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on teatro dell’udito

Posted on Aug 30, 2011 in News, Teatro dell'udito | 0 comments
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I have always been attracted by and worked in my compositions for any kind of balance between the politics of the code (the score) and the reality of sound making, its specific context and mobile nature. While continuing the reflection on these aspects of my compositional practices I wish to create works, which could reach a musical energy identified and mostly produced by the singularity of the players and their dialogues in performance. I’m not talking of spontaneous creation or extemporaneous approaches though. The notational/compositional aspects of an original subjective score will yes identify the procedures of creating these works, but these procedures will also instigate a live exchange and re-creation of materials starting from (and travelling through) pre-formed shreds/fragments/drafts/codes and other electronic, conducting and sound strategies, gestures and figures. The performed works become then not the final map, but a pure territory to be explored. Keeping alive an high level of curiosity and attention seems in these times an appropriate thing to do, and sound thinking with a continuously variable group of people and musicians has been always a great opportunity to explore that particular kind of beauty which is not an object anymore, not any established rhetoric; it arises instead with intense and committed sound making aspiring to be listened to for what it really is: non sentimental creative energy.




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