Archive
15/05/2015
h.21 Auditorium San Fedele
Karlheinz Stockhausen, Setz die Segel zur Sonne
from Aus den sieben Tagen (1968)
Live on De Natura Sonorum, homage to B. Parmégiani
Laptop:
Enrico Pietricola, Fausto Signorelli, Filippo Martini, Giovanni Ferrazzi, Guglielmo Prati, Jacopo Biffi, Matteo Castiglioni, Niccolò Baldini
Tech support: Filippo Berbenni
Coordinator: Giovanni Cospito
Robert Henke
Dust – Acusmonium Version 2015
Acousmatic interpretation: Giovanni Cospito and Dante Tanzi
In collaboration with S/V/N/ and Goethe-Insitut Mailand
In the first part, the “1h20Nein” laptop orchestra will propose two sound experiences. The first is an interpretation of one of the 15 pieces of Aus den sieben Tagen by K. Stockhausen, an intuitive work without a score, with short instructions with a strongly evocative language that guide group improvisation. Stockhausen himself defined it as music that relies directly on the intuition of the musicians and, referring to them, said: “there is something that is possible to create together and that I cannot write”. A collective work follows in homage to the audio-plastic concepts of B. Parmégiani’s De Natura Sonorum. The homage makes the sound idea of the French musician its own, a writing made up of combinations and contrasts to enhance and analyze the nature of the sounds. Natural sounds and artificial sounds which, by mutual interaction, alternate in a continuous metamorphosis. The “1h20Nein” Laptop Orchestra is an experience of collective electronic music invention and production based on networking. Each musician extends his laptop with various types of interfaces suitable for improvisation and live interaction needs.
The second part of the concert, the expected performance by Robert Henke, with the evocative title DUST which is based on sounds generated by algorithms anchored to the principle of “granular synthesis”. A journey to the frontiers of perception, presented for the first time in a spatialized version for the acusmonium Sator of the San Fedele Auditorium. According to what the author writes:
“Dust is the exploration of granular and noise tissues proceeding in a very slow movement that almost resembles a static sound material, fragmented into myriads of microscopic particles. Sounds are fragments of digital processes, accentuated noises, or field recordings; like the sounds of splashing waves recorded in Australia on a pebble beach, the sound of a tremendous storm, or the steam of a coffee machine, crackling of an old record groove, humming and electric shocks from a large transformer etc. The sound transformations create dense and layered streams of sound, remixed and distributed throughout the space during the performance, slowly filling the room, sometimes barely audible, sometimes very loud, covering the entire sound spectrum from infrasound to ultrasound. Dust is based on my own granular synthesis algorithm and can be presented in a live performance in many ways, including a variable number of audio channels. It was originally composed for a performance in 2011 at the ZKM media Theater in Karlsruhe, Germany, with a 32-speaker dome around and above the audience. In 2012 Hebbel Theater in Berlin was performed ”.