A project with Elina Steichen

4 10 2017

sculpture

I began to work on music for Elina Steichen’s video, a beautiful project about the essence of sculpture. I received an image pack with the first video sequence so I’m trying to image a possibile dialogue among sounds and images. It’s not so simple…Six short video about sculpture is an unconventional documentary, an intimate reflection on body boundiries and its representations. The images are not definitive but just speak clearly to me (mouvements that are often very slow, sensitive to the material, all is almost like an invite to dance).

 

 





Neumi: anthropology of sound

22 02 2012

Neumi cover

Neumi is an album based on interpretation of ancient and modern scores: it ranges from medieval chironomy to cuneiform finds to Sumerian tablets to get to ‘neumatic systems’ also not directly related to sound, but adapted for this purpose. Between archeology and notation, anthropology of sound and harmonic research. My piece Kirielle (Cantata) is also part of Neumi.

The album includes many participations of soloists and groups: Davide Riccio (Baby Lone), Ashtool and Oscar Mucci (Hurrian Hymne, Orienta), Maoro Sanna (Tebit), Jacopo Andreini Ensemble (Dramatic Aria), Gregorio Bardini and Paolo Longo Vaschetto (Kele Kele by Komitas Vardapet), Krell (Gianluca Cremoni Baroncini) with Anubis, Gerstein with his homage to the futurist composer Luigi Russolo (Risveglio di città), the Deadburgers with Kirie eleison, Girolamo De Simone (The Hymn to Giovanni).

The cd book (cd + book) is now available on Discogs .

 





Ipogea: the arcane sound of the Earth

21 01 2012

Ipogea

Sound environment for the installation Ipogea by Piero Gilardi.

A visual and sound path, full of cultural and philosophical references. From the concept of project I extract these notes by the artist:

“In many myths of western antiquity there is the idea that mysterious and precious treasures are hidden in the dark depths of the earth. Let’s think, for example, of the narrative of the story of Psyche who descended into Hades in search of a saving casket. Most ancient and arcane myths, according to James Hillman, survive, more or less occultly, in today’s collective unconscious motivating the behavior of individuals and groups in social dynamics and conflicts. The elaboration of project started from my emotional experience during a visit to a speleological cave (Bossea Cave, Ligurian Alps) whose particularity consists in having been dug by a hypogeous river still present today. The discovery and listening to this thunderous underground stream gave me the feeling of having impacted a hidden source of bio-energy and stimulated my imagination to transform this subjective event into a divine metaphor possible way out of today’s scenario, where life is blocked and schizophrenic, of the globalized society” (P. Gilardi).

 





Sol LeWitt Variations

2 11 2010

“The piece I present is inspired by Sol LeWitt ‘s visual work All variations of incomplete open cubes, 1974, which portrays the decomposition of a cube of which only some sides are shown sequentially to the public. In my composition, these “schematic” figures are replaced by musical phrases that remain “open” to all possible combinations, creating a circular and permutable effect when listening”.

“Unlike John Cage, who most often relied on criteria derived from random or mystical approaches (for ex. I Ching), LeWitt’s work is strictly geometrical and does not leave many opportunities for psychological or religious considerations. I have tried to recreate the feeling of space inside and around the “cube”, as if this were a room, each time considering the possible links between harmonic figures”.

(text for We are making digital art exhibition)

 





Kirielle

12 02 2010

Kirielle (Cantata)

KirielleThe piece I present is a new version of the concluding part of a larger work, Kirielle (Cantata). It draws on some features of ancient choral music and places these within the contemporary context. The title of the piece is in French as this allows for a variety of possible meanings: litany, complaint, series, sequence. In general terms, I sought to grasp the atmosphere of choral music through the generation of synthesized sounds. From the point of view of composition, I developed the piece using musical notation based on models from mathematics and physics (such as set theory or the Ising model), suggesting to the audience listening and interpreting the piece a sonic structure existing in space as well as in time.

Duration: 5’:20’’

Selected by SoundLAB VII, Cologne New Media Festival (Germany).

Kirielle (part I-II-III, 5′:27”):

 





Poets fish

12 02 2010

Sound environment for the installation Poets fish (interactive work for goldfish musicians) by Ennio Bertrand.

“The musical structure of Poets fish is made up of different scores which are given a predefined time of performance, after which we move on to the next score, like a sheet that is turned over. The sounds of each score have their precise spatial reference interpreted by a camera, established a priori during the composition. Each sound, virtually contained by each area, is activated by the passing of the shadow of the fish. Then the random movement of the animals activates one or more sounds of the score which, performed in the sequence or contemporaneity established by the fish, become the musical passage in his temporal development” (from the press release of the exhibition, 2009).

Project title: Fishdance (three tracks and sound packs)

Fishdance I (39”):

A demonstration video by the artist Ennio Bertrand:








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