h.21 Auditorium San Fedele
Nasa Voyager Recordings
Symphonies of the Planets
La Création du monde 1982.1984
Acousmatic opera in tre acts with sound interaction visuals by Andrew Quinn
I Lumière Noire (17:36)
1 Moins L’infini 05:26
2 Instant 0 04:43
3 Premières Forces – Premières Formes 07:26
II Métamorphose Du Vide (23:11)
4 Lumière 11:32
5 Jeux De Configurations 05:54
6 Échos / Mélopées 05:39
III Signes De Vie (32:00)
7 Cellules 06:23
8 Aquatisme 07:53
9 Polyphonie 06:14
10 Expression 1 03:18
11 Expression 2 07:13
12 Réalité 00:59
Acosumatic interpretation: Dante Tanzi and Giovanni Cospito
In collaboration with S/V/N. A Co-production of San Fedele Musica with Basemental, Neoma, Terzopaesaggio
The San Fedele electronic music project started in January 2012 by presenting De Natura Sonorum by Bernard Parmégiani, one of the greatest representatives of acousmatic music. After his death, on 21 November 2013, La Création du monde, another major work by the French musician, a fundamental work of the repertoire for acusmonium, will be offered. It is a large 72-minute fresco with the ambition of retracing the great stages of the formation of the Universe on the sound level from its first moments to the appearance of man. For the first time, an elaborate sound / image interaction curated by Australian video artist Andrew Quinn will be associated with the acousmatic projection.
The work follows a chronological plan of Creation: from the forces of the Big Bang and the formation of the Universe to the appearance of man. But on the other hand, the composer distinguishes three different sections on the level of the sound structure – as Parmégiani himself indicates. At first the material is colorless, white sounds dominate, without precise heights to represent the evolving form. In the second part, the sound forms are more colorful. To arrive, in the third part, at a cross between short sound developments and a real musicality of all the material.
At the beginning of the concert you will be able to listen to a mixing taken from Nasa Voyager Recordings. The specially designed instruments aboard the space probes used a Plasma antenna to record electromagnetic vibrations, transformed into electrical signals, which were in turn amplified and used to excite the membrane of a speaker, thus making it audible to the human ear. the rustle of the cosmos.
In fact, even if space is a virtual void, this does not mean that there is no sound. Sound exists as electromagnetic vibrations. The interactions of the solar wind with the planet’s magnetosphere, the magnetosphere itself, electromagnetic fields, emissions of charged particles, interactions of the planet’s charged particles, its moons, and the solar wind were then recorded and recorded.
Listening to the voices of these space giants and trying to imagine their character, trying to understand what they have in common with us and what they move inside.