6th JULY - 5.00 PM/TEATRO LIMONAIA I
MULTIMEDIA CONCERT II
Vanessa Trippi*
Vajont, video (6’56”)
Ayako Sato
Sen no kagiroi, acousmatic (8’35”)
Julian Scordato
Vision II, graphic and electroacustic score (7’10’’)
POEM, voice and video
Adrea Loriga
Esplosione Armonica, acousmatic (10’44”)
POEM, voice and video
Andrea Massari
Dimensioni sonore della scomposizione di una immagine, acousmatic (3’58”)
Nestore Buonafede
ULALUME, video on a poem of Edgar Allan Poe (16’00”)
Marco Dibeltulu
Il nastro di Möbius, acousmatic ( 6’14’)
POEM, voice and video
Juan Carlos Vasquez
Collage 2, acousmatic (5’20”)
Nicoletta Andreuccetti*
Studio sull’ombra, for dance and fixed media (9’15”)
Dario Brevi, dancer
_____________
Various Authors - POEM
selection of poems of several authors.
Matteo Masi (voice)
program notes
Vanessa Trippi* - Vajont
1963, oct 9th; 270 millions cubical meters of ground from mount Toc fall over Vajont Dam, followed by an earthquake and two giant waves. Last wave slipped and submerged the valley causing at least 2000 casualties. Inspired by such tragedy, composition takes name from the dam itself; with flushing and washy sounds and form, describes the tragedy "from the cradle to the grave", remembering what happens when Ego clashes against Nature.
Ayako Sato - Sen no kagiroi
“sen no kagiroi” means heat haze of a line. The composer traveled to get in touch with a certain ”sen” (a line). This piece is the 3rd work by the reminiscences of her journey, and it is composed by recorded sounds in various summer festivals in Japan. Sunlight refracted irregularly, looks like a phantom of summer. The volume of those sounds, as sounds as auditory hallucinations in far away, is very small. When Listen carefully, a layer of sounds, such as heat haze will come out on the timeline.
Jiulian Scordato - Vision II
Vision II blends elements - including two graphic scores by Robert Moran and the soundscape of the city of Venice - which came together accidentally, as objects of a dream and a vision. Not the vision of the world (i.e. the cosmology of positive and negative), but the counterpoint between appearance and anatomy of the image in its sound quality. The visual part determines the sound design aspects: it generates and controls the sound, integrating the particularity of the instant and the contingent.
Andrea Loriga - Esplosione Armonica
This compositon came up from the idea of electroacoustc music and club music as one thing, two world which characterize the author. This work is identfied by a slow evolution of time and the layer-band sound. The compositon came from interestng to tmestratching, which had allowed to realise the idea of slow evolution of time. It starts with an incipit of a traditonal instrument, a mouth organ, and with an inital trouble by the glitches, afer that the instrument “explodes” and It opens a suggestve melody of bands sounds that overlap for the entre compositon, interactng witch beat and glitches. In the compositon there are sectons where the slow evolution of the bands sound and the mouth organ interact together, making up the main theme, while beat and glitches are mute.
Andrea Massari - Dimensioni sonore della scomposizione di una immagine
In music, the need to create overflows from the affective, relational and emotional needs themselves. Even in the deepest layers of the mind, feelings and sensations develop and progress in a swirly and chaotic way, which are the transfiguration of experiences linked to the conscious life and which have - with an astonishing vim ñ the desire of finding an expressive release, through new, concrete and often symbolically representative shapes. This is the awareness that sustains the present work, in which the deepest emotion of the sound yielded reworking the features of the expressivity itself troughout the manipulation of the sound map image, following a path in which the deepest perception becomes image, sound emotion. The conventional sound dimension melts with the real one through an emotional rework which sublimates it in a new sound. I hope that with this premise - through his personal listening experience - everyone shall perceive the inner force of these emotions.
