"Zdenek Liska became one of the eastern bloc's pioneers of electroacoustic music by accident. After breaking through making music for ads and animations, the revolutionary film-makers of the 1960s Czechoslovak new wave asked him to soundtrack their movies, which he took as his greatest inspirations. With the help of radio engineering enthusiasts at Czechoslovakia's film powerhouse, Barrandov Studios, he could imitate the whoosh of a spaceship or birds chirping."
"He composed underwater electroacoustic symphonies and music to be played on typewriters. Despite his innovations, he famously proclaimed: I only write music under the pictures. Liska was as productive as he was innovative: from the late 1950s to the late 1970s, he would score eight feature films a year, as well as numerous shorts and TV series. He could go camp or avant garde, channel Disney-like beauty and loved a waltz."
Zdenek Liska pioneered electroacoustic techniques in Czechoslovak film, creating sounds from everyday objects and collaborating with Barrandov Studios' radio engineering enthusiasts to mimic effects like spacecraft whooshes and bird calls. He composed experimental pieces including underwater symphonies and typewriter music while scoring numerous features, shorts, and television series at a prolific rate. He worked closely with Czechoslovak new wave and surrealist filmmakers, notably Jan Svankmajer, often composing at the editing table with a stopwatch and suggesting cuts to fit his cues. Generations remember his memorable melodies, and his influence reshaped the Czech socialist film industry's sound.
Read at www.theguardian.com
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