EMUFest

Concerto IV - HIDDEN

2017-06-21 13:01:47 +0000T00:00:00-00:00

October 28, 2017


Time:	20:00
Location:	*Sala Accademica*
Category:	Live Electronics
Duration:	50’
Sound Direction:	Pasquale Citera

Chaya Czernowin	*HIDDEN* • 50’00
	quartet and electronics

Quartetto Guadagnini
violin	Arturo Tallini
viola	Arianna Granieri
cello	Matej Bunderla

live electronics	Carlo Laurenzi

Event with ArteScienza2017 made with CRM-Centro Ricerche Musicali

Program Notes

HIDDEN [2014] HIDDEN is an attempt to get at what is hidden underneath expression or underneath music. It attempts to reach even further where there is a barely audible presence, which is on the edge of our perception. We do not know this presence, and it might be foreign, undecipherable. HIDDEN is a very slow moving 45 minute experience transforming the ear into an eye. The ear is given space and time to observe and orient itself in the unpredictable aural landscape. It is an underwarter, submerged landscape of rocks, inhabited by low vibrations which are felt rather than heard and with layers and layers of peeling away fog. Monolithic groups of sonic ‘rocks’ are seen/ heard from various angles. The piece is about observation; it tries to trace/ perceive/sense the emergence of expression. Chaya Czernowin

Quartetto Guadagnini: Il Quartetto Guadagnini nasce nel 2012. L’affiatamento di quattro giovani musicisti provenienti da Ravenna, Pistoia, Roma e Bari porterà la giovane formazione a vincere, nel 2014 il premio Farulli, in seno al XXXIII Premio Franco Abbiati. Si qualifica attualmente tra le più promettenti formazioni cameristiche d’Europa, dedite al grande repertorio quartettistico e contemporaneo. Si è già esibito per le più importanti società concertistiche e sale da concerto italiane e in Francia, Austria, Germania, Svizzera e Cina. Nel 2015 ha suonato con la pianista Beatrice Rana all’Istituto italiano di cultura di Parigi, luogo che lo ha visto poi come ensemble in residenza. Nel 2016 è stato impegnato in una tournée nazionale promossa dal CIDIM, ha debuttato al Teatro La Pergola di Firenze e al Festival dei 2Mondi di Spoleto con musiche dedicate alla formazione stessa da Silvia Colasanti. E’ stato poi scelto dalla Fondazione Stauffer per rappresentare l’eccellenza italiana esibendosi a Shanghai in diversi concerti e alcune masterclass. Il Quartetto Guadagnini collabora con i compositori Silvia Colasanti, Domenico Turi, Paolo Cavallone e Raffaele Bellafronte registrando per Tactus diversi lavori. Vincitore di Concorsi Internazionali, sul fronte della formazione ha completato l’Accademia Stauffer con il Quartetto di Cremona e sta seguendo il maestro Hatto Beyerle, storico violista del Quartetto Alban Berg e loro grande estimatore. Il quartetto è stato selezionato per il progetto Le dimore del Quartetto in collaborazione con l’Associazione Dimore Storiche Italiane. Si è esibito su RAI 5 accanto a Sandro Cappelletto, su RAI 3 accanto a Corrado Augias ed è ospite regolare di emittenti radiofoniche dedicate alla grande musica. Su RADIO 3 è stato invitato a Radio 3 Suite e alle Lezioni di Musica di Giovanni Bietti con il quale porta avanti una cospicua collaborazione.

Concerto IV - HIDDEN was originally published by EMUFest at EMUFest on October 26, 2017.

Masterclass VII • HIDDEN. Composing sound and space of sound II

2017-06-23 09:41:47 +0000T00:00:00-00:00

October 28, 2017


Time:	10:00
Location:	*Aula Bianchini*
Category:	Conference

Carlo Laurenzi

Computer Music Specialist at IRCAM (Paris)

HIDDEN. Composing sound and space of sound II

Sarà presentato il lavoro di ricerca, svolto presso IRCAM di Parigi, che si incentra sulla composizione e l’elaborazione dei suoni elettronici e strumentali nello spazio d’ascolto. La percezione spaziale del suono, intesa come parametro costruttivo musicale, al pari dei parametri di altezza, durata e intensità, sarà esaminata in funzione delle caratteristiche timbriche e delle tecnologie che ne permettono il trattamento compositivo.

L’informatica musicale all’IRCAM e l’esperienza di lavoro con Chaya Czernowin

Il lavoro di produzione musicale all’IRCAM si svolge costantemente in coordinazione con i dipartimenti di ricerca e sviluppo, ed è principalmente funzionale a progetti di musica mista, ossia per strumenti ed elettronica in tempo reale. La collaborazione del computer music designer con il compositore consiste principalmente nell’aiutarlo ad orientare il suo progetto di ricerca musicale attraverso i differenti aspetti dell’analisi sonora, computazione di dati musicali simbolici, elaborazione del segnale, tecniche di sintesi e di spazializzazione, accompagnandolo giorno dopo giorno nella realizzazione concreta e di tutto quello che serve per la creazione del materiale musicale e del software per la performance dal vivo oltre che per l’interpretazione della parte elettronica durante i concerti. Il pezzo per quartetto d’archi “Hidden”, realizzato all’IRCAM nel 2014, ha segnato l’inizio di una stretta e speciale collaborazione con Chaya Czernowin, per la creazione della parte elettronica, continuata poi nella realizzazione della parte elettronica dell’opera “Infinite Now” (2017).

Event with ArteScienza2017 made with CRM-Centro Ricerche Musicali

Masterclass VII • HIDDEN. Composing sound and space of sound II was originally published by EMUFest at EMUFest on October 26, 2017.

Concerto Acusmatico IV

2017-06-21 13:01:47 +0000T00:00:00-00:00

October 27, 2017


Time:	18:00
Location:	*Il Suono di Piero [Aula Bianchini]*
Category:	Acousmatic
Duration:	47’
Sound Direction:	Edoardo Bellucci

Antonio Carvallopinto	*Kustéata* • 8’55
Simone Scarazza	*Integrale* • 7’02
John Palmer	*Present Otherness* • 10’51
Augusto Meijer	*Matera* • 14’58
Paolo Pastorino	*Matérica* • 4’33

Program Notes

Kustéata [2017] Through the Yámana language, almost extinct, the composition introduce itself into the expressive possibilities of vocal sounds that no longer find a receptor for whom they mean. The piece is presented as the scene of the emergence of new meanings, from the sound of the word and from its electroacoustic manipulation. The composition has been totally composed from the elaboration of vocal sounds.

