October 28, 2016
|Sound Direction:||Pasquale Citera - Giuseppe Desiato|
|Simone Cardini||Dereistically • 7’30|
|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|
|tenor sax||Filippo Ansaldi|
|alto flute||Elena D’Alò|
|sopran sax||Enzo Filippetti|
|live electronics||Massimiliano Mascaro, Roberto Zanata, Luca Richelli, Reuben de Lautour, Federico Ripanti|
live streaming on radiocemat.org
Dereistically  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  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  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!  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  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  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.