SPAZIO MUSICA…RESONANCES FESTIVAL – FULL PROGRAM – CAGLIARI – OCTOBER 25 TO DECEMBER 15 Reviewed by admin on . Spaziomusica ... RESONANCES ... WINTER 2012 CAGLIARI October 25 to December 15 Sounds of diversity ------------------------------------------------- Thursday, O Spaziomusica ... RESONANCES ... WINTER 2012 CAGLIARI October 25 to December 15 Sounds of diversity ------------------------------------------------- Thursday, O Rating:

SPAZIO MUSICA…RESONANCES FESTIVAL – FULL PROGRAM – CAGLIARI – OCTOBER 25 TO DECEMBER 15

Spaziomusica … RESONANCES … WINTER 2012

CAGLIARI October 25 to December 15

Sounds of diversity

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Thursday, October 25

The Ghetto Cultural Center, 21 hours

Friday, October 26

The Ghetto Cultural Center, 21 hours

Sunday, October 28

The Ghetto Cultural Center, 21 hours

Monday, October 29

Conservatory Auditorium, at 18

Monday, October 29

The Ghetto Cultural Center, 21 hours

Tuesday, October 30

Cultural Center The Ghetto, at 16 to 20

Wednesday 31 Cultural OttobreCentro The Ghetto, 21 hours

Friday, November 2

The Ghetto Cultural Center, 21 hours

Saturday 3 NovembreCentro The Cultural Ghetto, at 21

Sunday, November 4

The Ghetto Cultural Center, 21 hours

Saturday, December 15

The Ghetto Cultural Center, 21 hours

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Thursday, October 25

The Ghetto Cultural Center, 21 hours

New MADE Ensemble

Akiko Kozato, soprano; Gaetano Nenna, clarinet; Raffaello Negri, violin; Rossella Spinosa, Alessandro Calcagnile, piano

John Cage: Nocturne for violin and pianoforteAlessandro Solbiati: To Whom? for voice solaCesare Saldicco: Spire III for violin soloMorton Feldman: Piano Four Hands for piano four maniGiorgio Colombo Taccani: Nox, Tellus for voice solaGiacomo Manzoni: Sentence for clarinet and pianoforteCathy Berberian: Stripsody for voice solaLuciano Berio: Sequenza VII for violin soloLuciano Berio: Sequenza III for voice solaHenry Cowell: The Banshee pianoforteEmanuela Ballio: Narcissus for clarinet soloRossella Spinosa: Pasicompsa for voice solaCharles Edward Ives: Largo for Violin, Clarinet and pianoforteRoberta Silvestrini: plaisanterie pour deux for piano 4 maniMaurizio Ferrari: Dialogue contrapuntal textures for clarinet and pianoforteJohn Cage: In a landscape for solo piano

New MADE Ensemble The New Music And Drama Ensemble is an ensemble specializing in the preparation of contemporary performances, both instrumental and nature of musical theater. Born in 2009, the New MADE he has performed at festivals and concert seasons in the major Italian cities, creating premieres of Roberto Andreoni, Luis Bacalov, Silvia Bianchera, Aldo Brizzi, Paola Calderone, Joseph Giuliano, Richard Panfili, Marcela Pavia, Rossella Spinosa, Ivan Solano, Roberta Vacca, etc. .. The ensemble has recorded the work of Giuliano Zosi Demain Encore (for voices, singers, synthesizer and electronics) and twelve works for piano duo inspired anthology of Spoon River, with the voice of Ottavia Piccolo (for RaiTrade). Ensemble in Residence of the Contemporary Music Centre of Milan, New MADE was a guest in 2011 Verdi Festival in Parma for the first performance of a work for voice and ensemble the composer Milan Sonia Bo.

