October 25, 2017

Time:	20:00
Location:	Sala Accademica
Category:	Live Electronics
Duration:	55’
Sound Direction:	Pasquale Citera
Lorenzo Pagliei	Lontano Interiore [world premiere] • 13’00
	Madrigale invisibile per 2 voci e live electronics
Levy Oliveira	Golden Aspen [italian premiere] • 8’00
	for flute and electronics
Claudio Panariello	Theatrum Insectourm • 7’00
	for bass clarinet, piano and electronics
Maura Capuzzo	Come arriva l’amore così ti si libera il naso, improvvisamente, e a caso • 5’00
	Per voce, fixed media e live electronics
Roderik De Man	Yuxtaposiciones • 11’00
	for bass clarinet and electronics
Gene Coleman	Kokhlos IV [world premiere] • 9’00
	for two singer, ensemble and electronics
ensemble	CumTempora Ensemble
soprano	Elisa Prosperi
mezzosoprano	Virginia Guidi
flute	Elena D’Alò
bass clarinet	Sauro Berti
piano	Sara Ferrandino
live electronics	Marco De Martino

Program Notes

Lontano Interiore [2017] fa parte di un ciclo di madrigali dedicati all’onirico, al sogno e ai differenti stati di coscienza intitolato Il Libro dei Margini. Schegge di eventi sonori allusivi e connotati emergono da fondali sonori (scenosonie) creati interamente dal vivo. Le voci vagano in modo non lineare fra emissioni quotidiane, suoni al limite dell’udibile magnificati e frammenti di linguaggio, come le memorie imprecise e le incerte apparenze del sogno.

Golden Aspen [2017] Golden Aspen is the specie of the Pando tree. The plant is estimated to weigh collectively 6,000,000 kilograms (6,600 short tons), making it the heaviest known organism. This kind of tree reproduces via a process called suckering. An individual stem can send out lateral roots that, under the right conditions, send up other erect stems; from all above-ground appearances the new stems look just like individual trees. Such as the tree, the piece Golden Aspen (for amplified flute and electronics) try to expend itself by the smallest musical ideas presented in the beginning of the music. The piece was composed in the composer’s personal studio and in the Research Center of Contemporary Music of the Federal University of Minas Gerais (Belo Horizonte/Brazil).

Theatrum Insectourm [2017] is a work conceived as a dialectic between the organic world identified with the “human performers” and the mechanical one identified in the electronics; after setting them into motion, I let them interact driving the piece to a situation in which electronics and instruments have inverted their roles. The sound world that the piece builds is like a soundscape of a microscopic nature and the electronics, made up of internal feedback chains, is a kind of hidden mechanical entomology that comes up and faces the acoustic world of the instruments.

Come arriva l’amore così ti si libera il naso, improvvisamente, e a caso [2012, revisione 2017] Il sapore della quotidianità nei gesti sonori del timer del proprio scaldabagno o della centrifuga della lavatrice o la propria voce. Accanto ad essi la voce della solista che è suono ma è anche rumorosa, è respiro, è espressione ma non parola. Quando tutto è stato detto, quando la forma ha fatto il suo percorso la voce può diventare parola e cantare: tipota, che in greco moderno nulla. …ma piace anche la pasta in brodo, piacciono i complimenti e il colore azzurro, piace una vecchia scarpa, piace averla vinta, piace accarezzare un cane… ma cosa è mai la poesia?Più di una risposta incerta è stata già data in proposito. Ma io non lo so e mi aggrappo a questo come alla salvezza di un corrimano (W.Szymborska)

Yuxtaposiciones [2008] In this solo piece for bass clarinettist Harry Sparnaay, the soloist is accompanied by a pre-recorder ensemble of bass clarinets and contrabass clarinets and an electronic part. Together they form a “band”. This part has two versions, one where the cd part is fixed and one whereby the soloist has more freedom in timing and a Max MSP patch makes it possible to trigger the separate parts with a pedal. The title Yuxtaposiciones refers to the way soloist and electronic part function side by side - at times the “band” supports at others it interlocks with the live performer. The piece demands from the player to be very lyrical as well as a true virtuoso.

Kokhlos IV [2017] In recent years I have been creating compositions modeled on what I call Auditory Neurological Architecture (also know as The Auditory Pathway of the Brain). The series of works called Kokhlos (ancient Greek for Spiral) all explore models of of the inner ear. The Kokhlos series works are part of the new media opera Dreamlives of Debris with texts by the American writer Lance Olsen. The electronics in this work were realized by Adam Vidiksis and Gene Coleman for The Algo.Institute - a working platform for collaboration between science, art and technology.