Monday, 17th April

h.21 Auditorium San Fedele


– Le banquet céleste
– L’Ascension
– La nativité du Seigneur
– Apparition de l’Eglise éternelle

Alessandro La Ciacera, organo

Living Torch Live

Direzione del suono: Massimo Colombo
15€/11€ (students reduction – only at the ticket office Via Hoepli 3/B mon – fri 10:00 – 16:00)

Kali Malone in an electronic guise in Milan, after a period of acoustic research and performances on the pipe organ, with a multi-channel work in octophony designed for the acousmatic space. While in the first part of the evening, the thematic center will be the organ par excellence, however in a completely unusual way, with the use of a virtual instrument. Some works by Olivier Messiaen (1908-1992), undisputed master of the twentieth century liturgical instrument, will follow one another in a musical dramatization, performed without interruption. These are pieces inspired by the great Christian mysteries (Le banquet céleste, L’Ascension, La nativité du Seigneur, Apparition de l’Eglise éternelle), with Alessandro La Ciacera at the console of a virtual organ that uses the faithful sampling of a grand orgue French.
In the second part, the awaited performance of the young Kali Malone (1994), however without the use of the organ, she who was made famous by the entirely instrumental double CD The Sacrificial Code. In that 2019 work, the artist played the pipe organ alone or with collaborators, with non-tempered tuning and recorded sequences by recombining them following a rigorous structure with numerical matrices to determine durations and other parameters. The long apparently static sound planes were striking but animated by an internal dynamic inspired by the spiritual minimalism of La Monte Young.
The American artist will present a live electro-acoustic octophony (composed of eight sound tracks) specially designed for the acusmonium, commissioned by the GRM of Radio France, updated and adapted to the Sator acusmonium of San Fedele. Kali Malone undertook her electronic study by being interested in the physics of sound at a granular level, starting from recordings of sequences played by the trombone and bass clarinet, using sine wave generators and the ARP 2500 synthesizer. The compositional effort is placed at the intersection between instrumental writing and electroacoustic composition, between American minimalism and musique concrète, in which harmonies and canonical structures are explored.