Concert in collaboration with the Contemporary Music of Milan

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Friday, October 26

The Ghetto Cultural Center, 21 hours

Cathy Krier, piano

C. Lenners, E. Martusciello, F. Casti, L. Ceccarelli, sound

Claude Lenners, Mirrorwilderness for piano and live electronics

Elio Martusciello, Vanishing Point, Ňíuvre acousmatique

Luigi Ceccarelli, the counter of clouds, for piano and prepared piano samples

Arthur Stammet Homage to Leonardo of Pisa, Ňíuvre acousmatique

Fabrizio Casti, Transparency impossible for piano and electronic sounds

Cathy Krier Born in Luxembourg in 1985, Cathy Began taking piano lessons at the Luxembourg Conservatoire at the age of five. In 1999 she was ADMITTED to Professor Pavel Gililov’s masterclass at the Hochschule f√ľr Musik und Tanz in Cologne. In 2000 she recorded Beethoven’s Piano Concerto in G major with the Latvian Philharmonic Chamber Orchestra Conducted by Carlo Jans. Her first recording was only released in 2008 and features pieces by Scarlatti, Haydn, Chopin, Dutilleux and M√ľllenbach. Cathy Krier is the laureate of a number of prizes and scholarships Including the Prix Norbert Stelmes, Stephen Schwartz wins to her by the Jeunesses Musicales du Luxembourg in 2003 and, in le seguenti year, the IKB International Foundation Prize. In 2005 Cathy joined Cyprien Katsaris for a four-hand performance at the inauguration of the Luxembourg Philharmonie. In 2006 she played at the Ruhr Piano Festival Following an invitation by Professor Robert Levin to join his master. Further stepping stones in Cathy’s training as a professional pianist were an invitation to the Acad√©mie musicale de Villecroze and her participation in masterclasses with Dominique Merlet, Homero Francesch and Andrea Lucchesini under Whom she undertook further studies at the Music School of Fiesole. In 2007 Cathy performed at the Luxembourg European Capital of Culture opening ceremony. She makes regular appearances Also at the Bourglinster, Echternach International and Musek am Syrdall Festivals in Luxembourg. Cathy’s concert engagements included performances in the United States (Kennedy Center Millennium Stage, Washington, DC) and the Netherlands where she played at Rolduc Abbey in response to an invitation by the Euriade Foundation. Also she performed at venues across Austria, Spain, Germany, Latvia, Andorra, Italy, France and Belgium and was subsequently invited to play at the Festival and Summerclassics Pianoplus at Bonn, and to perform recitals at the Museum K20/K21 in D√ľsseldorf, the Nordrhein Medical Association, the Bathroom Concert Gallery, The Cape Ettelbr√ľck, the Luxembourg House in Berlin and the Grand Th√©√Ętre and the Philharmonie in Luxembourg-City. In 2012, Cathy performed at the Liepaja Piano Stars Festival, the Falkenhof in Rheine (D), the Midi-Minimes Fesival in Brussels and the Sint-Peter Festival in Louvain, and at Schoss Elmau (D) among others. Further, she has been invited to be Artist in Residence at the Biermans-Lap√ītre Foundation in Paris. In 2013, more concerts Including the Leipziger Klaviersommer and the Mendelssohn-Haus are planned. In Additions to her work as a recitalist, Cathy has performed as a soloist with the Luxembourg Philharmonic Orchestra, the Solistes Europ√©ens du Luxembourg, the Luxembourg-based chamber orchestras Les Musiciens and L’Estro Armonico, the Liepaja Symphony Amber Sound Orchestra and the Latvian Philharmonic Chamber Orchestra under various conductors Including Jack Martin H√§ndler, Bramwell Tovey, Garry Walker, Pierre Cao, K. Yoon Lee and Atvars Laktsigala.

Claude Lenners MirrorwildernessThe title of the piece goes back to the famous poem by TS Eliot (19,290). The poem riguarda the opinions and impressions of a gerontic, or elderly man, through a dramatic monologue Which Describes Europe after World War I through the eyes of a man who has lived his life in the Majority of the 19th Century. Eliot Considered Already published using this poem as a preface to the Waste Land too, but Decided to keep it as an independent poem … The phrase “wilderness of mirrors” gave me inspiration to write this piece using the piano connected to an electronic device. Unlike the context of the poem, I Consider the title as opening a window to a larger space, where sound is not only reflected by Hundreds of echoes, but increased At Also with multiple chromatic scales of colored shadows. The piece is like a monologue and close to the character of a prelude. (Claude Lenners, september 2012)

Elio Martusciello Vanishing PointIl vanishing point in this context sound is located not so much in sound gesture, but rather in the suspension before it. From there it radiates a perspective that allows us to observe or “feel” the potential energy that the instability of stasis, the pause, silence, emptiness already eats carefully under his thin skin. Our task may not necessarily be the one to release the energy, nor to hold, sometimes our task may perhaps be just to look at it in silence, leaving her there, where she likes to be … dreaming while sleeping.

Luigi Ceccarelli The Counter NuvoleIl trade counter clouds is not easy. The clouds change shape at every moment they join together, separate, appear and vanish continuously. The counter clouds will never reach a definitive result, his is a frustrating job with few rewards. Also counters notes are more or less the same difficulty. Most are scrambling to provide, to calculate, to structure, plus the nature of the music eludes him.