Integrale [2017] Basato sulla sintesi granulare, Integrale è un brano in cui si esplorano le varie possibili implementazioni utilizzabili da questa tecnica. La composizione del brano avviene tramite la raccolta di microforme algoritmiche, strutturate si, per la generazione della sintesi granulare, ma attuate per avere comportamenti estremi, anomalie, singolarità, e aberrazioni implementative. La ricerca formale per la composizione, si è sviluppata su una domanda essenziale: cosa può succedere, in un irrisorio istante sonoro? In omaggio agli studi di Dennis Gabor e alla sua visione scientifica corpuscolare il brano è stato intitolato Integrale, ovvero: un elemento che fa parte di un tutto, che concorre alla costituzione di un intero.

Present Otherness [2017] In 2007 Jonathan Harvey invited me to write a work for tape based on trumpet samples played by Markus Stockhausen. I decided to dismantle the original phrases and manipulate the spectral characteristics of single sounds in order to create new sounds and reconstruct a new music from scratch. I wanted to investigate the dichotomy of a “present” perception of reality and an-“other” more elusive quality of extended perception linked to a metaphysical dimension of life.

Matera [2016] is a sonic experimentation project which focuses on new approaches to electronic sound creation. This piece has been developed by using a mixture of techniques used in previous compositions. New experimentation in sound creation has resulted into a blooming world of sound structures, often referring to natural and cosmic aesthetics. “Matera” was premiered at the Ecos Urbanos Festival.

Matérica [2017] This track is the third part of a study on the sound matter. The aim of this study is to create a timbre and temporal connection among sound objects. Elements from different environments and contexts, totally unrelated to each other, coexist, are intertwined and interact together, thus giving rise to a form alive and responsive able to move in an imaginary space.

Concerto Acusmatico IV was originally published by EMUFest at EMUFest on October 25, 2017.

Masterclass VI • HIDDEN. Composing sound and space of sound I

2017-06-23 09:41:47 +0000T00:00:00-00:00

October 27, 2017


Time:	10:00
Location:	*Aula Bianchini*
Category:	Conference

Chaya Czernowin

Composition Professor at Harvard University

HIDDEN. Composing sound and space of sound I

Il lavoro di Chaya Czernowin, compositrice di fama mondiale si caratterizza per l’uso della metafora come mezzo privilegiato per raggiungere un mondo sonoro non familiare, una musica per il subconscio, che si estenda oltre le convenzioni stilistiche o la razionalità. La composizione della tessitura sonora, l’attenzione alla fluidità o alla rugosità del timbro fino al confine con il rumore, la dilatazione del tempo, l’elaborazione e la spazializzazione del suono, sono tecniche sapientemente utilizzate per la creazione di una vitale, viscerale e diretta esperienza musicale. Nel corso della masterclass sarà descritta anche la realizzazione dell’opera HIDDEN, per quartetto d’archi ed elettronica, prodotta nel 2014 con Carlo Laurenzi presso l’IRCAM.

The composition HIDDEN will be permormed in the Concert IV

Concert IV

Event with ArteScienza2017 made with CRM-Centro Ricerche Musicali

Masterclass VI • HIDDEN. Composing sound and space of sound I was originally published by EMUFest at EMUFest on October 25, 2017.

Concerto III

2017-06-21 13:01:47 +0000T00:00:00-00:00

October 26, 2017


Time:	20:00
Location:	*Sala Accademica*
Category:	Live Electronics
Duration:	55’
Sound Direction:	Pasquale Citera, Michele Papa

Alessadndro Solbiati	*Studio V* • 5’00
	false
Maurizio Pisati	*ChahaX* • 8’00
	chaconne hack for Guitar, or any other instrument-ensemble and audiovideotrack
Pasquale Citera	*Come ascoltare i dormiveglia delle vedove* • 15’00
	false
Olga Neuwirth	*Spleen III* • 10’00
	for bariton sax solo
Matej Bunderla	*Barrytmic* [world premiere] • 12’00
	false
Simone Santi Gubini	*Klangrelief (Relief II)* • 11’00
	false

chitarra	Arturo Tallini
piano	Arianna Granieri
sax	Matej Bunderla

live electronics	Marco De Martino

Program Notes

Studio V [2017] Studio V, dedicato ad Arturo Tallini costituisce il mio ritorno alla chitarra dopo il lavoro di scavo nelle sue possibilità timbrico-articolative effettuato nel 2015 in Sonata. Si tratta anche della riapertura forse ormai imprevista del progetto di otto Studi per chitarra nato nel 1997 e arrestatosi nel 2004. Un omaggio ad una particolare attitudine di Arturo Tallini, è l’aggiunta della possibilità di trattenere con la voce, a bocca chiusa, alcune note della melodia finale, creando così la propria innere Stimme.

ChahaX [2017] è una nuova visione del precedente CHAHACK, hackeraggio della ciaccona dalla Partita N.2 di J. S. Bach, dove scrittura e interprete alternavano fantasiose intrusioni e fughe. Ora, sul disegno di quella partitura, si articola il percorso a rapidi scatti di una luce tra i pentagrammi. È lei che legge per l’interprete. Richiama nelle mani ciò che la memoria già conosce, dettandole i tempi. Una scansione continua, circolare, mentre alcune note diventano “interruttori”: la luce le sfiora e nella traccia audio si attivano nuove aperture, fantasie sull’immagine poetica che è ogni partitura, coi suoi segni e oltre ogni loro eventuale significato.

Come ascoltare i dormiveglia delle vedove [2017] I luoghi sonori riconducibili all’intero vissuto possono esser svolti lungo una mappa dinamica di eventi dalla lettura non univoca, non lineare, che può avere percorsi sempre diversi. Così come nei dormiveglia di chi ha più passato che futuro, si ripercorrono immagini frammentarie modificate da e nel tempo, ognuna di queste immagini - luoghi sonori d’affetto o d’esperienza- appaiono dapprima discontinui, paralleli, a sé stanti. Le variazioni di questi luoghi tra sé stessi, creano rapporti dialogici dove ciò che appare per prima non è per forza l’inizio, dove la causa è successiva all’effetto, in una dimensione di temporalità allargata analoga a quella onirica. La composizione è altresì frutto di studî dei rapporti tra risonanza dello strumento e la sua propagazione nell’ambiente; ogni tempo metronomico ed indicazioni di velocità in partitura sono parametricamente dipendenti dall’acustica della sala, in primo luogo dal tempo di riverberazione, al punto che all’esecutore è chiesto di modificare i tempi seguendo una tabella di valori di riferimento, in modo da avere velocità e risonanze appositamente modellate allo spazio sonoro dell’atto musicale.

Spleen III [2001] Third part of the spleen cycle for sax Baritone, with first performance of May 2001 in Zurich. Excess and the grotesque have always formed the very foundation of Olga Neuwirth’s musical reservoir. Down here, nothing is spared — not the composing individual, not the listener, not even the performer. The composer already questioned about the party cycle with Spleen I for Basso Clarinet (1994) replies: Nothing is to be said. I simply wish to say nothing about it.

