MON 26/09 h. 21 
DOMIZIANO MASELLI (I)
LAUREL HALO (USA)

 

MON 10/10
h. 18 presentation of the new italian edition of R. Murray Schafer’s “The Soundscape”
h. 21 concert
BARRY TRUAX (CAN)
OVAL (D)

 

MON 7/11 h. 21
Michelangeli Dream (I)
BEN FROST (AUS) & FRANCESCO FABRIS (I)

 

TUE 22/11 h. 21
Linecheck Opening Event
KMRU (KEN)
VALENTINA MAGALETTI (I)
TICKETS

 

MON 12/12 h. 20
40 years of  TOUCH music
MICHAŁ JACASZEK (POL)
GENEVA SKEEN (USA)
CLAIRE M SINGER (UK)
OZMOTIC (I)
JANA WINDEREN (NOR)
TICKETS

 

Acousmatic interpretation: Massimo Colombo, Giovanni Cospito, Dante Tanzi

 

TICKETS
€9 – €16 on DICE

22/11 ticket office managed by Linecheck Music Festival
€ 18 / € 15 students on DICE

Auditorium San Fedele lun-ven 10 / 16 – tel.0286352231
Via Hoepli 3 /b, Milano

 

INNER_SPACES AUTUMN 2022
For the ten years of electronic music in the San Fedele Auditorium, the Autumn program will have a character, as well as celebratory, of a synthetic resumption of the guidelines that over time have forged the musical identity of our concert proposal. In five evenings, with some special guests, various works and live sets will be presented that highlight the three great objectives pursued since its inception.
First of all, attention should be paid to the new projects of the most representative artists in the field of international electronic experimentation, selecting proposals with attention to listening and a broad expressive capacity accessible to a wide audience. From September 26th to December 12th, four of the most significant artists of the new generation will succeed each other in San Fedele, Laurel Halo (1985); Ben Frost (1980) with a world premiere, the presentation on acusmonium of “Vakning”, produced together with Francesco Fabris for Room40; the very young Kenyan Joseph Kamaru (1997), aka KMRU, and the American Brian Leeds (1991) with the Huerco S project. interactions between acoustic and electronic instruments, field recordings in environments of everyday life or in the presence of extraordinary natural phenomena, as well as the ambient composition intertwined with rhythmic spirals, electroacoustic material, soft and ethereal symphonic timbres, and sung sound sources.
The other programmatic line of Autumn concerns, in a perspective of dialogue with the present, the presence of historical figures, of those musicians who have traced new paths while remaining essential references for the new generations. Like the Canadian Barry Truax (1947), one of the founding members of the World Soundscape Project and composer of the most successful scores using the technique of granular synthesis, in particular the 1986 opera Riverrun. And again artists who were the first to build new stylistic features: Markus Popp (1968), alias Oval, responsible in the 90s for the creation of the glitch as a codified style of experimental electronics; with the 1994 album Systemisch, Popp gave shape to a compendium between the “musique concrète” of the 1950s and the ambient-techno styles that would be consolidated in that same decade, using reproduced and sampled sounds of defective or scratched CDs, an undertaking that has influenced the aesthetics of many other authors up to the present day.
Finally, there remains the last line of INNER_SPACES which concerns the indispensable participation in the musical seasons of the winners and finalists of the San Fedele Prize for young composers. Since its inception in 2010, 125 young musicians from 30 different nations have participated. On 26 September, Domiziano Maselli (1992), finalist of the last edition of the Prize, at the opening of the evening, will present his live set inspired by the story of Lazarus from the Gospel of John, in dialogue with the extended techniques of the double bass player Tommaso Rolando. In the concert on 7 November Francesco Fabris (1989), winner of the 2016 Prize, will be engaged alongside the celebrated maestro of the new electronic composition Ben Frost. While the first part of the evening is conjugated in acousmatic mode, with a choice of pieces on fixed support in homage to the pianist Arturo Benedetti Michelangeli, music commissioned by San Fedele Musica from the group of finalists of the San Fedele 2020 Award.
An Autumn, that of 2022, which strengthens and implements the desire to collaborate with various academic and cultural institutions (Conservatory of Milan, UNIMI, Ricordi Archives, Goethe Institut), with some associations in the electronics sector (Linecheck Musicfestival, Standards) , with media partners (Radio Raheem, URSSS, Zero …) and for the first time with a historic record label, the London-based Touch, which for its 40 years will bring five artists to Milan on the evening of 12 December: Jacaszek, the Italian duo Ozmotic, Claire M Singer, Geneva Skeen and finally Jana Winderen at the conclusion of the review – a suggestive coincidence, since she was the first musician to test the audio system of the San Fedele Auditorium on December 18, 2010, in an organized concert by Sincronie and Survival.

LISTENING SESSIONS AND LECTURES
Auditorium San Fedele, h. 18.45 – 20.00

with Alfonso Alberti
“The Adventure of Listening”

– MON 17/10
– MON 24/10
– WED 9/11
– MON 14/11
– MON 21/11
– MON 28/11

Six lectures conducted by Alfonso Alberti in which musicwill be listened to with the legendary Infinity IRS Beta loudspeakers, recently donated to the San Fedele Foundation together with a complex system of four tube amplifiers to obtain a unique, fluid and velvety sound but at the same time of great sound impact.
We will reflect on that very mysterious thing that is the meaning of music, trying to understand how we ourselves resonate, vibrate, in contact with sounds.
Music is an abstract art par excellence: no direct imitation of natural reality, unlike what happens in many sister arts. In general, there is no combination of notes that represents a river or a flower or a starry night. And yet, what cannot be represented can sometimes be suggested, in a completely indefinite way and remaining on the ridge of near impossibility.
The meetings will investigate music drawn mainly from the great classical-romantic tradition, but with excursions before and after, in particular arriving at that place of extreme adventures that is today.
Listening and words will be in close counterpoint, in meetings that intend to address an audience as varied as possible: the only condition is to be willing to adventure.