14/04/2012

h.19 Auditorium San Fedele

Electronic Frescoes II

Pauline Oliveros (1932)
Bye Bye Butterfly (1967) 8’05

Amon Tobin (1972)
Back From Space (da Out From Out Where 2002) 4’52

Grm Experience [Christian Fennesz, Mika Vainio And Christian Zanesi]
Dark Landscape (2004) 2’30

Iannis Xenakis (1922-2001)
Concret Ph (1958) 2’44

Grm Experience
Waves 5’20

Amon Tobin
Triple Science (da Out From Out Where) 4’58

Grm Experience
First Shadows 1’46

Amon Tobin
Marine Machine (da Supermodified 2000) 5’41

Ake Parmerud (1953)
Dreaming In Darkness (2005) 8’10

Grm Experience
Nostalgia 6’32

Amon Tobin
One Day In My Garden (da Bricolage 1997) 5’44

Grm Experience
Transfers 7’17

Hugh Le Caine (1914-1977)
Dripsody (1955) 1’28

Aphex Twin (1971)
Avril 14th (da Drukqs 2001) 2’

Acousmatic interpretation: Dante Tanzi

Electronic Frescoes II

Second experimental program from the point of view of composition, polymorphic fresco with contributions from different currents of electronic music of the last sixty years, including acousmatic music, progressive rock and IDM. The listening itinerary of the last program is built around some works by Amon Tobin and the work GRM Experience, the result of the collaboration between three very different musicians: the Austrian guitarist Christian Fennesz, Mika Vainio of the Finnish duo Pan Sonic and Christian Zanesi, from the Groupe de Recherchers Musicales in Paris. It all begins with a journey into a virtual past to say goodbye to nineteenth-century reminiscences. Pauline Oliveros incorporates passages from a disc of Puccini’s Butterfly found in the studio where she was working on a piece of hers, entitled Bye bye Butterflye. The song was played and recorded in real time, using two oscillators, two cascaded line amplifiers, a turntable with a record and a delay device. In Back from space by Amon Tobin themes by Debussy and Mussorgsky emerge, with a final Wagnerian suspension, confirming Tobin’s virtuosity that he manages to integrate in his pieces samples taken from the most diverse musical contexts. Tobin often encounters the theme of robot armies, of science fiction battles (Triple Science). But also Fellini’s oneirism in Marine Machines and the veiled nostalgia for bossa nova and the atmosphere of the good life of the 1960s. Tobin’s baroque theatricality is contrasted by the more abstract and geometric conception of the sections of GRM Experience, originally a performance by three artists on laptops connected with an acusmonium. Glitches, scraps, digital errors, hisses, roughness, unstructured sound predominate. Iannis Xenakis was a precursor of this line, who in 1958 created the short Concret PH for the Philips Pavilion in Brussels, which has remained a milestone in electronic music, records sounds and crackles of burning and jumping coal, then they are transposed and structured with the application of probabilistic theories.

At the center, halfway between the two opposite tendencies, is Dreaming in Darkness by the Swedish Ake Parmerud. The theme of the night and the dream is explicit, long and at times restless today’s nocturnal landscape, between dream and reality, in the middle of the piece a Techno music emerges, integrated into the nightmare atmosphere in which the listener participates who in the end is awakened by the bells and from the phone. The electronic fresco ends with a virtuosic greeting of sound garlands and arpeggios by Hughe Le Caine made in 1955: Dirpsody, to which he responds as a clin d’oeil 14th April by Aphex Twin.