Arthur Stammet Homage to Leonardo of Pisa PisaLeonardo, mieux connu sous son nom Leonardo Fibonacci (1175 vers √† Pise – vers 1250 en Italie) √©tait a math√©maticien italien. Nous Devons him the “suite de Fibonacci,” one s√©rie de nombres entiers, dans chaque laquelle nombre Correspond √† la sums des deux nombres en Precedents commen√ßant par la s√©quence 1-1 ou 0-1. The r√©sultat obtenu est une progression exponentielle: 0 1 1 2 3 5 8 13 21 34 55 89 144 … Ces nombres, ainsi que les relations entre eux (par exemple les spirales, the branches agencement des plantes de maintes et du approximation en nombre d’or des utilisant fractions entre les nombre CONSECUTIFS) r√©apparaissent tellement souvent dans la nature, qu’il pourrait √™tre of chance pts affirmer que les math√©matiques en une grande partie r√©gissent. En une s√©rie appliquant croissante modulus √† ces de nombres, nous d√©couvrons plus ou moins des S√©quences r√©p√©titives longues, contenant des formules here r√©apparaissent de temps √† autre. Cette caract√©ristique fractale east autant √† la base de la structure de cette musical piece que l’int√©gration des proportions dues au nombre d’or et des sons de la nature des Trait√©s par algorithmes granulaires. Cette play, here hard exactement huit minutes, trouve son culminating point cinqui√®me √† la minute, apr√®s des pics interm√©diaires aux minutages 2 et 3 (les premi√®res approximations du nombre d’or √† une dur√©e de possibles face 8 minutes). Elle √©volue microformes, comprim√©es √† partir de macroformes, elles-m√™mes microformes, comprim√©es √† partir de macroformes, telles les feuilles d’un arbre here en refl√®tent the silhouette ou the spiral of a ouragan Earth retra√ßant the Morphologie toute d’une galaxie enti√®re, structure que nous dans la coquille retrouvons du minuscule escargot p√©trifi√© il ya des millions d’ann√©es. Cet homme √† Leonardo Fibonacci east aussi a hommage aux math√©matiques, dont fut un des p√®res europ√©ens, et une r√©v√©rence devant les lois here r√©gissent la nature.

Fabrizio Casti Transparency impossibiliBrandelli sound, linearly arranged, sounds associated with long or short, with or without pauses (in time), or overlapping sounds associated with acute or severe slipping, anticipating that extend (in space), or placed on different sound levels (from which hides or shows the meaning), which form disordered constellations from which they emerge and transmit direction. This work has been fundamental in collaboration with Elio Martusciello who composed and performs the electronics.

Concert in collaboration with Noise Watchers Unlimited asbl Luxembourg-www.nowa.lu

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Sunday, October 28

The Ghetto Cultural Center, 21 hours

Aki Kuroda, piano

Alexander ScriabinSonata Ranked # 7 Mass BiancaNocturne op.9 hands sinistraSonata Ranked # 9 Mass NeraVer la flamme

Bussotti (1931 -) Brilliant (1975)

Yuji Takahashi (1938 -) Hanagatami 2 in memoriam Kazuko Takada (2008)

Yoichi Sugiyama (1969 -) Intermezzo VII (2012), Intermezzo II (2000)

Gabrio Taglietti (1955 -) Study VIII Honky-tonk (eight studies for piano (2011)

Aki Kuroda Completed her studies at Tokyo National University of Fine Arts, improves her musical study under Prof. Bruno Mezzena in Italy. She is very active as concert pianist in Both Europe and Japan. She won first prize at French Music Competition ’93, and Contemporary Music Competition in ’97th edition. In 1995 she received Xavier Montsalvage Competition prize in Spain. Beyond classical repertoires, Kuroda is collaborating with various contemporary composers like G. Ligeti, I. Xenakis, F. Donatoni, P. Boulez, R. Field, M. Mochizuki and T.Takemitsu. On 2003, Kuroda showed up at Parm’s Reggio Theater playing “Pictures at an Exhibition” by M. Mussorgsky, with Maurizio Also Pisati’s piece. Afterwards, in the Ticino Musica festival Kuroda played Modifications by M. Jarrell. On 2004 Kuroda played the version for solo piano of Kammershmphony Ranked # 1 by A. Schoenberg. Kuroda collaborates various international musicians as: Alessandro Carbonare (cl), Giorgio Bernasconi (cond), Elena Casoli (chit), Ole Edvard Antonsen (trumpet), Prometheus Quartet, Catherine Manoukian (vno), Keiko Urushihara (vno), Mari Fujiwara ( vc) etc. Kuroda is specialized Also for A. Piazzolla’s music and she came out 2 CD of Piazzolla’s music from Japan Victor and in 2004 she released album Tarkus & Pictures at an Exhibition with the music by Keith Emerson Transcripted by Maurizio Pisati.

