h.19 Auditorium San Fedele


Electronic Frescoes II

Iannis Xenakis (1922-2001) Rebonds A
for percussione solo (1988)

Francesco Maria Paradiso (1956)
Profili D’onda
for prepared vibraphone and tape (2005)

Anthony Pateras (1979)
for microsounds, crotales and tape (2005)

Javier Alvarez (1956)
for amplified maracas and tape (1984)

Alberto Carretero (19885)
for percussion and live electronics (2012)

Antonin Servière (1977)
Le Jour Où La Nuit
for percussions and tape (2012)

Emanuele Palumbo (1987)
Sturm Und Drums
for five rototoms and iphone (2012)


Elettronics: AGON
sound engineer: Massimo Marchi

Percussions: Domenico Melchiorre


With Profili d’Ombra, for prepared vibraphone and electronics on support, Francesco Maria Paradiso refers to the relationships between the most common sound wave forms: sinusoidal, square, triangular, sawtooth. The graphic representation of the four waveforms is used to build the profile of the dynamics in the three main parts. The main goal of vibraphone preparation is to expand the traditional timbre of the instrument. For this purpose, a set of rattlesnakes and cowbells were placed low behind the instrument fixed to the structure; a series of nylon threads (as if they were strings) was placed in front of the instrument, stretched loosely between the upper part of a frame which, like a ‘tailpiece’, is fastened to the instrument, and the metal bars (as if they were ‘pegs’ of a stringed instrument) of the vibraphone. Hypnagogics by Australian Anthony Pateras is inspired by the 1960s works of Robert Ashley and Alvin Lucier. The piece was written as a short study in psychoacoustics for Eugene Ughetti. The performer has 5 incredibly tiny sets of instruments, amplified and then transformed into something completely different. The author explores that world that is on the border between wakefulness and sleep. Temazcal in Aztec means burning water. The material is taken from the traditional rhythmic patterns of Latin American music, particularly from the southeastern region of the Caribbean. In these musics the maracas are used to accompany small instrumental groups. the exception in Venezuela, where the maracas becomes a solo instrument in its own right. The piece by Mexican Javier Alvarez takes its cue from this example. The performer combines rhythmic patterns of great virtuosity that can be superimposed and contrasted with similar pieces from the tape , thus creating a dense polyrhythmic texture, which would then disintegrate, resulting in a traditional accompaniment style. Harp, folk guitar, maracas, irons and plucked double bass were used for the tape.

In the piece Metaforas by the Spanish Alberto Carretero the musical ideas come together and repeat themselves, however the context changes continuously, creating phenomena of causality and similarities. The sound dramaturgy of the work turns into a journey marked by sudden impulses that change the timbre and rhythmic scenario. Antonin Servière wanted to weave a close dialogue between ribbon and percussion solos. The starting point is the poem Le Jour ou la Nuit by the same composer whose conclusion provides useful elements for the understanding of the compositional process: The percussion, where the world of noises in turn captivating, aggressive or fortuitous will be consumed in the fire of time until its extinction. Sturm und Drums by Emanuele Palumbo for iPhone and five small skins was born from a need for portability and independence of execution. The tape, in mp3 format, is played by the iPhone and broadcast through small battery-powered speakers placed on the stage. The choice of electronic equipment helps to create an explicitly lo-fi and bruistic sound world. The piece was composed starting from ethnomusicological documents: recordings of the phenomenon of Apulian tarantism and a transcription of a song by the Pygmies. Two archaic musical worlds far apart.