Barrytmic [2017] Barrytmic is an conceptual improvisation piece where the player try to combine extendet playing technics in to a polyrithmic structure.

Klangrelief (Relief II) [2017]

làmina frangia intaglio, che riduce, c ́è, non cessa - pàtina polvere, passi, avvolgere, dando (…) Giuliano Mesa

*fuga tripla*, da *nun*, 11-10-2002

IL SUONO È IN FIAMME

Simone Santi Gubini (Amburgo, 2015)

C’è qualcosa di pagano in me da cui non posso liberarmi. In breve, non nego nulla, ma dubito di tutto.

Lord Byron (1820)(Amburgo, 2015)

Klangrelief è suono, soltanto suono incentrato sulla purezza della difettosità strumentale. L’esecuzione è fisica, “fuori controllo”, come il suono è in rilievo (relief), in eccesso, presente e comprensibile sul corpo dell ́ascoltatore. Una musica quindi da ascoltare dal di dentro, dall ́incavo dello strumento, nella cavità del suono che diviene sorgente. Un suono liberato, estremamente instabile, in squilibrio, ispessito da una timbrica raschiata e fatto di materia prima -; composto da una forma fluida e naturale che si condensa nell’articolazione, in continua - graduale o immediata - sovraesposizione di energia (timbro e tempo). Forma che diviene articolazione, materia grezza torchiata, e ́ come affettare il vetro: un suono sovraesposto, il suono per ogni forma che forma ogni suono. Come questa si disperde o smette di essere dinamica, massima, tensiva, perciò fatta di testure contrastanti che creano nuove, sorprendenti relazioni, immediatamente non c’è più nulla da ascoltare: l ́attitudine al fuori controllo diviene musica informe, come non nata. L’ascoltare diventa quindi cercare, un’attiva, dinamica inesprimibilità, l’inafferrabilità del suono. Si ha come la sensazione di percorrere un vasto, illimitato territorio dinamico, estremamente astratto eppure naturale, gradualmente proprio. Una monumentalità la cui origine è composta di “polvere sonora” (ancora materia prima), un’immagine residua: ciò che risuona continuamente. L’espressività di una grumosa materia che si sedimenta nel senso di una memoria inconsistente, olfattiva quasi, antica e inattuale: il territorio estremo di una serenissima ambiguità. La “pelle della musica” e il rinnovamento dei materiali, degli attrezzi scelti, questo è ciò che interessa, insieme alla facoltà di vivere una musica nei nervi e nelle viscere che l’hanno creata.

Concerto III was originally published by EMUFest at EMUFest on October 24, 2017.

Masterclass V • Shock e Ambiguità musicale - tecniche di un suono liberato

2017-06-23 09:41:47 +0000T00:00:00-00:00

October 26, 2017


Time:	15:00
Location:	*Aula Bianchini*
Category:	Conference

Simone Santi Gubini

Composer

Shock e Ambiguità musicale - tecniche di un suono liberato

Il compositore presenterà gli elementi costitutivi della sua estetica musicale. L’indagine sarà rivolta al suono e alle forma, con esemplificazioni tratte dalle sue opere e in un susseguirsi di concetti che dichiarano la necessità di una musica “dinamica, ipertrofca, di espressione immediata, formulata in una dialettica strettissima di opposte artcolazioni…”

Shock e ambiguità musicale

Difettosità timbrica e subarmoniche

Masterclass V • Shock e Ambiguità musicale - tecniche di un suono liberato was originally published by EMUFest at EMUFest on October 24, 2017.

Masterclass IV • Il linguaggio Faust per la composizione musicale

2017-06-23 09:41:47 +0000T00:00:00-00:00

October 26, 2017


Time:	09:30
Location:	*Aula Bianchini*
Category:	Conference

Yann Orlarey

Scientific Director of GRAME - CNCM (Lyon)

Il linguaggio Faust per la composizione musicale

Faust è un linguaggio di programmazione appositamente progettato per descrivere processi di sintesi e di elaborazione del suono. Faust può essere utilizzato per progettare strumenti musicali elettronici su una vasta gamma di piattaforme, dai pedali di effetti alle applicazioni audio per il web o smartphone. L’obiettivo dell’intervento è di presentare Faust e il suo ecosistema in modo semplice e accessibile.

Event with ArteScienza2017 made with CRM-Centro Ricerche Musicali

Masterclass IV • Il linguaggio Faust per la composizione musicale was originally published by EMUFest at EMUFest on October 24, 2017.

Concerto II

2017-06-21 13:01:47 +0000T00:00:00-00:00

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.

Concerto II was originally published by EMUFest at EMUFest on October 23, 2017.

Concerto Acusmatico II

2017-06-21 13:01:47 +0000T00:00:00-00:00

October 24, 2017


Time:	18:00
Location:	*Il Suono di Piero [Aula Bianchini]*
Category:	Acousmatic
Duration:	46’
Sound Direction:	Federico Paganelli

Francis Dhomont	*PHŒNIX XXI* • 16’32
Giuseppe Pisano	*Termiti* • 4’02
Diego Ratto	*Echoss* • 8’15
Roberto Begini	*Kymbalon 3* • 8’30
Alessandro Perini	*Étude Tendu* • 8’35

Program Notes

PHŒNIX XXI [2016] To Inés Wickmann. A trace / confirmation of the acousmatic vitality at the beginning of the XXIst century, of course.But, for me, it is also a new life given to ancient musical ashes, very old recordings and reanimated but transvestites extracts of instrumental works. A kind of eternal return.Phoenix XXI was commissioned by the INA-GRM. World premiere on October 8th 2016 in Paris, concert INA-GRM.

Termiti [2017] is a study about decomposing matter. Concrete sounds, human sounds, coming from the real world and carelessly left to rot. Turned into a new ecosystem, a bog hosting new saprophytic life forms. The swarming mass of micro-sound, randomly storming around, fleshes these materials, building new shapes in which, looking carefully, is still possible to grasp ruins of the original components.

Echoss [2017] The piece is made by three movements. Violent gestures interrupt a fake tranquillity. Deeper, there is a stormy excitement that really comes out in the last part. Silence, virtual-space and picture-background management, are just a few of the important aspects which the composition is focused on.

Kymbalon 3 [2017] is a composition focused on non-instrumental sound sources and concrete sound, with particular reference to metallic objects. It’s a work composed entirely with a single source, a large metal dish, from which various sounds have been made. Development of the piece is focused on sound processing, with particular reference to texture- generation and with a specific algorithm designed for the project (algorithm for generating fractal textures).

Étude Tendu [2017] After building four swings with steel wires, amplified with contact microphones, and using them for a live piece called “Steel String Quartet”, I recorded a set of sounds resulting from different techniques applied to the metallic wires. “Étude tendu” is a composition entirely made with those sounds.

