Ordine e Mutilazione

Ordine e Mutilazione

sound poetry | spoken words | fixed media

2019-2021

Duration: 37'00''
Sound diffusion: stereophonic

Ordine e mutilazione is an electroacoustic fixed media composition that comes from the book “Ordine e Mutilazione” (Pietre Vive Editore, 2016) by the Italian poet Elena Zuccaccia.

 

The musical writing dialogues with the voice, reconstructing the dramaturgical structure of the poem, allowing the emergence, in a musical form, of roles and deep narrative dynamics. This process of
transfiguration and counterpoint at the same time, draws a new structural dimension with respect to the
original text, a new context where poetry comes to life in a continuous dialogue between the physical body
(the voice), literary body (the poem), and the sound body, thanks to the synthesis techniques used and the
processing of concrete sounds and of the voice itself.

 

Voice: Elena Zuccaccia.

Performances

14.04.2023 - On air / On site, Institute of Solology, Deen Haag (NED)
18.05.2019 - Bologna in Lettere, Sala Teatro Costarena, Bologna (IT)


Passage Etroit

Passage Etroit

for violin and live electronics

2017

Duration: 6'00''
Sound diffusion: stereophonic

The harmonic construction of a minor seventh chord is a prelude to the disintegration and decomposition of the sound of the violin, up to the total loss of timbral or harmonic recognition of the initial material. The function, according to traditional harmony, of the minor seventh chord as a chord that opens up the possibility of passing to a different key, is used metaphorically as a pretext for passing from the harmonic sound to the inharmonic sound, through a hostile "narrow passage", poised between sound and noise.

Performances

 

15.06.2019 -  Encode, Filatoio di Cariglio, Cuneo (IT)
28.04.2018 - Il Suono, Contemporary music festival, Cinema Astra, San Giustino (IT)
05.12.2017 - Fucine Contempo, Palazzo della Penna, Perugia (IT)


Macello

Macello

for fixed media

2017

Duration: 5'19''
Sound diffusion: stereo, octophonic

Macello starts from some excerpts taken from the collection of poems by Ivano Ferrari (Mantova, 1948), published with the same title by Einaudi in 2004.

 

Voice: Fabrizio Cruciani

 

The composition develops entirely from the reciting voice samples, as all the sounds are the result of it's elaboration. The search for an internal dramaturgy makes the three "stanzas" of the text correspond to three acoustic environments, linked by a narrative thread with the sound elements build, deny, alternate, add up, collide. The initial search for a defined vocality, a metaphorical search for the sense of the human, leads instead to the dissolution of the voice, a parallel to the dissolution of the element of humanity. The process of construction and destruction of the voice in its intelligibility has as its counterpart the emergence, at first avoided and then inevitable, of a resulting rhythm, even if inconstant and not coherent. In this dialogical relationship of tension, the resonances and formants of the voice are then used to set up an inharmonic background context, devoid of any hypothesis of tonal resolution, to arrive at a final scenario in which the "life that begins again" is totally transfigured and left adrift of uncontrolled and dehumanized developments.

Performances

05.11.2021 - eviMus, Saarbrücker (DE)
23.06.2018 - Verso la Meta Musica, Conservatorio G. Martucci, Salerno (IT).
09.10.2017 - Ver-v #3 Vox Electri, Auditorium del Conservatorio B. Marcello, Venezia (IT) *premiere


HypnogramFor #1

HypnogramFor #1

fixed media

2018

Duration: 5'33''
Sound diffusion: stereophonic

This piece represents the translation into musical parameters of the physiological elements of the sleep cycle phases, reading an hypnogram as a score for electronic music and a score for structure. The hypnogram is used as a guide to build an algorithmic composition where the descriptions of the elements proper to the electrical activity of the brain for each phase, provides a set of electro-acoustic elements, processes and sound modifiers, at the same time suggesting the nature and the type of the sound material used in those processes.


Vormittagsspuk

Vormittagsspuk (Ghosts before breakfast)

Audiovisual fixed media

2018

Duration: 8'40''
Sound diffusion: stereophonic

Ghosts Before Breakfast (Vormittagsspuk) is a silent film by Hans Richter (1929). The original accompanying score composed by Paul Hindemith was destroyed by the Nazis as "degenerate art".

 

The expressive and communicative power of this Dadaist film remains current even ninety years later. The recreated sound path focuses on the ever-present reflection on the rebellion against the determinism of a pre-established order: both objects that deny their function, as much as human beings who tend to escape, almost by sublimating, the totalitarian and annihilating tendencies of the ideologies of the first half of the 20th century. This opposition of the human being to a materialistic and functional conception of man and society echoes more than ever in the contemporary historical period. The new sound environment imagined for the film represents these contrasts, updating them in the research and elaboration of stamps and cultural references, proposing a new perspective of reflection in which the distance between the two historical periods is narrowed by tracing new dimensional paths.

