October 29, 2016
|Category:||Live Elecctronics and Acousmatic|
|Sound Direction:||Pasquale Citera - Federico Paganelli|
|Franco Donatoni||Ali • 12’00|
|per viola sola|
|Mario MARY||Sal • 9’11|
|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|
|live electronics||Federico Paganelli, Giorgio Nottoli|
live streaming on radiocemat.org
Ali  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  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  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  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.