Concerto Acusmatico II was originally published by EMUFest at EMUFest on October 23, 2017.

Masterclass III • Jean-Claude Risset. Metafore e archetipi del linguaggio elettroacustico

2017-06-23 09:41:47 +0000T00:00:00-00:00

October 25, 2017


Time:	10:00
Location:	*Aula Bianchini*
Category:	Conference

Luigi Pizzaleo

Professor at Conservatorio Santa Cecilia (Roma)

Jean-Claude Risset. Metafore e archetipi del linguaggio elettroacustico

Saranno esaminati gli aspetti più rilevanti della poetica di Jean-Claude Risset ed in particolare le connessioni profonde tra la musica e la scienza che il compositore ha esplorato. La Master class, articolata in ascolti e analisi, ospita il sassofonista Enzo Filippetti che eseguirà il brano Voilements

Jean-Claude Risset	*Voilements* • 14’00
	pour saxophone ténor et bande magnétique

Voilements [1987] is dedicated to saxophonist Daniel Kientzy, who developed special performance technique used in the piece.The soloist dialogues with a tape. The tape first echoes the soloist, multiplying his sound, but it also alters its way of playing, it warps it, as a wheel which does not go round (the word Voilements alludes to a veil or a sail, but is also means buckles or warps). The equal temperament tuning is eroded, the tension increases, up to a point where melodic lines get twisted into loops. Then, as if there were a zoom backwards, the pacific background for the gestures of the soloist, who uses various performance techniques.The tape was realized digitally in Marseille (Faculté des Sciences de Luminy et Laboratoire de Mecanique et d’Acoustique du CNRS). Sounds recorded by Daniel Kientzy have been transformed with the SYTER audioprocessor designed at INA-GRM by Jean-Francois Allouis. The tape also includes sounds synthesized in non real-time with the MUSIC V program, implemented on a IBM-PC compatible micro-computer: these sounds, however, have been specified in real time on MIDI keyboard; the MIDI code has been transcribed into MUSIC V code. These possibilities have been developed by Daniel Arfib, Frédéric Boyer, Pierre Dutilleux, Richard Kronland and Patrick Sanchez.

Masterclass III • Jean-Claude Risset. Metafore e archetipi del linguaggio elettroacustico was originally published by EMUFest at EMUFest on October 23, 2017.

Concerto Acusmatico III

2017-06-21 13:01:47 +0000T00:00:00-00:00

October 25, 2017


Time:	18:00
Location:	*Il Suono di Piero [Aula Bianchini]*
Category:	Acousmatic
Duration:	53’
Sound Direction:	Massimiliano Mascaro

Loïse Bulot	*Yami* • 11’28
Sean Harold	*there is no image … there is no poetry (version II)* • 6’58
Clements von Reusner	*Definierte Lastbedingung* • 11’40
Nicola Rodriguez	*El viento será eterno* • 8’04
Gilles Gobeil	*Sous l’écorce des pierres-promenade* • 14’21

Program Notes

Yami [2017] I composed this piece on the evocation of a nocturnal landscape, water and stars. On ascending and descending wave movements, the piece develops into a first part where I have assembled fragments - from the drop of water to the current - and in a second part evoking the reflections, from lunar light to sunlight.

there is no image … there is no poetry (version II) [2014] was originally written for solo soprano saxophone with fixed media. This version of the work is for fixed media alone, eschewing the live element of the iteration version altogether. Both versions of the piece are based on Mozart’s Oboe Quartet, K. 370. Here, however, the supporting elements of Mozart’s quartet are remembered with new intent, while the driving force of the original quartet is half-forgotten and remembered only in echoes.

Definierte Lastbedingung [2016] engl. defined load condition) is based upon the sounds of electromagnetic fields as they arise when using electric devices. Numerous recordings of electromagnetic landscapes were made at the Institute for Electrical Machines, Traction and Drives (IMAB) of Technical University of Braunschweig (Germany) with a special microphone. This sound material has little of what a musical sound is intrinsically. There is no depth and no momentum. In their noisiness these sounds are static, though moved inside. They usually seem bulky, harsh and repellent, even hermetic as the well known electrical hum. Defined load condition (a technical term when testing electrical machines) is about with these sounds which are explored in their structure, reshaped and musically dramatized by the means of the electronic studio. The main frequency of electrical current in Europe is 50 hertz and hence 50 and its multiples is also the numerical key this composition is based upon in a variety of ways. spatialization: ambisonic 3rd order - 8 channel. Definierte Lastbedingung is also this years German contribution to World New Music Days taking place november 2017 in Vancouver, Canada.

El viento será eterno [2015-16] This work is built through the sounds that I discovered on a trip to the North of Argentina. Among the many sonorities of this region, the wind sound qualities led me to think of a poetic where the wind not only be used as sound material but as a formal part of the piece. This work integrates small particles and flow of the scorching wind.

Sous l’écorce des pierres-promenade [2016-17] To Folkmar Hein. Many of the sounds used in this piece were provided to me by Folkmar Hein, who commissioned the work. The majority of these sounds, which he himself recorded, can to some extent be considered as noises devoid of any precise meaning. What intrigued me was the question of whether it would be possible to integrate them into a broader project that could evoke the very long nature hikes that Mr. Hein regularly embarks upon in the surroundings of Berlin. He confided to me that after a certain time during these promenades, one’s perception of not only time but also of listening is gradually transformed. Perhaps the transition into this state might facilitate the exposure of a particular reverie concealed beneath the skin of the stones… Sous l’écorce des pierres – promenade received an Honorable Mention at the international competition Prix CIME 2017.

Concerto Acusmatico III was originally published by EMUFest at EMUFest on October 22, 2017.

Masterclass II • GRM Tools e la spazializzazione

2017-06-23 09:41:47 +0000T00:00:00-00:00

October 24, 2017


Time:	10:00
Location:	*Aula Bianchini*
Category:	Conference

Emmanuel Favreau

Sientific Director INA-GRM (Paris)

GRM Tools et la spatialisation

Après un bref historique du GRM présentant l’approche concrete, je présenterai plus en détails quelques outils GRM Tools. L’accent sera mis plus particulièrement sur les derniers outils consacrés à la spatialisation 2D, 3D et binaurale avec des démonstrations sur le dôme de 22 haut-parleurs.

Event with ArteScienza2017 made with CRM-Centro Ricerche Musicali

Masterclass II • GRM Tools e la spazializzazione was originally published by EMUFest at EMUFest on October 22, 2017.

