SOGLIE IMMERSIVE
MON 22/01
Auditorium San Fedele, h20.30
ÁKOS RÓZMANN (1939-2005)
12 Stations VI-I
JAMES HOLDEN (1979)
Live set
MON 12/02
Auditorium San Fedele, h20.30
CHIARA TRENTIN (1991)
ANTHONY CHILD SURGEON (1971)
Live set Terra SOMA
MON 26/02 in collaboration with Goethe-Institut Mailand
Auditorium San Fedele, h20.30
KONRAD SPRENGER (1977)
HAINBACH (1978)
MON 11/03 – TUE 12/03
INNER_SPACES SPECIAL
Chiesa di San Fedele, h20.30
Hieremias propheta
FRANÇOIS COUPERIN (1668-1733)
Trois leçons de ténèbres
NICOLÁS JAAR (1990)
TUE 21/03
Auditorium San Fedele, h20.30
OTOLAB
NEEL (1982)
MON 08/04 in coproduction wirh Jazz is Dead! festival and Arci Torino
Auditorium San Fedele, h20.30
PAULINE OLIVEROS (1932-2016)
Bye Bye Butterfly; I of IV
SUZANNE CIANI (1946)
MON 22/04
Auditorium San Fedele, h20.30
FRANCESCO ZAGO (1972)
Bruckner Allegro Moderato
RICHARD SKELTON (1973)
MON 06/05 in collaboration with Österreichisches Kulturforum Mailand and Goethe-Institut Mailand
Auditorium San Fedele, h20.30
ZSÓFIA BOROS (1980)
JAKOJAKO (1991)
SEASON TICKETS (SOLD OUT)
From 22 January to 6 May 2024 the spring edition of INNER_SPACES, the electronic music and audiovisual arts festival that has been a point of reference for experimentation and interdisciplinary research for over ten years, will take place at the Auditorium San Fedele in Milan.
Entitled “Immersive Thresholds”, the new seasonal programme of INNER_SPACES is conceived as an eight-part workshop exploring the theme of perceptual involvement. The San Fedele auditorium, equipped with the Sator acusmonium, allows for listening in a non-conventional but immersive acoustic space. It is not a fruition that is simply enveloping from the outside, but inwardly involving and moreover in the dimension of a common experience shared with others.
However, the immersive dimension of listening is not unique, depending on the musical language of the artists on the one hand, and the instruments used on the other. In this sense, the processes of sound stratification and sedimentation, the constitution of temporal continuities through slow transformations, the overlapping sequences of iterative minimalism, the interweaving of pieces in succession, the various modes of expression, the timbral and material concentration, are all characteristics that contribute to configuring a series of distinct immersive thresholds.
Many of the artists at the festival, and this is one of the main peculiarities, will play with analogue or digital synthesisers. From the eagerly awaited Buchla pioneer Suzanne Ciani, who will perform in a four-tone performance in co-production with the Jazz is Dead! festival organised by Arci Torino (where she will instead soundtrack visual material provided by the Museo Nazionale del Cinema) to DJ Anthony Child, better known as Surgeon, an expert improviser with SOMA Laboratory instruments. From electro-acoustic composer Hainbach, who uses the magnetic tape technique to create enveloping ambient music, to live sets with modulars by some of the most popular musicians of the moment such as James Holden and the emerging Turkish-German producer JakoJako.
New immersive thresholds will be opened up for exploration by the Milanese audiovisual collective Otolab in a synaesthetic sense, by the British Richard Skelton, a major figure in ambient music who rarely plays live, by Konrad Sprenger in a hexaphonic (six-channel) live set using an electric guitar as a generator of sounds that are digitally reworked and spatialised, and by sound sculptor Giuseppe Tillieci aka Neel, formerly one half of Voices From The Lake with Donato Dozzy.
Still other musicians will pursue the same objective, however, through the use of more traditional musical instruments, such as Chiara Trentin (already the protagonist on stage with Francesco Messina for the performance of Prati Bagnati del Monte Analogo) on six-string electric cello with live electronics, Francesco Zago on electric guitar and effects to present a wide-ranging orchestral reworking of Bruckner’s Seventh Symphony, and Zsófia Boros, the acoustic guitar poetess with a delicate and captivating sound, here thanks to the Austrian Cultural Forum, who has recorded three albums for the prestigious ECM in a programme of Argentinian music.
The focus remains on the founders of electronic music, in this edition with two portraits. The Hungarian Ákos Rózmann (1939-2005), for many years organist at Stockholm Catholic Cathedral, author of several monumental cycles of electroacoustic compositions with massive and highly dramatic sonorities, with titles often inspired by the liturgy of the Mass. American accordionist Pauline Oliveros (1932-2016), one of the initiators of new music on the American continent, also theorist of the compositional mode described by one critic as ‘sound awareness’.
At the heart of the festival, the INNER_SPACES Special entitled Hieremias propheta in the Church of San Fedele, with the extraordinary participation of Nicolás Jaar, in a sacred performance of the book of the prophet Jeremiah in which the leçons de ténèbres of François Couperin (1688-1733), electronic sequences with vocals by the Ars Discantica group (A. Pileggi and M. Colombo) and two large live electronics frescoes by the Chilean artist will alternate.