James Tenney: Beast (1971)
Silvia Borzelli: own pace (amnesia 3b) (2012)
Yannis Kyriakides: Testudo (2014) for doublebass and electronics (dutch première)
Claudio F. Baroni: Ursae Minoris part I- part II (2014) for doublebass and electronics (world première)
A short consideration on the program:
If there has been a big change in music in the last fifty years we can say that electronic music is quite responsible for it. I think about composers like James Tenney, pioneer of experimentation and developer of softwares still in use, who have introduced a new way of thinking music. Sound as a phenomenon is the center of investigation: this means abandoning the traditional music forms which were centered on the idea of a theme and its development, in order to let the Sound itself evolve in time. Consequences of these technological research have expressed also through non electroacoustic pieces then, and we can clearly see how music has changed after that. The program I will present in Ostade Theater the 15th of November travels around this idea of Sound as a constructive issue and does not express the means of finding a new vocabulary to make alive something that is otherwise dead. Also the pieces that I will perform without electronics, are clearly centered on Sound. In Beast (James Tenney) , a voluntary misspelling of “beats”, beatings are produced hypnotically in the very low register of the instrument. Silvia Borzelli’s own pace (amnesia 3b) explores the doublebass as a magic box to produce sub-bass and reverse sounds, in a form that deals with the re-codification of forgotten materials, and it’s relocation in an always renewed musical sequence. In the loopy Testudo , Yannis Kyriakides tries to imagine how could have sounded the first Lyra invented by Hermes (as described in the Sofocle’s play Ichneutae), but does it in his own way, capturing what contemporaneity offers to him, and using the doublebass as a resonator of reptiles calls. The last piece of the program is Claudio Baroni’s new composition Ursae Minoris, of which I’ll present the first part as well as the world première of the second part. The constellation of Ursae minoris is en-coded in a system of pitches and techniques, showing the full range of the instrument, and exploring that perfect and magic symmetry that the stars have.
You can listen to the first part of Ursae minoris here.
You can buy Tickets for the concert here.