“Via l’indugio dal cuore, andate, tutti seguitemi
alla casa di Cibele in Frigia, ai boschi suoi di Frigia
dove suona voce di cimbali e alto grido di timpani,
dove il flautista frigio canta denso sul flauto curvo”
(Catullo - Canti, 63)
Il flauto è forse uno degli strumenti con il più ampio repertorio contemporaneo; la serata inaugurale dell’Emufest sarà caratterizzata proprio dall’esecuzione di brani per flauto e live electronics.
Tra le composizioni in programma le prime esecuzioni di: [re-spì-ro], opera di Maria Cristina De Amicis, e 7 Isole, nuovo lavoro di Giorgio Nottoli, ideatore di questo festival.
|Category:||Acousmatic & Live Electronics|
|Sound Direction:||Federico Paganelli|
|Simone Cardini||Potlach (9.30)|
|Dominique Scafer||Cendre (10.00)|
|Maria Cristina De Amicis||[re-spì-ro] (08.00)|
|Christian Eloy||La cicatrice d’Ulysse (13.00)|
|Giorgio Nottoli||7 Isole (15.00)|
flutes Gianni Trovalusci
percussions Gianluca Ruggeri
Potlach was a ritual ceremony performed among certain Native American tribes, during which the members of the community exchanged and squandered gifts, contributing to the cohesiveness of the social concord, whithin a totally inverted logic with respect to our free economy, following a reciprocity principle. The formal juxtaposition of the piece, disperses at once those elements that will constitute later on the concealed foundation that penetratrates the work.
Cendre draws on the idea from the impermanence of materiality. The title of the piece gives further meaning referring to a fragile and delicate state, but also the potential of ashes as a fertilizer for something new. The bass flute being suspended within the electronics extends space and timbre, at times detaching itself within its own identity, but repeatedly gets reabsorbed into space. The piece was written for and premiered by Mario Caroli during his Fromm Residency at Harvard University.
[re-spì-ro] (Breath) in this work, is the alternation of air movements which could produce real rhythmic and tonal structures. The sound of each breath adds and interacts itself with the previous one, drawing a music form which contracts and expands itself as well. Through the rhythmic articulation, inhalation and exhalation, the breath transforms and builds itself, removes and contradicts what has been just expressed. The digital support creates a constructive dialectic, supporting gently the concrete material. Breath transformation is described by the conduct of three different changing elements: localization, movement (direction and speed) and space size. In this way, the auditive perception of the space is transposed to the visual perception level. In this work I tried to realize the interaction between these changing elements on the acoustic level and associating with tones and pitches the breath expressive gestures of the performer.
La cicatrice d’Ulysse This title, borrowed from Erich Auerbach, German writer and critic deceased in 1957, immediately sets the scene on a plane where realism is depicted in the aesthetics of Western music. Electroacoustic music has the ability, using concrete sounds (with all the ambiguity implied by the word), of giving us an immediate sensation of reality, which we can all situate in relation to our references and private objects of reference; these are the profound notions of sublimitas and humilitas, which merge and unite in musical expression. Every listener will be able to decipher his or her own images of a collective mental universe from the essence of this kind of artistic creation, just like the scar by which Ulysses was recognised by his former servant woman.
7 Isole I think the idea of the island is a fascinating metaphor, because I realize to think about many important things as they are formed, in fact, by islands, which each contain a different world and a different feel, but together form a unitary context. In 7 Isole, each island is characterized by a particular combination of movement, pitches and colors of the sound. It consists of seven small pieces separated from one another, that can be performed in any order, however, strongly linked by way of forming the sound material and by a unitary constructive thinking. The instruments are used both with extended techniques that traditional, allowing different nuances both for the continuous sound as well as impulsive, both for what determined pitch and for what similar to the noise. The electronics supports and extends the sound of the instruments and, where necessary, becomes the instrument itself, completing the construction of the sound field. The dynamic distribution in the listening space is obtained according to the principles of the method Ambisonic. Some of the processing and sound synthesis used have been developed by the author.comments powered by Disqus