Concerto I

2017-06-21 13:01:47 +0000T00:00:00-00:00

October 23, 2017


Time:	20:00
Location:	*Sala Accademica*
Category:	Live Elecctronics and Acousmatic
Duration:	1h03’
Sound Direction:	Pasquale Citera - Marco De Martino

Franck Bedrossian	*Propaganda* • 10’00
	Saxophone quartet and electronics
Giorgio Nottoli	*Ellenikà* • 6’00
	Acousmatic
James Dashow	*Soundings in Pure Duration n.9* [world premiere] • 13’40
	for bass flute and octophonic electronic sounds
Pierre Jodlowski	*Time & Money* • 14’00
	for percussions and electronics
Demien Rudel Rey	*Khēmia I* • 5’30
	for double bass and electronics
John Cage	*FOUR5* • 12’00
	for saxophone ensemble

SAXATILE4 [modulable sax ensemble]	Danilo Perticaro, Danilo Perticaro, Alessandro Scalone, Maurizio Schifitto, Marzia Marianantoni, Giulia De Mico, Cristiano Cerroni, Francesco De Cicco
flute	Manuel Zurria
percussions	Ivan Liuzzo
double bass	Mauro Tedesco
live electronics	James Dashow, Federico Scalas

Program Notes

Propaganda [2008] The saxophone quartet has always aroused my curiosity because it constitutes a quasi-electronic instrument in itself. The homogeneity of timbres, their elasticity and the capacity for merging are such that one might, at times, believe that the saxophones are naturally the object of electroacoustical transformations. Consequently, the idea of combining this group with the elaboration of synthesised sounds enabled me to develop this impression of flexibility. Finally, it is the instrumental writing itself that favours the propagation of textures between the acoustic instruments and electronic sounds, provo king unexpected or conflictual encounters. This work is dedicated to James Giroudon, who commissioned it.

Ellenikà [2013] The work is constructed from recordings made in Greece during two living on the island of Thassos, 2012-2013. The records include both sounds from nature, which, although really Greek, could come from anywhere in the Mediterranean sea, and events spoken in the Greek language. Some of the latter have been taken up in crowded places such as markets of the country and, in particular, where the calls of vendors prevail over the buzz of people, others by reading poems of classical antiquity as those of Sappho and Alcaeus. The speech material was analyzed in order to extract elementary trends, in terms of durations and intonation, which constitute the basic articulation of the piece. The pitches are used to filter the concrete material getting complex tonal changes. For example, the sound of the sea filtered by means of resonators tuned on the pitches of a canon, in the first part of the piece, it gradually changed into a clear and varied timbre. The form of Ellenikà is divided into two parts, in the first dominate the sounds of nature, in the second human voices, gradually more recognizable. Then the musical result plays between abstraction and revelation, slowly and gradually, of the elements of the soundscape.

Soundings in Pure Duration n.9 [2016-17] This particular Soundings continues the composer’s explorations in the three principle dimensions of his work: pitch structure, timbre and, especially, spatialization. Timbre is constructed from pitch controlled processes that are in turn derived from a rigorous application of his Dyad System. These structures are then synchronized with various elaborations of the space surrounding the listener: differently sized spaces and spatial zones, often occurring simultaneously as well as in succession are utilized along with multiple trajectories (the choreography) of the sounds in space. These are all integrated into the complex timbral-spatial conception of the work. And, as usual, the soloist is the focal point of this activity and often the trigger for spatial movement. Soundings in Pure Duration n.9 is written for and dedicated to Manuel Zurria.

Time & Money [2004] Questo brano è stato composto dopo People/Time, lavoro di musica da camera commissionato dal festival di Donaueschingen nel 2003. Condivide con esso lo stesso in interrogativo che riguarda la nostra società, i nostri comportamenti con il tempo e il denaro. È un sorta di contestazione al nostro sistema economico, dove l’argomento diventa una sorta di quadro musicale […] la musica inizia con cicli e cicli di modelli ritmici in cui la presenza di suoni radio e film (soprattutto dialoghi) stanno producendo un secondo strato di percezione per il pubblico, attivando alcune memorie collettive. E la musica inizia ad andare sempre più veloce, proprio come a volte accade nelle nostre vite, così spaventati nel perdere il tempo…

Khēmia I [2016] is a work for double bass and electroacoustic. The title of the piece refers to the conceptual axis (Khēmia means transmutation, a term linked with alchemy). The double bass and electroacoustic materials are ‘transmuted’ through saturation processes, where merge into something complex, in an unstable world of sound. Also, the opposite process applies, in other words, the separation of these two sound sources (the instrument and loudspeakers), to more unlinked elements. There are materials consonants (harmonically stable or simple spectrally) expressing certain onirism compared to other chaotic, saturated and highly complex sound objects.

FOUR5 [1991] Single tones in flexible time brackets for four saxophones or multiples thereof. The pitches do not sound as written. The inonation should be his own for each player. A unison will be a unison of differences. Sounds may be long or short. When they have duration the loudness should be soft. Very short sounds are free as to loudness, even sfz if wished or ppp.

Concerto I was originally published by EMUFest at EMUFest on October 21, 2017.

Tavola rotonda

2017-06-23 09:41:47 +0000T00:00:00-00:00

October 23, 2017


Time:	17:30
Location:	*Aula Bianchini*
Category:	Tavola rotonda

#####Introduzione di Franco Sbacco

Un ITER in atto

Nato nel 2008, l’EMUFest, Festival Internazionale di Musica Elettroacustica del Conservatorio Santa Cecilia, ha segnato una svolta epocale nel panorama italiano sia riguardo all’informazione sulla ricerca, sperimentazione compositiva e analisi della musica elettronica e della computer music, sia nel selezionare e proporre, di anno in anno, nuove opere acusmatiche, dal vivo con elettronica, audiovisuali e installative. Si fa il punto sul cammino percorso e ci si interroga sul futuro, con particolare attenzione agli aspetti formativi e di crescita tecnico-musicale degli studenti.

Tavola rotonda was originally published by EMUFest at EMUFest on October 21, 2017.

Concerto Acusmatico I

2017-06-23 13:01:47 +0000T00:00:00-00:00

October 23, 2017


Time:	16:45
Location:	*Il Suono di Piero [Aula Bianchini]*
Category:	Acousmatic
Duration:	43’30
Sound Direction:	Francesco Galante, Massimiliano Mascaro

Francesco Galante	*Lontano* • 7’10
	*Restroscena, memoria di una voce* • 7’20
	*Metafonie I* • 10’30
	*Liberare la Terra dalla Immobilità Fissata* • 9’40
	*Metafonie V, a Giacinto Scelsi* • 8’50

Program Notes

Lontano [1984-85] Realizzato presso la SIM di Roma, è la prima opera interamente digitale da me composta. In un periodo di studio dei fenomeni psicoacustici che mi portarono a immaginare una musica a-timbrica, una musica sinusoidale nella quale la materia sonora è sempre in divenire. Un flusso ritmico regolato dalle diverse velocità dei battimenti e dalla reazione sensoriale che essi determinano. Uno stadio pre-timbrico - quindi - della materia sonora, dove le tessiture sinusoidali operano al di fuori delle leggi che regolano il timbro, lontano appunto dalla fusione che lo determina. Questa rinuncia apre all’ascolto una idea realmente spaziale del suono.

