Tempo Reale - Florence & Conservatory of
Music G.B. Martini – Bologna
Corfu
Concert – Sunday 30/6/2013 – 20.30
Carlo Maria Amadio Un tributo a Jaco Pastorius (2012)
Salvatore Miele La natura frattale (2011)
Lelio Camilleri Four Haiku (2011)
1) Water
2) Rubber
3) Voices
4) Strings
Mattia Bonafini Photos of Helsinki (2011)
Francesco Giomi Scabro (2011)
Stefano Diso Let
me be misunderstood
(2012)
Lelio Camilleri Minimal
poems (based on
poems by Aram Saroyan) (2012)
The program is based on pieces which
extend the concept of soundscape: soundscape of cities and real world sounds but also of
pre-existent music, material, words. The composers of these pieces belong to the center Tempo Reale, Florence and the Conservatory
of Music G.B. Martini, Bologna.
Program notes
Carlo Maria Amadio - Un tributo a Jaco Pastorius (2011) 5’36
It is an electro-acoustic
composition made on pre existent materials taken from Jaco Pastorius and
Weather report music. I've tried to
select and rework the most characteristic features of Pastorius
poetry of playing.
Carlo Maria Amadio is currently involved in different
fields of electronic music as composer, live
performer, student and obviously
listener. He is currently
attending the last year of the Electronic Music course at Conservatory “G.B. Martini ” of Bologna where he had
the occasion of playing in two concerts mainly focused on improvisation and
live electronic performance.
In addition to the academic
experiences he performed with HOLO – laptop ensamble and in May of
2013 he have released on Soluxion
Record Netlabel his first EP, a work focused on techno music.
Salvatore Miele -
La Natura frattale (2011) 10’42”
La Natura frattale
is an acousmatic composition inspired by soundscapes concerning the
self-similarity, which characterizes the fractal, as well as in the
selection of material and gestural elements. The various steps that are
repeated are replaced by various materials and processing give rise to the
shape and disposition of the elements in space.
Salvatore Miele Multidisciplinary
artist born in 1980: electroacoustic/ musique concrete composer, improviser.
His compositions have been performed on several occasions, in Italy (Florence,
Bologna, Rome, Sardinia, Palermo, where
he represented the Conservatory of
Bologna for the "Premio
delle Arti" 2010/11) and overseas (Vienna, Manchester, Bruxelles). In 2010
he attended, in Florence, the CREAS workshops taught by Denis Smalley. In 2011,
within the Tempo Reale Electroacoustic Ensemble, has performed "The Great
Soundscape Session", a collective improvisation directed by musician Elio
Martusciello. In 2012, as coordinator and musician, he
performed, along with the Tempo Reale Electroacoustic Ensemble, the Cornelius
Cardew's Treatise, in a totally electronic version. Graduated in electronic music at the Conservatory of Music in Bologna with
a thesis on noise in music, he mainly studies the relationship between art and
new media developed from the beginning of the 20th century till nowadays.
Lelio Camilleri - 4
Haiku (2011) 7’26”
1) Water 1’40”
2) Rubber 1’
3) Voices 2’32”
4) Strings 2’14”
The basic idea for this work is to
combine the Haiku short form, of Japanese tradition, with sound materials
possessing various degree of complexity.
Each haiku is based on musical fragment unrecognizable by different kinds of transformation processes. I would like to create sound images with high degrees of
density and articulation within a very short temporal frame. A series of
snapshot of a sound world in a complex evolution. The global idea of the
composition came up reading this Adrian Henri’s poem, just so titled Haiku:
morning
your red nylon mac
blown like a poppy across Hardman St
The piece is dedicate to my son
Gabriele, admirer of Japanese culture and of a piece disguised in one of the
haiku.
The composition was composed at the center Tempo Reale,
in Florence. Many thanks to Damiano Meacci and Francesco Casciaro for their
support and patience.
Lelio Camilleri (Rome 1957) is a Professor of
electroacoustic music composition at the Conservatory of Music G.B. Martini,
Bologna. His compositional output is mainly electroacoustic. His works have been performed worldwide
and received national and international award. His research work concerns with
the analysis of electroacoustic music, sonic communication and audiovision. On
these subjects he had published articles in national and international academic
journals and a book. He has
realized some sound installations some of them are permanently located in the
historical building of Palazzo Medici Riccardi in Florence.
He is currently writing a book on sound in science fiction
movies to be published at the end of 2013.
Mattia Bonafini – Photos of Helsinki (2011) 9’14”
The piece was created after my
Erasmus experience in Helsinki.
As an enthusiastic photographer of
his/her model, that narrates his visual excitment through pictures, I tried to
tell my story with this composition.
Small scenes of the past between the
city centre and the snowy countryside.
I wanted it to be at a walking
rhythm, and therefore an entirely human time, simple, but effective.
All the sounds are part of the
recordings I madein various parts of Helsinki, with a portable recorder.