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Monday, October 29

Conservatory Auditorium, at 18

A Manuel

Wolfgang Amadeus Mozart (1756-1791) Quintet in E Flat Major for Piano and Winds K 452, Largo – Allegro Moderato, Larghetto, AllegrettoManuele Pinna, piano; Valeria Manai, oboe; Irene Ferrigni, clarinet; Alessandro Piras, horn, Angelo Ugas, bundle

Robert Schumann (1810-1856) Three Romances Op 94 for Oboe and Piano, Nicht schnell, Einfach, innig, Nicht schnellMario Frezzato, oboe; Paola Chiarion, piano

Gordon Jacob (1895-1984) Two Pieces for two oboes and English horn, Adagio, AllegroLia Scalas, oboe I, Claudia Frau, oboe II, Sara Alagna, English horn

Jean Françaix (1912-1997) Quartet for flute, oboe, clarinet and bassoon, Allegro, Andante, Allegro moltoEleonora Tripiciano, flute; Lia Scalas, oboe, Andrea Lai, clarinet; Sebastiano Italy, bassoon

Luigi Lai (1932) A S. Efisio (arr. Ignatius Perra for small orchestra of reeds)

Palestrina Oboe Ensemble: Lia Scalas, Maria Grazia Arcà, Frau Claudia, oboes I; Laura Piras, Valentina Masons, oboes II; Littarru Elena, Giovanna Fulghesu, Leonardo Madau, Jessica Perra, oboes III; Claudia Cogotti, George More, Andrea Deidda, Vittorio Pala, oboes IV; Eugenia Feed, Laura Spanu, Joseph Exiana, Manuel Loddo, Gabriele Usai, Nicola Loi, oboes V; Sara Alagna, English horn; Sebastiano Italy, Angelo Ugas, bassoons, Mirko Cadeddu, percussion

Mario Frezzato, Director

Concert in collaboration with the Conservatory of Music in Cagliari

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Monday, October 29

The Ghetto Cultural Center, 21 hours

String Quartet Cagliari

Attilio Motzo, Corrado Lepore, violins; Dimitri Mattu, purple, Oscar Pistrelloni, cello

Marcello Cualbu, Michael Casanova, visual, Marcellino Garau, sound

Fabrizio Casti, Seven variations on the sky for string quartet video and electronic sounds

Steve Reich, Different trains for string quartet and tape

Fabrizio Casti Seven variations on the sky

A world of impalpable abstractions puntillistiche, a world of contours that vibrate … balance … that break and reform as you listen to them … resonances breathing, panting … stasis swarming … a world without weight, without force, without a shadow. Suspension nth potenza.Steve Reich Different Trains for Different trainsL’idea comes from my childhood. When I was one year my parents separated. My mother moved to Los Angeles and my father was in New York. Although at the time the trips were exciting and romantic, now I look back and think that if I had been in Europe during this period, as a jew I would have had to travel on trains very different (Steve Reich).

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Tuesday, October 30

Cultural Center The Ghetto, at 16 to 20

International Competition for CyberArts 2011

Prix Ars Electronica 2011 (Linz, Austria)

Since 1987, the Prix Ars Electronica has served as an interdisciplinary platform for everyone who uses the computer as a universal medium for Implementing and designing Their creative projects at the interface of art, technology and society. The Prix Ars Electronica, the Ars Electronica Festival, the Ars Electronica Center – Museum of the Future and the Ars Electronica Futurelab are the four divisions That comprise the Ars Electronica Linz GmbH, Whose specific orientation and long-term continuity make it a unique platform for digital art and media culture. The competition is organized by the Ars Electronica Linz GmbH and ORF’s Upper Austria Regional Studio in collaboration with the OK Center for Contemporary Art and the Brucknerhaus Linz, and the prizes are Receives Living During the Ars Electronica Festival each year. The Prix Ars Electronica is one of the most important awards for creativity and pioneering spirit in the field of digital media. The event calls for entries in seven categories, Including a youth competition. And since Internationally renowned artists from over 70 countries participate Also in the Prix Ars Electronica, it has established businesses itself as a barometer for trends in contemporary media art. With 48.939 entries since 1987 and prize money in 2011 totalling 117.500 Euros, the competition offers the largest cash purse for cyberarts worldwide. Each year, six Golden Nicas, twelve Awards of Distinction and approximately 70 Honorary Mentions as well as a grant for the category [the next idea] voestalpine Art and Technology Grant are presented to participants. Since media art is such a highly dynamic field, criteria for the categories have to be modified and adjusted to Constantly societal and technological Developments, and so updated to meet new demands. The Prix Ars Electronica calls for entries and awards prizes in le seguenti categories:

COMPUTER ANIMATION / FILM / VFX

Metachaos / Alessandro Bavari (IT) / Alessandro Bavari Studio; THE EXTERNAL WORLD / David O’Reilly (IE) / David O’Reilly Animation, The Third & The Seventh / Alex Roman (ES) Black Rain / Semiconductor (GB); Chernokids / Matthieu BERNADAT (FR), Nils BOUSSUGE (FR), Florence Ciuccoli (FR), Clement Deltour (FR), Marion PETEGNIEF (FR) / Premium Films; FLUX / Candas Sisman (TR) / freelance, Mei Ling / St√©phanie Lansaque (FR), Fran√ßois Leroy (FR) / Je Suis Bien Content; Raving Rabbids Travel in Time / Akama (FR); Slimtime / Bertrand AVRIL (FR), Pierre Chomarat (FR), David Dangin (FR), Th√©a Matland (FR ) / Premium Films, The Chase / Smith & Foulkes (GB), The Experience of Fliehkraft / Till Nowak (DE) / framebox, The Ishiyama Excursion / Stefan Larsson (SE) / NQF / AUJIK, The Origin of Creatures / Floris Kaayk ( NL)

DIGITAL MUSICS & SOUND ART

Energy Field / Jana Winderen (NO) Bee / Apostolos Loufopoulos (GR); Suite / Philip Jeck (GB), A Balloon for … / David Tidoni (IT) A Hidden Place / Sohrab (IR); Echelon Teufelsberg / Thomas Ankersmit (NL), Valerio Tricoli (IT): eye contact with the city / Budhaditya Chattopadhyay (IN), Hemispheric / Philip Reeder (GB) La chambre des machines / Nicolas Bernier (CA), Martin Messier (CA) Magic / Panayiotis Kokoras (GR); Music For Listening On The Earth / Yan Jun (CN), NOT BY NOTES / Serhat Karakayali (DE), Sebastian Meissner (DE); Oval – O / Markus Popp (DE) / S / O / N / I / C / / D / O / N / E / S / / Anna Ceeh (AT), Franz Pomassl (AT); Spiderbytes / Lars Lundehave Hansen (DK)

INTERACTIVE ART

Newstweek / Julian Oliver (NZ), Danja Vasiliev (RU); Face to Facebook / Paolo Cirio (IT), Alessandro Ludovico (IT); particles / Motoi Ishibashi (JP), Daito Manabe (JP)

HYBRID ART

May the Horse Live in me, 2011 / Art Orient√© Objet (FR); MACHT GESCHENKE: DAS KAPITAL / Christin Lahr (DE); Pigeon d’Or / Tuur Van Balen (BE)

U19 – freestyle computing

Flugundfall / Nikolai Maderthoner (AT) / HTBLVA-Ortweinschule; MADLY IN LOVE / Tarek Khalifa (AT); Die gut gemeinten Fesseln / Bernhard Riedl (AT); APACI-styler / Murat G√ľrc√ľ (AT), Furkan Hatip (AT), Tugay Sevim (AT) Disco, Dance / Alexander Doubrava (AT) / Zentrum f√ľr Medienkompetenz / Verein Erfolg

In collaboration with the Prix Ars Electronica in Linz and Interansemble of Padua

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Wednesday, October 31

The Ghetto Cultural Center, 21 hours

Modular Ensemble

Marco Caredda, Francesco Ciminiello, Migoni Roberto, Roberto Pellegrini, percussion

John Cage / Lou Harrison Double Music (1941)

John Cage Radio Music (1956)

David Lang’s The So-Called Laws of Nature (2002) part 1, part 2, part 3 (very fragile)

Modular is a set of mutant musicians who has found and continues to try their signature sound through percussion. The drum sound is here understood not as a sector level and exclusive but, on the contrary, as time including allowing to focus on a few significant moments of thought of contemporary music. Modular was founded in 2005 around the study and research of Percussion classes at the Conservatory of Cagliari, and just the drummers of the Conservatory will form the core, from time to time supplemented by the valuable contribution of other musicians, as required by organic. Drumming by Steve Reich is the first major production of the ensemble (First Festival of Percussion 2005 – Music on Ports 2006 – Signal 2007 – Festival Spaziomusica 2011), and has benefited from the valuable contribution of David Cossin (percussionist of “Bang on a Can “) who took care of the orchestration. Always with David Cossin in 2007, the exploration of the universe composition of Steve Reich continued with the execution of Sextet, Music for pieces of wood and Marimba Phase (Signal Festival 2007). Was in September of 2009, a major new production of Modular with the creation, first performance in Sardinia, “Persephassa” by Iannis Xenakis (Musical Encounters 2009). Within this organization “building blocks” of groups of various sizes, comes the Modular Quartet, with the aim of exploring the percussive sound from different operating modes but interconnected.

