h.21 Auditorium San Fedele
Sound engineer: Filippo Berbenni
The eighth appointment of INNER_SPACES 2017/2018 had the performance of the New Zealander Oliver Peryman, aka Fis, protagonist, together with Roly Porter and Paul Jebanasam, of a new sound in the ambient field that has flowed back into the publications of the Subtext label, with which he published the solo album From Patterns to Details and Clear Stones in collaboration with Rob Thorne, a musician expert in the Maori musical tradition. The sound of Fis is sculpted in a complex and intricate way, as well as endowed with a disturbing and overwhelming physicality. By upsetting any acoustic space in which it is placed, its dark and ever-expanding sound ensures that the surrounding area is perceived as under pressure and close to collapse. Huge layers of low frequencies accumulate along with distortions and aquatic melodies, occasionally punctuated by violent rhythms such as whiplash. His sonic imagery is a vortex, a destructive current, the soundtrack of a journey into the darkest recesses of existence.
Bernard Parmégiani, the best known world representative of acousmatic music, is an essential reference for all editions of INNER_SPACES. In the first part of the evening, the Australian video artist Andrew Quinn will propose a brand new version with videomapping of a fundamental work of the French master’s production: the Création du Monde, a solemn sound fresco that traces the history of the universe from its origin to the moment of the Big Bang until the appearance of life and man. Andrew Quinn has been an artist residing in San Fedele for years. Initially known as the curator of the digital effects of films such as The Matrix and Nirvana, in recent years he has dedicated himself to video-installations for multiscreen and immersive environments and to interactive digital graphics for dance and contemporary music productions.
“I started my journey with Parmégiani’s music in San Fedele 3 years ago. For me it was an experience of great synthesis because I had to mediate between extraordinary music and the possibility of giving a visual representation “illuminating” the San Fedele Auditorium with the technique of video mapping. The acusmonium is a tool that allows the ear to travel. I have tried to make the senses travel. The starting point was the acousmatic projection which allowed me to generate “creatures” as if they were holograms. In the following years I went back to other works by Parmégiani and my knowledge of this author was greatly enriched to the point of feeling the need to return to the Création du Monde with a renewed gaze “
La Création du Monde, together with De Natura Sonorum, constitutes the major work of the French musician, a fundamental work of the repertoire per acousmonium. 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. 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 the beginning 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.