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October 10th, 2020 // Duo Dubois

Volumnia, Ex Chiesa di S. Agostino, Stradone Farnese 33, Piacenza
9.30 pm (entrance 9.00 pm) 

Alberto Cavallaro and Federico Tramontana, together “Duo Dubois”, will perform some amazing pieces for an unusual but intriguing formation: saxophone and percussion. 

Check their background here and see below for more information about the concert.

Free entry to availability, reservations required.
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Program

Maurizio Azzan – Tutte le estensioni dell’aura

For saxophone, percussion and electroacoustic device

Creating a balance between different entities means smoothing their edges to such an extent as to allow the realization of a contact in which the individuality of the drop no longer exists but only the flow of the river. In my music, this smoothing is mostly synonymous with stripping and emptying. It is synonymous with removing everything that, in its being superfluous, could make too fragile a balance that is necessarily born precarious. It is a search for the essence of each sound, of its aura, then, and in this work it is precisely from the moment of its identification that everything begins.

Four sound sources indistinguishable from each other merge in a perfect symbiosis in which the corporeity of the interpreters is annulled into the iridescence of a sound mass in slow evolution. The sound is transformed in time, occupying space in an unstable way. From time to time, its sudden dilations and contractions bring out almost by mistake different components, internal voices that at times take over the others to guide their becoming.

Suspended between bodies of skin, wood and metal in vibration, the sound expands, acquiring plasticity and volume. Sound is volume, it is space that marks time.

Michael Maierhof, Schwingende Systeme, C

In relation to the piece we are going to perform, it is necessary to clarify a fundamental aspect of today’s music: the performer. In the present, many composers write in relation to the performer (intended as the performer of a certain sound and/or action), and no longer for musicians specialized in a single instrument. The search for new technical horizons, dedicated to the use of new sound forms, has made this figure emerge and it is establishing itself as crucial in the contemporary panorama. Therefore, performing Maierhof’s music requires a particular concentration and accuracy in the search for the desired sound; he himself defines a performer “specialized” when he is able to discover new techniques, to understand the form, to have rhythmic precision, experience of rehearsals, stage presence…

We would define Maierhof’s music as “noise music” and, indeed, it is; however, in an interview with Sebastian Berwerk, Maierhof himself defined his music with the term “klangkomplexe“, to better express the concept of “non-pitch material”. The piece is characterized by a large encyclopedia of sounds that are processed through the preparation of two electric toothbrushes, so in addition to using an object of daily use as an instrument, it, in turn, is also prepared with sticks, or sheets of paper. Thanks to this preparation, with a single action, dictated by the motor of the brush, it is possible to obtain a large number of rhythmic modulations. A fundamental aspect of Maierhof music is the silence within a piece. You often find yourself in front of large spaces of silence, long pauses, as important as the whole sound world. These are defined as meditative, breathing moments, but at the same time as moments of intensive listening.

Tommaso Settimi – Exouda II 

Exouda II is the second part of the cycle “exouda”, a cycle of compositions that explores the dimensions of transformation, tension, drift, through a continuous and violent instability. The pieces of the cycle are conceived as the same organism fed each time in a different way. This reacts to the material with which it is fed by transforming and taking a different form. “exouda II” is the form, the transformation, derived from the two performers, non-standard synthesis and concrete sound. No ex-post process has been used intentionally.

Sarah Nemtsov – Drummed Variation 

The use of unconventional instruments, or in any case designed for a completely different purpose, immediately underlines the invitation to enter a new sound world, far from preconceptions dictated by classifying a sound according to the nature of an instrument. The listener will have two unknown sensations, because the sound result is different from the visual one. Each movement/action of the percussionist corresponds to one of the kaoss pad that will alter the sound by modifying it with different effects: distortion, flanger, delay etc.. The rhythmic instability will be dictated not only by the countless polyrhythms of the percussionist, but also by the continuous changes and interactions of the Kaoss Pad.

Overlapping and unstable rhythms …, a bit like when a child, unaware of any musical technique, sits for the first time behind a drum kit. He plays and unconsciously creates complex rhythms – once placed on paper.

Free entry to availability, reservations required.
Get your ticket