John Cage Double Music (1941), Radio Music (1956). These two pieces by John Cage correspond to two different ways of thinking about composition. Double Music, written in collaboration with Lou Harrison, belongs to the period in which Cage, using the semiography traditional music develops insights of Edgar Varese in an entirely original and radical. The musical texture is developed in an exclusively tonal-rhythmic, without any reference to the heights of the tempered system. The percussion is understood by Cage as inclusive territory that encompasses within it the means of all ethnic traditions, pre-musical objects (eg. Brake drums) and all those special sound stress that modify the appearance of the sound of the instruments pre-existing (as in the case of water gong that, immersed in water, can glide as a string instrument). The sound material is decidedly ethnic organization of durations is characterized by the presence of stratification processes Polimetrica and polyrhythmic very sophisticated anticipating by decades the compositional ideas that will be developed in the context of minimalism. In Music Radio Cage completely abandons the traditional musical notation. Each interpreter has to play his radio, for the entire duration of 6 minutes and a maximum volume, alternating breaks and frequencies laid down in the score. It is an approach to the organization of the sounds conceived as a set of containers temporal and random processes of determination of the musical parameters that transforms the composition in a generator of sound events totally different from each other.

David Lang, The So-Called Laws of Nature (2002) “I remember a discussion particularly keen on a quotation from Wittgenstein: ‘the basis of all modern view of the world is the illusion that the so-called laws of nature are the explanations of natural phenomena ‘This quote bothered all of us … because it implied that science can not explain the universe, but can only offer mere descriptions of things observed. Over the years, it occurred to me that this could be rephrased as a musical problem. Since the music is made of proportions and numbers and formulas and diagrams I always wonder what they really mean these numbers. Are the numbers themselves generate a certain structure, creating the context and meaning and form, or are just accidental by-products of other processes deeper and more mysterious? My piece ‘so-called laws of nature’ attempts to explore the ‘meaning’ of the various processes and formulas. “(David Lang). The composition of The So-Called Laws of Nature is divided three movements. In the first movement the four percussionists play four instruments of wood-built apparently identical but actually differ slightly from each other. The first part of the piece is characterized by a periodic compression-rarefaction of weaving omoritmica / polyrhythmic, as a kind of repeated breath sound; in the central part of the composition becomes more intense rhythmically giving rise to a stratification kaleidoscopic and then resume, in the final part, the thematic elements of the beginning. In the second movement the percussionists, arranged in single file, playing 4 set-up consisting of identical metallophones tuned autocostuiti, tom-tom and bass drum pedal. It ‘s the most kinetic movement of the composition that develops a rigorous and complex rhythmic layering Progressive metric of all materials. The third movement, the more static / ecstatic composition, develops in a strictly homorhythmic, 4 set-up of teacups, vases, small metallophones tune, a wod-block and a guiro for each percussionist.

Concert in collaboration with the Association of Musical Encounters of Cagliari

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Friday, November 2

The Ghetto Cultural Center, 21 hours

Death in Death Valley

Olivier Dumont (guitares préparées) / Nicolas Thirion (ordinateur) Рimprov / noise

Pour le projet Death in Death Valley, Olivier Dumont prend sa guitare corn sil comme elle √©tait the maltraite the main cause de ses probl√®mes. Nicolas Thirion Capte les sons, les TRANSFORME en direct sur son ordinateur et les Projette √† grande vitesse sur diff√©rents amplis guitare et basse. Pas √©tonnant qu’ils soient cass√©s … Death in Death Valley trace son chemin aux fronti√®res de la free impro, de la musique de la ou Electroacoustique noise, corn n’oublie jamais ses Roots rock n ‘roll!