Restroscena, memoria di una voce [2002-03] Un omaggio a Carmelo Bene, al suo Teatro della phonè. Un melologo virtuale in cui voce originale ma trattata in studio, ed elaborata (scomposizione in strutture molecolari della parola-suono)costruiscono un possibile Teatro Acusmatico, immaginario. Una estensione dei suoi esperimenti di alterazione microfonica della voce, solo accennati negli anni 60/70 e mai portati alle estreme conseguenze. Sono stati utilizzati frammenti di testo da me ricavati dall’opera Majakoskij (versione del 1980) e rimontati, liberamente, secondo una personale drammaturgia musicale che non ha nulla a che vedere con l’opera originale. Tra le opere vincitrici del concorso CEMAT 2004.

Metafonie I [1993] Metafonie I aggiorna gli studi sui fenomeni psicoacustici già intrapresi nelle composizioni precedenti, ed adopera ora la sintesi timbrica FM ma con un uso non tradizionale della stessa. La forma musicale si lega alla tecnica del continuum e alle textures timbriche. Per la realizzazione fu definito un doppio temperamento, sia tradizionale che una divisione in 12 parti di intervallo di terza poi esteso sulle diverse ottave. Tecnologie utilizzate: 2 FM Yamaha Tx81z, riverberatore SPX90II, un computer ATARI 1040. Le morfologie sonore sono ricavate da clusters granulari di onde FM.

Liberare la Terra dalla Immobilità Fissata [2012] E’ un brano composto da una ampia serie di pannelli sonori in cui è l’elemento della voce a svolgere, assieme ai suoni elettronici, un ruolo drammaturgico e para-semantico, determinante. Ciascun pannello, mediamente di identica durata, è indipendente ed è il montaggio a determinare un arco formale che dal semplice si muove verso un molteplice. Il titolo prende spunto dalle letture di Giordano Bruno è necessario liberare la terra dalla falsa immobilità. Questa frase si riferisce alla condizione morale, politica e religiosa del suo tempo, ma di straordinaria forza e attualità.

Metafonie V, a Giacinto Scelsi [2013] è stata composta nel 25° anno dalla morte di G.Scelsi, compositore determinante per il suo agire compositivo che parte dalla natura del suono. Essa prosegue una ricerca musicale che si avvale della sintesi sonora FM, tecnica che tuttora possiede potenzialità interessanti in termini di risultati morfologici ambigui. Dopo aver composto nel 1993 Metafonie I , ho ripreso negli ultimi dieci anni a lavorare anche e nuovamente in questa direzione, in cui sperimentare zone di confine percettivo e semantico del suono generato elettronicamente.

Concerto Acusmatico I was originally published by EMUFest at EMUFest on October 21, 2017.

Masterclass I • Composizione, ragioni ed utopie, mutamenti del suono nella musica elettroacustica

2017-06-23 09:41:47 +0000T00:00:00-00:00

October 23, 2017


Time:	16:00
Location:	*Aula Bianchini*
Category:	Conference

Francesco Galante

Professor at Conservatorio Stanislao Giacomantonio (Cosenza)

Composizione, ragioni ed utopie, mutamenti del suono nella musica elettroacustica

Partendo da un nucleo di composizioni elettroniche ed elettroacustiche, che appartengono alla personale produzione musicale dal 1984 ad oggi, si illustreranno alcune direzioni compositive intraprese nel rapporto musica/tecnologie, e le ragioni e le utopie che hanno sostenuto il paradigma del comporre il suono. Mettendo anche a confronto sul piano storico-critico alcune delle questioni musicali e tecnologiche esistenti negli anni 70 e lo stato delle cose musicali del nostro tempo in ambito tecnologico.

After the conference: Acousmatic Concert I, with Francesco Galante’s compositions.

Acousmatic Concert I

Masterclass I • Composizione, ragioni ed utopie, mutamenti del suono nella musica elettroacustica was originally published by EMUFest at EMUFest on October 21, 2017.

Volontà XI

2016-06-21 13:01:47 +0000T00:00:00-00:00

October 29, 2016


Time:	20:30
Location:	*Sala Accademica*
Category:	Live Elecctronics and Acousmatic
Duration:	53’
Sound Direction:	Pasquale Citera - Federico Paganelli

Franco Donatoni	*Ali* • 12’00
	per viola sola
Mario MARY	*Sal* • 9’11
	acousmatic
Giuseppe Desiato	*tocco materia* • 8’00
	per chitarra e supporto elettronico
Francis Dhomont	*HERE AND THERE* • 10’10
	acuosmatique avec spatialisation
Giorgio Nottoli	*Specchi risonanti: Scoperta-Riflessione-Canto* • 14’00
	per viola elettrica ed acustica con live electronics

viola	Luca Sanzò
guitar	Jacopo Lazzaretti
live electronics	Federico Paganelli, Giorgio Nottoli

live streaming on radiocemat.org

Program Notes

Ali [1977] Ali, two viole solo pieces, it recalls the rustles and thrills of wings’s sound. Written in 1977, it’s part of a group of four works made by Algo - two pieces for guitar - and Argot for violin, which all converge in About, a trio for violin, viola and guitar, where Donatoni uses components by each solo pieces. On the executive plan, it’s intresting to focus on some contradictions between the two pieces: first of all on the writing. Ali I is accurate, with an exact notation and a perfect recognizable structure, where we can find a reference to the Sonata op. 25 numero 1 by Paul Hindemith at the beginning, composed about sixty years earlier. In the fourth movement Hindemith plays rhytmic pedals on the C at 660 bpm, alternating with some scattered and akways more cramped bichords. in Ali Franco Donatoni makes something similar, replacing the empties Cs (also graphically as he writes temples without notes) with breaks, leaving the bichords naked, which gradually get tight. Another contradiction in Ali I is even though it amasses material (chords, rapid scales and harmonics are added to the bicords) it gets insubstantial, ending with a big intentional musical diminuendo. Ali II go against Ali I. It’s certainly an opposite work, made only by effects, where the notes lose their meaning giving way to a whole different language, in which the composer enjoy himself finding new timbers definitley new for the period, and surely evocative nowdays. I think of Ali II as a futuristic piece, full integrable in a possible visual work, as I feel in it - contrarily to Ali I, fully structered and ordered work - an invite to a crazy theatricality. (L. Sanzò)

Sal [2016] Sal electroacoustic work done in the CMMAS (Mexico) thanks to a residence Iberomúsicas. This piece uses personal composition techniques than I call electroacoustic orchestration and polyphony of space. The form of the work is complex but can be summarized in two main sections nutridamente articulated. The general nature of the work is vital and energetic. 2 times the music seems frozen, creating an unexpected contrast but does not decay tension due to the expectation that it creates. During its composition in Mexico, a local element extra-musical imbibed the spirit of the work: the worm salt. Both salt (and seasonings) and the worm (chapulines) occupy an important place in Mexican culture, hence the title of the composition.

tocco materia [2016] The main idea behind this project is the sound seen as gesture. The guitar, still keeping its strong identity, gives birth to a wide range of timbre full of materiality. For this reason, the title of this work is a real statement of intent. The musician, playing the guitar, rids the timbral potential of the instrument through his touch, creating a path made of elements that flow into musical concretism. The live execution is accompanied by electronic sounds, that working dialectically with the guitar’s gestures, highlight the tactile-materic aspect of the piece.

