h.21 Auditorium San Fedele


Mats Lindström – EMS Archive
Rune Lindblad, “Die Stille Liebe” (1972) 9’38”
Roberta Settels, “Landscape for 3 tape recorders” (1981), 8’24”
Knut Wiggen, “Sommarmorgon” (1974) 3’47”
Ákos Rózmann, “Impulsione I-III” (1973/74), 10’04”

François J. Bonnet – GRM Archive
Beatriz Ferreyra, “L’Orvietan” (1970), 12’58”
Luc Ferrari, “J’ai été coupé” (1969) 13’52”
Philippe Carson, “Turmac” (1961) 9’45”

Valerio Tricoli
Williams Mix Extended (2012) (composed by V. Tricoli, W. Dafeldecker), 32′


Acousmatic programming and tech support: Giovanni Cospito and Filippo Berbenni


In collaboration with S/V/N/, FAM – Festival Archivi Musicali and Archivio Storico Ricordi


The fourth appointment of INNER_SPACES 2016 is dedicated to the theme of the discovery of musical archives and is part of the program of the FAM – Music Archives Festival, a conference that will take place on Monday 11 April at Bocconi University. Protagonists of the evening were the directors of the INA-GRM studios in Paris and EMS in Stockholm, two fundamental institutions for the genesis and development of electroacoustic music. Two realities whose paths span half a century of history and today open up to the new generations, making their respective archive sources available also through their digital transposition. An operation that aims to spread an artistic heritage in which the roots of most of today’s experimental trajectories lie. Around the same theoretical line, linked to the ways in which the transition from analogue to digital is radically transforming the role and usability of the archives, there are also the interventions with which the three artists will participate, in the afternoon session of the conference, at the final moment. of the FAM day. François Bonnet, artistic director of INA-GRM and also known under the pseudonym of Kassel Jaeger, performs a selection of historical pieces from the archive of the Groupe de Recherches Musicales (GRM), the Parisian laboratory established by Pierre Schaeffer in 1958 and fundamental for the development of musique concrète, the creation of the acousmatic system and its listening philosophy. After having had among its main exponents composers such as Luc Ferarri, François Bayle, Bernard Parmegiani and Iannis Xenakis, the GRM remains one of the main international sound experimentation laboratories, constantly linked to the generations of younger artists. The pieces performed are selected from the material published for the Recollection GRM record series, curated by the pivotal label of contemporary experimentation Editions Mego, a project that Bonnet will also discuss during the afternoon panel curated by the FAM. 

Following Mats Lindström proposes a selection of materials from the vast repertoire of Elektronikmusikstudion EMS, the Swedish national research center for electronic music and Sound Art. Since 1964, the year of their foundation, the Stockholm studios have hosted numerous residences electronic researchers and musicians, and still continue to make their technologies and sound archives available to younger artists. Thus, each artist at the EMS has been able and can benefit from the experiences preceding their own, leaving in turn a mark in an evolutionary groove in which past and present, tradition and contemporaneity implicate each other.

In closing, the composer and improviser Valerio Tricoli presents the Italian premiere of Williams Mix Extended, a new interpretation of John Cage’s Williams Mix (1952) made in 2012 with Werner Dafeldecker. By transposing the score for tapes into a digital environment, the operation expands the reflection of the original piece on the sources, supports and archiving of the sounds, bringing the duration from four to thirty-two minutes and using more than two thousand specially recorded sounds, in one analysis that ranges from early tape music to contemporary digital production.