It has been a short path,
spontaneous and liberating.
Mattia Bonafini (Legnago, Verona 1980) ineriths the
passion for the guitar from his dad. Guitarist and composer, he has a deep
interest in electroacoustic music, free improvised music and soundscape
composition. He is graduated in electronic music composition at the
Conservatory of Music G.B. Martini, Bologna.
Francesco Giomi – Scabro (2011) 7’55”
In an historical moment where
acousmatic music field is saturated which is the actual sense of composing this
kind of music ?
Some year after, I returned to the
composition in recorded format, trying to analyze these reflections and
producing something which insists
on some extreme properties, filling in a micro-interval still empty.
The work , specifically composed to
be projected in concert by multichannel system, is structured according to a
strong and energetic flux on which a sequence made up by strong gestures is
inserted in order to build up some moments of “sounding aggressiveness”. It is
a composition which ends a
creative cycle linked up to the use of a certain class of pre-existing musical
material together with complex and dense structuring.
Francesco Giomi (Florence 1963) is a composer and
sound projectionist. He is interested in live electronic music and
acousmatic music. In the last year he has collaborated with several musicians
as David Moss, Uri Caine, Jim Black, Sonia Bergamasco, Jonathan Faralli, Elio
Martusciello, Giovanni Nardi and Francesco Canavese, also by founding the SDENG
duo and the ZUM trio projects for electroacoustic music improvisation. Since
2001 he regularly collaborates with the Italian choreographer Virgilio Sieni;
in 2003 and 2009 he obtained commissions for new musical works from GRM of
Paris. In 2007 he won the International Rostrum of Electroacoustic Music held
in Lisbon while in 2011 he has been one of the winners of the Europe Sound
Panorama Workshop at ZKM in Karlsruhe . His works are regularly performed in
festivals and concerts all over the world. He is professor of Electronic Music at the Music
Conservatory in Bologna; he is also director of Tempo Reale, the centre for music research based in
Florence, where he has strictly collaborated with Luciano Berio and other
relevant composers, musicians, choreographers and directors besides orchestras
and ensembles in Italy and abroad.
Stefano Diso – Let me be misunderstood (2012) 6’09”
This composition is based on an electro-acoustic
re-elaboration of “Let Me Be Misunderstood” (1997) by Santa Esmeralda.
The conceptual construction of this work consists of
the ’transposition’ into music of various cinematographic and directorial techniques
of Quentin Tarantino’s “Kill Bill”, film for which the original piece was
composed.
The primary materials used are fragments taken from
the audio file and original music of the film, which have been remixed to
varying degrees throughout the composition and supplemented to a lesser extent
by synthetically produced and residual sounds.
Stefano Diso
is a multi-instrumentalist, composer of electronic music and sound designer. A
student of the clarinet, electric guitar and keyboards, he has a Graduate
Diploma in Sound Engineering from the SAE Institute of Milan and a degree in
Music from the University of Bologna. He is currently in his final year of
studies in the 3-year course in Electronic Music at the G B Martini
Conservatory of Bologna.
In 2009 he worked for cinematographic production
company ’Middle Crossing’ on various soundtracks for short and documentary
films. In 2012 he taught courses
in Computer Music at the specialist education association ’JTO Training’ in
Lecce. In 2013 for the bicentenary
of Giuseppe Verdi, he composed electronic music segments to accompany the
operatic work “La Maledizione”, an adaption of Rigoletto devised by the
director Gabriele Duma.
During his time at the Conservatorium, Stefano has
performed various concerts and conceived the sound direction and projection of
the works “Music on Two Dimensions” (Musica su due Dimensioni) and “Inventions
on a Voice” (Invenzioni su una Voce) by Bruno Maderna for the Angelica
Festival. He is currently
collaborating with the Accademia di Belle Arti of Bologna as a sound designer,
and has produced the soundtracks for both the winning video entry in the ETS
Contest of 2013 and the teaser trailer of the Future Film Festival. ON|OFF|MAN|, the band of which he is a
founding member and in which he plays keyboards, synth and laptop, released its
debut album “Giant Backsteps” in February 2013 with Areasonica Records.
Lelio Camilleri - Minimal poems (based on poems by Aram Saroyan)
(2012) 9’11”
I have known Aram Saroyan poetry
since I was a teenager. In recent years I found a book which collects many of
his poems written during the ’60, thus I thought of composing a piece using
some of them. I wanted to explore
the sounding matter and energy of the poems using a few transformations, multiplying
and stretching their form in the overall structure of the piece. Since the
poems are very shorts, some of them made up of a few words, I create a dense sound world by means of
their superimposition and fragmentation.
Thanks to Natalie Dolan and Derek
Mason who recited the poems.I deeply thank Aram Saroyan for the permission of
using his poems and for writing them. His Complete Minimal Poems has been
published by Ugly Duckling Presse, New York. The piece was realized at the center Tempo Reale, Florence.