Nicolas ThirionN√© au milieu des ann√©es 70 sans √™tre trop pour autant marqu√© par disco. Ses premi√®res exp√©riences musicales: √† deux accords doigts sur harmonium Farfisa orgue et de son grand-p√®re. The d√©couvre bourdons et ainsi clusters. √Ä 15 ans, premiere guitare, The laisse tomber the sport et passe √† des heures de tenter reprendre AC / DC et Led Zep, avant de d√©couvrir Sonic Youth, My Bloody Valentine et les musiques industrielles: les vertus du bruit him r√©v√®lent one forms diff√©rente beauty parlors. Traverse plus tard par la vague √©lectro, the son premier achet√© pour ordinateur d’abord toucher √† la techno puis √† des musiques plus exp√©rimentales. Nicolas Thirion in collabor√© of a rock depuis une vingtaine innombrables groupes d’ann√©es, formations ephemeres ou plus substantielles comme aujourd’hui ou Projet Vertigo Death in Death Valley produit et plusieurs Cds. The achev√© to a cursus de composition de musique au Electroacoustique Conservatoire de Chalon-sur-Sa√īne (professeur: Jean-Marc Weber). Il est depuis 2003 directeur de Why Note √† Dijon, association d√©di√©e √† la cr√©ation, the diffusion et la promotion des musiques contemporaines et exp√©rimentales, organisatrices notamment des festival Why Note, M√©gaphone, the Son en Sc√®ne Ici et l’Onde. Concerto in collaboration Why Note with the Association of Dijon

Olivier Dumont DumontOlivier Officie en sous only the pseudo Allein Luddite √©galement au sein de mais comme Ghotul formations, Death In Death Valley … Sa musique, utilisant principalement des sources analogiques (magnetic cassettes, objets, voix, guitares) balaie a large specter, de la musique concr√®te aux sonorities √©lectroniques, en passant par le drone et le blues rachitique, entre experimentation, improvisation et composition. “Olivier Dumont guitariste de Dijon, auteur of a CD only √©tonnant et vraiment excellent sur Utech, Living in Holes and Disused Shafts; donc pour une exploration only tant√īt rugueuse, tant√īt n√©buleuse, traquant les vibrations, scrutant les textures, √©pousant les silences, souvent proche de l’√©quilibre instable, corn moins qu’il n’est cherchant √† l’√©coute. Une approche personnelle, bruitiste et Audacieuse. “Fernando Sixto – The Cave 12 / Geneve.

www.myspace.com / olivierdumont http://soundcloud.com/death-in-death-valley-1/death-in-death-valley-this

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Saturday, November 3

The Ghetto Cultural Center, 21 hours

Nadejda Tzanova, piano

Modest Mussorgsky, Pictures at an Exhibition

Alfred Schinntke, Prelude and fugue I, II

Dmitri Shostakovich, Prelude and fugue

Vassil Kazandjiev, Toccata

Nadejda Tzanova was born in 1986 in Kazanlak, Bulgaria. He began studying music at the age of five years under the guidance of Elena Yulianova. In 2005 he was admitted to the National Academy of Music in the class of Stela Dimitrova – Maystorova and Iliya Chernaev. In 2011 he received his diploma in piano and began specializing in the Royal Conservatory of Brussels, Belgium, with the Master Boyan Vodenicharov. Nadejda Tzanova has participated in numerous master classes with teachers Marcella Cruel, Valerii Shkarupa, Plamena Mangova, Boyan Vodenicharov, Maurizio Moretti. He has won more than twenty international competitions, including: Franz Schubert (Russia), German and Austrian Music (Burgas), Classic and Modern Times (Stara Zagora), Young Virtuoso (Sofia), The Music and the Earth (Sofia), Hopes, Talents, Masters (Dobrich – Albena), Zeiler (Sofia), Zeiler (Rhodes, Greece) Valentino Bucchi (Rome, Italy) and Sergei Prokofiev (Donetsk, Ukraine). In 2007 Nadeida participated in the Festival Pianissimo and Apolonia, in 2008 Austrian Music Weeks in 2011 IV International Festival Bosa Antica, Italy.

Sunday, November 4

The Ghetto Cultural Center, 21 hours

Orlando …

Shreds Of Humor Nitrite And Fugues Clopete Clopete

Senio G.B. Dattena, direction and interpretation; Alessandro Cau, percussion, Daniele Ledda, music and electronic processing; Mariano Rope, sculpture