HERE AND THERE [2003] Stereophonic version of the eight-track work To Darren Copeland and David Eagle The theme of Here and There is space itself. Acousmatic music relies on an interpreter in order to manage the spatialization, which in this case was accomplished by the pre-programming of Darren Copeland’s Audiobox to allow David Eagle to perform with the aXio software. Nevertheless this version is stereo. It is therefore a study. But a very free study that does is not meant to demonstrate or to deny lyricism. The principle of articulation, even if it represents the focus of the piece, doesn’t have to hinder the simple pleasure of the sound immersion. F.D. Here and There was commissioned by New Adventures in Sound Art and was made possible by the Canada Council for the Arts. The piece was premiered by David Eagle and Darren Copeland on May 11th 2003 as part of Open Ears Festival of Music and Sound in Kitchener, Ontario, Canada. 1rst Prize at the V International Computer Music Competition Pierre Schaeffer 2005, Pescara, Italy. CD empreintes DIGITALes …et autres utopies, IMED 0682 © SACEM France (translation by Nadene Theriault-Copeland)

Specchi risonanti: Scoperta-Riflessione-Canto [2011-2016] Specchi risonanti extends the sonority and the mode of articulation of the instrument by means of an electro-acoustic virtual device. The work is based on dialogue between the instrument and its elaborated four copies (mirrors) that, in addition to applying to the sound material a set of conventional treatments, all play as many virtual strings ideally aimed at the listening space. The electro-acoustic device, then, is a sort of virtual viola d’amore occupying the entire concert hall. The sound of the viola is located at the center of the hall, where the performer stays, while the mirrors are located dynamically in the listening space surrounding the audience. The work is divided into three episodes: Scoperta and Riflessione, for electric viola, Canto, for acoustic viola. Scoperta was composed in 2011 and performed many times before the two following episodes were completed, five years later.

Volontà XI was originally published by EMUFest at EMUFest on October 29, 2016.

Volontà X

2016-06-21 13:01:47 +0000T00:00:00-00:00

October 29, 2016


Time:	18:00
Location:	*Il Suono di Piero [Aula Bianchini]*
Category:	Acousmatic
Duration:	24’
Sound Direction:	Massimiliano Mascaro

Gustavo Adolfo Delgado	*Microelektra I* • 5’00
Kazuya Ishigami	*GENSHI NO UMI ver2.0 -primitive sea ver2.0-* • 7’14
Filippo Mereu	*Lamie* • 7’05
Michele Papa	*Imenottero Aculeato - Studio preparatorio per interazione vocale* • 5’40
	per mezzosoprano e sfera

mezzosoprano	Virginia Guidi

Program Notes

Microelektra I [1999] The composition deals with a fantasy by complex rhythms and actions built using the use of various percussion samples and home gadgets which isolated, fragmented and cutting up in a very short fragments (ms), sometimes almost without processing. Through a meticulous work of mounting there were created such very complex puzzled-like electronic microstructures of opposite behaviour controlled by several suspensive/resolving prototype curves.

GENSHI NO UMI ver2.0 -primitive sea ver2.0- [2016] About 40 million years ago. Our ancestors was born from the primitive sea. Newborn life, already had the elements of the battle. This element is source of the animal and a human. In other words, the war that continues today, was born life and at the same time.

Lamie [2015] The song was inspired by the ancient Greek mythological figures, Lamie, part human and part animal-like creatures. The intention of this work is make a journey into the mind, into a dreamscape. The sounds became informations and form emotional states and take us beyond time. The vocalism is the most important element; the voices are heterogeneous, referable to imaginative voices, spectral and pervasive. There are three different moments: in the first prevails a gestures; in the second a more thoughtful moment, in contraposition to the first; in the third there is a repetition of material present in the first part and addition of new gestural material and in the final prevail an essentially voice stratification. Every single sound object was subjected to different processing procedures: modification of time and intonation, multiple overlapping and repetition of fragments, modulation, filtering and reverb. The following materials were used: 1. natural sounds recorded: metallic materials, water and flora. 2. Extrapolated sounds by the media (opera singers).

Imenottero Aculeato - Studio preparatorio per interazione vocale [2016] This study is based on the interaction between voice and electronic elements developed in real time. A research on the decomposition of lemma MORPHOPOLIS and of the linguistic characteristics that only one word can explicate in its decomposition. The electronic elaboration can be a medium between voice and electronic sounds, that, spatialized, moved the metaphorical creature that lived in us. The Hymenoptera Aculeato nestles in the human stomach (the sphere) and it is the imagine of liberation from our idols. The idols once expelled from us, they present with their real form: an insect.

Volontà X was originally published by EMUFest at EMUFest on October 29, 2016.

Volontà IX

2016-06-21 13:01:47 +0000T00:00:00-00:00

October 28, 2016


Time:	20:30
Location:	*Sala Accademica*
Category:	Live Elecctronics
Duration:	55’
Sound Direction:	Pasquale Citera - Giuseppe Desiato

Simone Cardini	*Dereistically* • 7’30
	per chitarra
Roberto Zanata	*Sax Live* • 8’30
	per sax tenore e live electronics
Luca Richelli	*Ricercare. .. e non trovare* • 8’50
	per flauto in sol e live electronics
Levy Oliveira	*Por um triz!* • 7’08
	for piano and tape
Reuben de Lautour	*Undertow* • 9’12
	for flute and live electronics
Robert Scott Thompson	*METTĀ* • 14’00
	for soprano saxophone, percussion and live electronics

guitar	Arturo Tallini
tenor sax	Filippo Ansaldi
alto flute	Elena D’Alò
piano	Sara Ferrandino
flute	Filiz Karapınar
sopran sax	Enzo Filippetti
percussions	Ivan Liuzzo
live electronics	Massimiliano Mascaro, Roberto Zanata, Luca Richelli, Reuben de Lautour, Federico Ripanti

live streaming on radiocemat.org

Program Notes

Dereistically [2016] It is called dereistic that thought that has lost its ties with reality, with logic. This antinomic vision of reality seems to ignore the evidence (and the efforts of jankélévitchian memory in this regard) of a world with various crepuscular possibilities; as if the reason itself would persuade us, by means of this comforting conviction, and excluding all that aren’t useful to confirm itself, ipso facto, reasonably right. Dereistically, the interpreter exceeds the project of the piece itself by actualizing this kind of trio for solo guitar by his own otherness and responsibility: it will be, however, the organization of the perceptive world of everyone that will realize and make real the piece itself. The three parts for voice, guitar and percussions and the necessary relationship between composer, performer and audience, provide imbricated boundaries that merge, meld and blend until reaching a mutual fade. The self internalized, to me, is still a lacerated transcendence that needs a social experience in order to be expressed.

