h.19 Interpretation on Acousmonium(free admission lesson with Giovanni Cospito)
In collaboration with the Conservatory of Music of Milan
h.21 Concert, Auditorium San Fedele
Sound engineer: Filippo Berbenni
In collaboration with Österreichischen Kulturforums Mailand
International guest of the evening the Austrian producer Dorian Concept (Oliver Thomas Johnson), published by the influential crossover label Ninja Tune. Multi-instrumentalist and skilled keyboard improviser, with a background in multimedia art and sound engineering, he has identified a personal and eclectic formula capable of reconciling funk, hip-hop, jazz and club music. In his long international tour “The Nature of Imitation”, which takes him from Amsterdam to Japan, from Vienna to Dublin, the Austrian Dorian Concept made his only Italian stop of the year in Milan, on December 10 for INNER_SPACES.
Oliver Johnson is an enfant prodige, multifaceted musician, in some respects similar to Francesco Tristano, capable of being at ease in different contexts and musical environments, from concert halls to clubs, from jazz piano to computer music, from albums with the prestigious Ninja Tune label to clips on YouTube where he improvises on mini-keyboards.
The most characteristic and exciting aspect of Oliver Johnson’s performances is his colorful, seductive and engaging sound universe, in which different musical influences can be recognized, from Miles Davis’ electric jazz to free jazz, from fusion to sampling.
In the first part, the new audiovisual show by Andrew Quinn: a complex videomapping with 4k technology, this time grappling with Continuo, the whirling acousmatic perpetual motion with which Pierre Henry, father of French electronics, concluded his artistic career , who passed away in 2017. The opera, in two parts, is an imperious music composed of associations of ideas that foreshadow the future. The first part is a gradual ascending flowering, the second part a descent towards inevitable death. Pierre Henry was, with Pierre Schaeffer, one of the inventors of concrete music in the 1950s. His collaboration with the choreographer Maurice Béjart made him known to the general public, in particular the works Messe pour le temps présent and Psyché Rock.