October 25, 2016
|Category:||Live Elecctronics and Acousmatic|
|Sound Direction:||Pasquale Citera - Marco De Martino|
|Karlheinz Stockhausen||Solo • 10’39|
|for a soloist with live electronics|
|Maura Capuzzo||Arcipelagos • 9’30|
|per violino, violoncello, clarinetto e live electronics|
|James Dashow||Soundings in Pure Duration n. 2b for percussive and octophonic electronic sounds • 12’26|
|Marco Marinoni||STILL • 15’00|
|Barry Truax||The Garden of Sonic Delights • 11’15|
|Mario Duarte||Achtli • 6’10|
|for flute, piano, two percussionist and live electronics|
|percussions||Tiziano Capponi, Matteo Rossi|
|live electronics||Leonardo Mammozzetti, Maura Capuzzo, Marco Marinoni, Massimiliano Mascaro|
live streaming on radiocemat.org
Solo [1965-66] The execution of this work (1965-66) requires an instrumentalist and 4 assistants who have to interpret the score and perform synchronously every aspect indicated. In the first executions were realized with tape background noise, possible synchronization errors and many other critical issues. Today the media have changed: one musician (in this version is a saxophonist) and only one musical assistant for electronics. The attention to style and accuracy are even more exaggerated, a challenge then, with the goal of doing more and better. (L. Mammozzetti)
Arcipelagos  Islands in the same sea; this an archipelago is. Different or more similar, they draw a landscape of various shapes and souls but one sea, one wind.
Soundings in Pure Duration n. 2b for percussive and octophonic electronic sounds  Soundings in Pure Duration n.2b makes use of the considerable surplus of material that was generated for Soundings n. 2a, now subjected to further signal processing, as well as projected into an expanded octophonic space (2a is hexaphonic). As in the earlier piece, the phrasal, timbral and spatial interaction between pre-recorded percussion sounds and electronic sounds are synchronized in the overall structure to create the quite specific form of the work. The electronic manipulation of the percussion sounds allows for the precise realization of complex figurations that would be impossible for live percussionists, particularly the spatialization of these sounds. Timbrally, the electronic sounds, which also move around in precisely designed trajectories, usually in a sort of spatial counterpoint to the movement of the percussion sounds, are designed to partake in the frequency content of the more resonant percussion in order to achieve a close integration of the various sonorous materials. The general form of the piece relies on contrasts mainly in velocities and varying densities of events, i.e. densities of single events and densities of collections of events at all levels, from that of the details to that of the largest formal dimensions. Things alternate between or gradually transform from one to another of these densities, and this is the core of the compositional conception, the part that should be the most immediately perceptible and at the same time, the most fundamental aspect of the work.
STILL  is a live performance which uses as starting material sound recordings captured during the Voyager space missions using planetary radio astronomy investigation instruments (PRA) which can record the emission signals from the planets, their moons and their ring systems capturing electromagnetic phenomena such as the interaction of solar wind with the magnetosphere of the planet’s magnetosphere itself, the emission of polarized particles and their interactions, transforming these phenomena into electrical signals, amplified and used to excite a loudspeaker membrane.
The Garden of Sonic Delights [2015-16] a soundscape composition with multiple soundtracks The Garden of Sonic Delights (2015-16) invites the listener to enter an imaginary soundscape (one that Murray Schafer might describe as a soniferous garden) richly filled with sounds that may remind us of the actual sounds of water, wind, insects, animals and birds. Our visit will take us through the afternoon until the next morning, hopefully leaving us delighted and refreshed. The piece was commissioned by Birmingham ElectroAcoustic Sound Theatre (BEAST) for BEAST FEaST 2016, and realized in 48 channels at the Technical University, Berlin, and the composer’s private studio assisted by Outboard’s TiMax2 Soundhub for spatialization.
Achtli  They wanted to bury us, but they did not know that we were seeds In September 2014, 43 students from Ayotzinapa Teacher Training College disappeared after clashes with police. The policemen are believed to have handed the students over to drug cartels who are then believed to have executed them and burned the corpses in a junkyard in the outskirts of Cocula, Guerrero. Mexico. Achtli means seed in náhuatl (an ancient Mexican language). I wrote this piece as a protest demanding action for the missing students. The work was created feeding a MAX/MSP patch with the names of the 43 students in order to transform the characters into musical parameters as timbre, pitch, duration, intensity and gesture. This piece is a cry for justice and it is part of the global action for Ayotzinapa. You can view the performance of the piece on: https://www.youtube.com/watch?v=BJLKTs1ygZU