 

Music: Nicola Cappelletti
Video: Hans Richter

Performances

01.01.2001 - Segnali


Monades +

Monades +

fixed media

2019

Duration: 6'52"
Sound diffusion: stereo

Monad (from Greek μονάς, “singularity” ) may refer in philosophy variously to a single source acting alone, or to an indivisible origin, or to an elementary particle. This piece represents an investigation that originates in the exposition of a monad, created with two samples of clarinet multiphonic. Through some rhythmic elaboration techniques, different synthesis methodologies and spectral processing, a path is delineated within the sound, which explores the very nature of the elements brought into play in a system that tends to disintegrate and recompose itself in a new unit, but completely transfigured. A new monad, where every residual of harmony or assonance with the initial sound material has completely disappeared.

Performances.

21.06.2021 - NYCEMF, virtual on line festival, New York (USA) *premiere


Le Jour et la Nuit

Le Jour et la Nuit

for flute and electronics

2020 - on going

Duration: 0'40'' - 4h20'00''
Sound diffusion: stereophonic

Le Jour et la Nuit is a sequence of 176 short pieces for flute, fixed media and live electronics, composed using algorithmic composition procedures to relate music to 176 aphorisms written by the French cubist painter Georges Braque, collected in the book Le jour et la nuit. Cahiers: 1917-1952 (Gallimard, Paris 1952).

 

Eight different forms of notation have been formalized, associated with each piece in relation to a linguistic density parameter. All the musical parameters of the composition, as well as the electronics ones, are likewise related to linguistic, formal and / or structural aspects of the corresponding aphorism. The different notations also represent different degrees of opening of the pieces.

 

Performance. A Le Jour et la Nuit performance should consist of a free choice of the number and order of the pieces to be performed. As well as a book of aphorisms, this work is meant to be a collection from wich to extract the desired pieces: the criteria of this choice are left to the performers, and under no circumstances a progressive order performance should be encouraged. A performance of only “A” notation pieces is not allowed; at least one piece with “D” notation must be performed.

 

Le Jour et la Nuit A/V may also be presented either as an audiovisual stand alone work or an audiovisual electroacoustic performance, in wich "D" notation pieces are accompanied by a found-footage video fixed media.

 

Flute: Claudia Giottoli, Andrea Biagini, Giovanni Petrini, Sara Valle, Denise Tamburi.

Awards

Performances

2nd Prize, CONFINI International Call for Electroacústic Chamber Music - Venice (IT) 2021.

10.02.2023 - Lund Contemporary, Odeum musikcentrum, Lund (SE). A/V performance. Flute: Agata Tuchołka. *A/V premiere
18.12.2021 - Confini, electroacoustic chamber music concert. Conservatory Concert Hall, Venezia (IT). Flute: Sara Valle. *premiere


Colophonia

Colophonia

audiovisual fixed media

2017

Duration: 7'02''
Sound diffusion: stereo

Colophony is the “Greek pitch”, used to increase the friction of the bow on the strings of a violin. This piece is the narration of a genesis and a path, in which all the sounds are generated by the violin and electronically processed.

 

Colophonia is a metaphorical representation of a dialectic between tone and noise, pitch and inharmonic material, friction and resonance. A path that alternates tension and release, in which the tension towards equilibrium is continually contradicted and crumbled, until a final denied catharsis.

 

Music: Nicola Cappelletti
Video: Andrea Staiano

Performances

25.07.2019 - Suoni Controvento Festival, Fossato di Vico (IT)
27.11.2018 - Grain Of Sound, San Francisco Conservatory of Music, San Francisco (USA)
15.12.2017 - Re-Sound, Auditorium Pollini, Padova (IT)
05.05.2017 - Segnali 2017, Auditorium Conservatorio di Musica F. Morlacchi, Perugia (IT)


11235855

11235813

for flughelhorn and live electronics

2018

5'25''

A numerical interpretation of the Fibonacci serie becomes the structural pretext for this piece, consisting of a constant dialogue between flugelhorn and electronics. Those two instruments stage a narration that starts from the extended techniques of the flugelhorn and ends in a landscape designed by the electro-acoustic elaboration of the reachable extremes of the same. At the center, a dizzying acceleration, a chase in which the instrument draws paths that the electronic processing follows, metabolizes and returns in a continuously changing form.

 

Flugelhorn: Riccardo Catria

Performances

25.01.2018 - Auditorium del Conservatorio F. Morlacchi, Concerto Inaugurazione Anno Accademico, Perugia.
24.05.2018 - Luigi Nono FotoAlbum con Musica – Incontro con Nuria Schömberg Nono – Auditorium del Conservatorio F. Morlacchi, Perugia.