Sax Live [2015] Second work of Live trilogy, this composition is born as creation of the relationship and autonomy between the instrument musical notation and the improvisation of the live electronics treatment.

Ricercare. .. e non trovare [2015] The composition, in G for flute and electronics, explores the border area between the acoustic and electronic sound. The live electronics main role is to increase the musical gesture and to expand the range of the acoustic instrument. The electronic processing is always merged with its acoustic counterpart. The gradual layering of materials creates a dreamlike and disconcerting echo. The title alludes ironically to the contemporary composer’s condition who often runs the risk of getting lost in his own artistic research.

Por um triz! [2016] Por um triz! (That was close! in English) uses a wide range of recorded and electronic sounds interacting with the piano. The electronic part amplifies what the pianist plays, increasing texture complexities, stressing gestures and reverberating harmonies. In some parts of the piece, it utilizes recorded piano sounds to approach the timbre of the real instrument and the electronics. 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 (Minas Gerais/Brazil).

Undertow [2016] is scored for flute and an electronics part performed and diffused from laptop in either stereo or quadrophonic sound. The work takes its inspiration from a passage in Orhan Pamuk’s novel The Museum of Innocence where the main character describes staring into the depths of the Bosphorous sea while swimming. Beneath the surface he glimpses decades of detritus: sunken boats, submerged cars, lost suitcases, bicycles. These sunken objects, floating almost in layers, form a kind of history of lost memorabilia or forgotten stories. Formally the work follows a series of elaborations of a simple ripple-like flute gesture that gradually develops into broader and more sustained melodic and figurative writing. While supporting and elaborating the spectral and transient sonic features of the flute part, as the piece develops the electronics gradually introduces another process where involving longer, modulated stochastic textures. The electronics combines timbres that mimic and enrich the sounds produced by the flute, and a palette of more abstract textures that attempt to evoke the impression of the various objects trapped beneath the ocean surface. Resynthesized versions of the multiphonics in the flute score are resynthesized and modulated to a number of different musical ends. At times they add upper partials to enhance the flute’s more stable tones, at others they are used to generate more chordal textures into which more melodic flute writing is embedded. At other moments, single partials are extracted and modulated and superimposed on top of the flute to form more heterophonic textures. The flute’s percussive sounds, such as pizzicato and key clap effects, are sampled and elaborated into musical gestures that answer the flute part.

METTĀ [2014] The Buddhist concept of mettā is central to the pursuit of loving kindness and is a cornerstone of compassion meditation. Among the various meanings associated with the term is the notion of mental union – of being on the same wavelength. The composition attempts to create a ritualistic and meditative sound space that invites mental union in focus, contemplation and compassion. Wind chimes, blowing leaves, snapping twigs, gongs and bells blend with atmospheric saxophone and percussion sounds in the electroacoustic part. These often radically transformed sounds are combined with and elaborated by sounds created by the performers. At times, a deep integration of the live and electroacoustic components develops that blurs the distinctions between the real and the imaginary, the ephemeral and concrete and the temporal and timeless. Sound materials for the composition were created using Metasynth and were derived from studio recordings made by the performers. METTĀ is dedicated to Jan Berry Baker and Stuart Gerber.

Volontà IX was originally published by EMUFest at EMUFest on October 28, 2016.

Volontà VIII

2016-06-21 13:01:47 +0000T00:00:00-00:00

October 28, 2016


Time:	18:00
Location:	*Il Suono di Piero [Aula Bianchini]*
Category:	Acousmatic
Duration:	32’
Sound Direction:	Francesco Ziello

Marco Ferrazza	*CitiZen* • 8’18
Paolo Pastorino	*Dimensione aggiuntiva* • 3’25
Chester Udell	*Jorneta Stream* • 11’00
Leo Cicala	*Khoisan* • 10’45

Program Notes

CitiZen [2016] The sounds of Citizen primarily come from field recordings materials made in different cities. Typical traffic signals as the horn live with sounds of bells, textures, and indistinct metal appearances. It results an orchestration as reorganization of various soundscapes and spatial ambients (both geographical and acoustic). I materiali sonori di Citizen provengono essenzialmente da registrazioni ambientali effettuate in differenti città. Segnali tipici del traffico come il clacson convivono con suoni di campane, tessiture rumoristiche e presenze metalliche indistinte. Ne deriva un’orchestrazione intesa come riorganizzazione di più paesaggi sonori e condivisione di differenti spazialità (sia geografiche che acustiche).

Dimensione aggiuntiva [2016] The aim of this composition is to create the timbre and temporal joint for each audio fragment. This is my way to achieve a timeline of events. I tried to sculpt each sound object in order to create a lively form able to move in an imaginary space. Dimensione aggiuntiva means an additional dimension which is generally referred to a further extension of the objects. Through the elaboration of concrete and synthesis sounds, I am searching for new timbres that lead me to choose different compositional strategies and solutions which will make every new composition different from the others. Each sample was processed through some algorithms that I have developed on Max / MSP. A sound object can be considered as an element consisting of an abstract part and a concrete one. One of the two properties can also occur without the other one. Abstract is a quality that is considered outside of reality - this part does not exist but can be produced from the concrete part. On the other hand, concrete means a complete and real representation of the object; this part can be altered giving origin to an abstract part. The investigation of the boundary between these two aspects is the focus of my research.

Jorneta Stream [2014] We shall exist as long as our stories are moist with our breath.

Khoisan [2015] The piece plays on peculiar morphological elements of symbolic this language rich primordial hard consonants and popping. Represents a psychological exploration, of necessity the migration that the dawn of the birth of our species to date is repeated between Africa and Europe. The shape of the track is arranged metaphorically in events which take place as a series of stages. In the first part the evolution of sound events is posted in the wake of a primary gesture that represents the need to do something in response to another. The materials are crushed, and in the following sections, the micro-events intersect to form a series of chimeric constructions that offer the charm of a better world and, on the other, fear of the unknown.

Volontà VIII was originally published by EMUFest at EMUFest on October 28, 2016.