Nestore Buonafede - Ulalume
Directed/produced/screenplay by: Nestore Buonafede
music and sound design: Matteo Masi
costume: Barbara Farina, Daniela Palumbo - decor: Daniela Palumbo
Cast: Jay Natelle ( as Edgar A. Poe and voice off), Sara Giulivi, Cecilia S. Bellini delle Stelle, Lavinia Parissi, Raffaella Baroni.
Film synopsis:
A night journey, Edgar, the poet, in company with Psyche, his soul, through spectral and shadowy landscapes. The two characters, after stopping at a forest, peopled with archetypal figures and horrific, and then, with a mysterious lake, come near a stately avenue, flanked by monumental cypress trees, which pass through. When, at dawn, come the end of the avenue, a distant star flooded them with a light arcane and mysterious, attracting to itself Edgar, as the sirens did with Ulysses. That magical star, intoxicating and wonderful, retain, however, in itself, a terrible trap, from which, Psyche try in vain to save him, trying desperately to dissuade him to continue the journey, and begged him to come back until I still time. Edgar, though, as if hypnotized, and that irresistible attraction, pushes inexorably forward, dragging with it the recalcitrant Psyche. But in a short time, that light, warm and welcoming, changes color, becoming cold and distant. That light, almost greenish, awakens in him doubts and uncertainties, making him shiver. Shortly thereafter, a tomb bar their way, and knowledge, so long lovingly hidden, emerges in the light of consciousness, making it more conscious, but at the same time more fragile. That monumental tomb, located on the edge of his mind, it holds a terrible secret, knowledge of which destroy him. The past, buried in the deepest recesses of his soul, returned slowly to the surface; Psyche, distraught, tells him who is buried in there: Ulalume, his beloved, lost Ulalume. Ulalume is not, however, she believed that he, his adored young bride, but she who gave him life, and has fed and bred among the miasma of illness and death, until, at only 2 years, has seen her die in agony. Ulalume is his mother Elizabeth, who died of tuberculosis after repeated hemoptysis, as well as Virginia died of tuberculosis his beloved wife. The memory, then, stands out vividly in front of him, and death, that silently and secretly, had accompanied him throughout his life, he shows, finally, in all its horror, and spreads her black cloak inside him. Psyche, the vital soul, which so long supported him, is no longer necessary, and, weeping, leaves him, alone and desolate, in the arms of the woman, who soon he will claim the body also.
Marco Dibeltulu - Il nastro di Möbius
The Möbius strip, “continuous” geometric surface, is universally used as the symbol of recycling, and therefore – with all due transpositions – it fully expresses the musical concept of cyclicality. For this reason, this work has used concrete sonic materials evoking the treatment of industrial waste, but also the most common sonic objects, which have been processed through the use of loops, rhythmic accumulation and the re-proposition of “themes”. The intent of the composition is to re-assemble the objects handled, so as to design a contemporary soundscape, which is an integral part of our daily lives.
Juan Carlos Vasquez - Collage 2
Collage 2, (After L.v. Beethoven) / A digital de-construction ofBeethoven’s Piano Sonata No. 21 in C major, Op. 53, known as the “Waldstein”. Mastered by the grammy-awarded engineer Silas Brown (Legacy Mastering) and recorded and mixed entirely at JC Vasquez Studios in London, UK.
Nicoletta Andreuccetti* - Studio sull'ombra
The shadow is metaphor and herald of diversity, of inexpressibility’s dimension. At the same time, it can not exist without light, without the brightness, its essential corollary. The performer, suspended between light and shadow, between the light of the shadow and the shadow of the light, gradually builds spaces that are revealed and denied, in a continuous and inexorable saturation of space. Vowel sounds, phonemes, breaths and percussive sounds evoke the inner world, the pre-cultural dimension of the existence. In this darkness, the figures reveal the unconscious, shake and alter the conscience: technical proliferation and sound processing such as delay, time stretching, pitch shifting and morphing create this ever-changing and less distinct scenery of the unconscious.
These morphological deformations witness an identity that overshadows and sinks in the depths of darkness, in a gradual temporal dilation that develops in the low frequencies.