October 26, 2016
|Sound Direction:||Pasquale Citera - Elena D’Alò|
|Cesare Saldicco||SPIRE V • 8’00|
|per flauto discendente al si amplificato e supporto elettronico|
|Nicoletta Andreuccetti||>=< cpd (In Two Minds) • 7’02|
|per sax soprano e live electronics|
|Vittorio Montalti||Labyrinthes • 12’16|
|per flauto basso ed elettronica|
|Roberto Doati||ANTIDINAMICA • 10’ ~ 18’|
|version for Four saxophones and live electronics|
|Rouzbeh Rafie||Melancholia • 9’00|
|for flutist and percussionist|
|sopran sax||Michele D’Auria|
|c, alto, bass flute||Gianni Trovalusci|
|SAXATILE [modulable sax ensemble]||Enzo Filippetti, Filippo Ansaldi, Michele D’Auria, Danilo Perticaro|
|live electronics||Massimiliano Mascaro, Roberto Doati|
live streaming on radiocemat.org
SPIRE V  is, in chronological order, the fourth work of a larger project dedicated to the solo instrument, inspired by the spiral concept. The spiral, universal symbol occurring in nature and art, may be found in many situations: the form of galaxies, the DNA double helix, the symbol of the Chinese Yin-Yang and other forms yet. The composer has thought to these images, after observing for a long time the hypnotic curve described by the needle of a phonograph. In Spire V the composer works on the idea of repeatability and interpolation of the main musical element, comparing, in the writing, two gestures and two contrasting ideas, which, however, are linked by the same harmonic spectrum. Two different musical subjects - especially in timbre and directionality - which retains the reading and rereading of the sound material.
>=< cpd (In Two Minds)  narrates the alternation of mental states transformed into sound through a continue interference that combines extreme antithesis, represented by sonorities that privilege the extreme registers of the sax in an unpredictable dialectic between overtones/subtones and ‘acidic’ distortions/’pure’ sine waves. Convergent Parallel Divergent are the models of development that structure the relationship between sax and live electronics: pure sine waves generated by the sax evolve in different directions, producing audible beats and modulating, according to different perspectives, the sound shape. The sax becomes, thus, through the use of dynamic, gesture, sound attack and envelope of sound a ‘control tool’ which runs the live electronics.
Labyrinthes  is a piece for bass flute and electronics commissioned by Ex Novo Ensemble. In the composition a description is made of a hypothetical labyrinth and of possible itineraries in which to lose oneself. The journey within this network builds a narration in which the musical elements are alternated, overlapped and transformes one into the other with returns to places already visited. The electronics amplifies the instrumental route, becoming its extension. Parallel labyrinths are thus created, deviations that open the door to other dimensions. The piece is also a homage to the writer and poet Jorge Luis Borges and his labyrinthes. I team obsessively of a small, clean labyrinth, in the center of which is an urn that I almost touched with my hands, that I saw with my eyes, but the paths were so contorted, so confused, that one thing seemed clear to me: I would die before I arrived there (J.L. Borges)
ANTIDINAMICA [2015-2016] The work is based on a live transformation of a recorded saxophone (Gianpaolo Antongirolami playing my Il domestico di Edgar). The spectral analysis of this transformation, which does not contain any perceivable reference to the sound source, determines the score for saxophones in ANTIDINAMICA. The performers can choose and change the metronome (quarter note from 20 to 120) on every page, as well as what and how many staves to play – there are 6 in each page - but within a set period (minimum 6 ‘, maximum 12’). In the remaining 4 ‘(maximum 6’) they continue improvising on what in their memory the score left. The live electronics performer freely improvises on the parameters of an environment consisting of a 8 tracks filtered impulses convolution then sent to 4 multitaps delay with pitch transposition in the feedback.
Melancholia  commissioned by Gianni Trovalusci, Melancholia is inspiered by the homonym film by Lars Von Trier. During the performance the flutist recites a short text by Giulia Laurenzi that is originally written for this piece. Sanguino, sacra madre impietrita, l’horror vacui latra.