h.21 Auditorium San Fedele


T.E.S.O. / e-cor ensemble
Arvo Pärt remixed

Christian Fennesz
Malher Remixed – Bècs


Acousmatic interpretation: Giovanni Cospito

Sound engineer: Filippo Berbenni

In collaboration with Österreichischen Kulturforums Mailand and Plunge

INNER_SPACES new season has been inaugurated on September 26 by Christian Fennesz, an emblematic figure of electronic music who has been able to forge, since the nineties, a refined and unmistakable electronic sound focused on the use of the guitar, filtered by samplers and effects that have become his character distinctive. The Austrian composer and performer will draw a large electronic fresco that combines the nostalgic atmospheres of the latest Bécs album with the evocative remixes dedicated to the symphonies of Gustav Mahler.

Arvo Pärt remixed is the work of two young groups finalists of the San Fedele Prize that introduced the evening: e-cor ensemble and T.E.S.O. Electronic reworking of a major work for orchestra by the Estonian composer: Silentium, to return to the essential and “rediscover within oneself the mysterious source that lets sounds flow freely” (A. Pärt). The project of the young Milanese collective T.E.S.O. it consists of a large symphonic movement, modeled on the music of G.Mahler, starting from choral material by Arvo Pärt. The idea of combining these two composers stems from a desire to create a contrast. Pärt is the composer of long spaces, long silences, meditation, much in him suggests a meditative and contemplative atmosphere. In Mahler, on the other hand, everything is inner yearning, it is a narration filtered by the musician’s eyes, very earthly and human. Through the use of a spatialization system and direct control on the mixer faders, the song is then projected into the acousmatic space of San Fedele. The e-cor ensemble, Francesco Altilio, Cristian Maddalena and Mirjana Nardelli, propose a reworking of Silentium, the second movement of the opera Tabula Rasa by Arvo Pärt. The remix tends to emphasize the more intersecting aspects of his poetics; spiritual unity, the primitive elements and emotional transparency. Thanks to sampling, editing, reworking and digital manipulation techniques it was possible to investigate aspects inherent to the language of the Estonian composer, contemplating it in a new contemporary guise and in a new musical technological context.