ^ Robert "Bob" Rutman ist tot (in German) t-online.de 2 June 2021
- ^ a b c d e f g h i Suk, Moon (2003). "Eine Unbekannte Zeit" (PDF). noonsuk.de. Berlin. Retrieved 4 September 2017.
- ^ a b c "Robert Rutman | Album Discography | AllMusic". AllMusic. Retrieved 4 September 2017.
- ^ a b c d "Rutman, Bob 1931–". www.worldcat.org. OCLC. Retrieved 4 September 2017.
- ^ "BOB RUTMAN Steel Cello Ensemble | KLANGBAD". ld7.klangbad.de. Archived from the original on 22 September 2020. Retrieved 2 June 2021.
- ^ "Peking Records: Releases". www.pekingrecords.de. Archived from the original on 22 August 2018. Retrieved 2 June 2021.
- ^ "Rutman and U.S. Steel Band to perform at Lakewood". Sun Journal. 17 July 1989.
- ^ "Sanctuary | Einstürzende Neubauten". neubauten.org. Retrieved 2 June 2021.
- ^ The Seer – Swans | Credits | AllMusic, retrieved 2 June 2021
- ^ a b c d e f "Bob Rutman". filmportal.de (in German). 2021. Retrieved 2 June 2021.
- ^ "Bob Rutman". trinler.net (in German). 2021. Retrieved 2 June 2021.
- ISBN 978-1-13-726831-0.
- ^ "Ira Schneider". galerie-franzkowiak.de (in German). Retrieved 2 June 2021.
- OCLC 711337434.
- OCLC 40363083.
External links
- Official website
- Robert Rutman at IMDb
- Robert Rutman discography at Discogs