“Women, knights, arms, loves, the courtesies, the daring enterprises I sing” … begins with these verses the Orlando Furioso. Almost a declaration of intent. But to honor this declaration Ariosto plunders the mythology of Greek and Latin (Iliad, Odyssey, Aeneid, Metamorphoses, etc.), takes the Italian Trecento (Dante, Petrarch, Boccaccio), takes the Breton Cycle and the Carolingian incorporates ‘Orlando in love with Boiardo, takes a lot of other things, puts everything in one pot and shake well. He puts it to rest for some time (just thirty years of continuous corrections, filings, additions), then fires it, sorry … the public. All this for the beauty of forty songs all pretty long. Also we will begin our performance with the first verses of the Orlando furioso, but … then what? The other verses? The countless, extraordinary, wonderful stories? Unable to tell you all, we tried to figure out how to make the multitude of voices, colors, intentions, and rhythms. How to make the striking irony that permeates much of the work. Above all, how to make everything an actor, a percussionist, live electronic processing and voice recordings. Somehow, we have taken the same path of our. Recordings of the voices we have left fragments, explosions, echoes of stories. This is to give the perception of physical, tactile, aural, of the countless voices, colors, intentions, rhythms, present nell’Orlando. So we have entrusted the task of introducing us to the actor in the main themes in the best-known stories, but also in the “dark wood” of feelings and adventures parallel, so dear to Ariosto. A forest full of fragments of verses beautiful and refined irony. In this operation, is the fundamental musical feeling should permeate the whole work. Feeling that it is not the exclusive prerogative of the percussion or electronics but the performance altogether. Where each element becomes a character and each character becomes a musical instrument. It is in this unit that you play performance in this listening and listening, in this constant dialogue between the various elements. Is in this game of references and expectations, in this continuous lost and found, one of the keys to understanding that most fascinated us nell’Orlando and we have tried, if not penetrate, at least to touch.

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Saturday, December 15

The Ghetto Cultural Center, 21 hours

Te Deum

For choir, string orchestra, soprano saxophone and percussion

Choir of the University of Sassari – Small Orchestra D’arcs

Daniele Manca, director

Marcello Pusceddu, IntroitoDaniele missing, Te Deum laudamusDavide Soddu, Te gloriosusGabriele Verdinelli, Tu Rex gloriaeDaniele missing, Aeterna facStefano Garau, Miserere

The Te Deum for choir, string orchestra, soprano sax and percussion, already premiered on June 9, in the Church of St. Catherine in Sassari, was commissioned by the Choir of the University of Sassari composers Sassari Stefano Garau, Daniele Manca, Davide and Gabriele Soddu Verdinelli, on the occasion of the celebrations for the celebration of the 450th anniversary of the founding of the University of Sassari. Although it was written “many hands”, the composition expresses a unitary, both stylistic and structural, and on that of the symbolic significance: the thematic material of its five parts, in fact stems from a common matrix, based on notes and Gregorian hymn text “Veni Creator Spiritus” that the Jesuit Order – founder of the University of Sassari, 450 years ago – was singing at the inauguration ceremony of the academic year. In carrying out this evening, the Te Deum play in a partially renovated version, which also includes the insertion of a Take only instrumental, in which the composer Cagliari Marcello Pusceddu has developed through a liberal interpretation, the melodic motifs characteristic of ” Veni Creator Spiritus “, then organically integrating its contribution in the composition project work.

The Choir of the University of Sassari He started his business in 1999 with the students and staff of the University of Sassari, united by a common passion for music and singing. It has a varied repertoire of sacred and secular songs from different genres and eras, and participates in all the institutional manifestations of the University of Sassari. Since it was established in 2011 Association Choir of the University of Sassari, currently chaired by Vice-Chancellor Prof. Laura Manca, under the leadership of Chancellor Dr. Grace delegated Fenu and the artistic direction of Prof. Stefano Melis. The choir is directed from its inception by Maestro Daniele Manca. Since 2001 he has participated in several editions of the concert in the presence of the Holy Father in the Sala Nervi of the Vatican City. In addition to numerous centers of Sardinia, the choir has performed in Perugia, Reggio Emilia, and accompanied the Holy Mass in the Lower Basilica in Assisi. In 2007 he participated in the fourth edition of the National Polyphonic Choirs “notes the end of summer,” won first prize. Among the most recent, in December 2011 he participated at the International Advent Singing, held annually in the city of Prague, and has performed the world premiere of Te Deum for choir, string orchestra, soprano sax and percussion, composers S. Garau, D. Soddu, D. Manca and G. Verdinelli, on the occasion of the celebrations of the 450th anniversary of the founding of the University of Sassari.

Little String Orchestra is an ensemble of young musicians that will appeal to a diverse audience of enthusiasts and experts, in order to occupy a yet unexplored repertoire for string orchestra. Thanks to the research, composition and arrangement by Daniele Manca and David Soddu, respectively director and first violinist of the group, the Orchestra engages in a repertoire ranging from contemporary music to jazz, funk to blues, from Latin American music to pop up the most famous film scores and some original compositions written specifically for this ensemble.

Concert in collaboration with the University Choir and the Little String Orchestra Sassari

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The entrance to the exhibition is free to all

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Contacts

Association Spaziomusica

Via Liguria 60 09127 Cagliari Italy

tel fax 0039 070 400844

spaziomusica@gmail.com

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