Mario Bertoncini (1932-2019)

Tune  (1965, ad libitum)

for suspended cymbals (amplified and spatialized)

 

Richard Barrett (1959)

Urlicht  (2013-2014, 14′)
for three percussionists and ad libitum spatialization

 

Marco Momi (1978)

Vuoi che nel fuori  (2020, 22′)

for three percussion trio and electronics

The proposed repertoire covers a time span of over half a century, testifying to the longevity and inexhaustible vitality of the relationship between percussion instruments, amplified sound and electronics.

 

Composed in 1965, just when Mario Bertoncini joined the Nuova Consonanza Improvisation Group, Tune is composed for a series of five suspended cymbals of different pitch, played by several performers. Above all, the composer explores the concept of form from temporal development, to replace it with a new sound palette (as in informal art, color replaced formal structures), extracting continuous sounds from idiophones, thus affirming a very personal style. From Bertoncini’s encounter with ZAUM_percussion, an amplified and spatialized version was born to highlight the variety of tonal solutions that arise from the different stresses of the cymbals.

 

Composed for three percussionists, each equipped with a vibraphone and several other small percussion instruments, both in tune and not, Richard Barrett’s urlicht (2013-14) provides an optional spatialization of the sound. The intonation discrepancies between the instruments are also welcomed as a value and not as a compromise. The sense of continuous change and growing difference in sound relationships is further highlighted by the use of vibraphone motors at different superimposed speeds.

 

Marco Momi, on the other hand, does not use electronics to amplify or spatialize the sound, but as an integral part of the compositional work. This type of stringent electronics closely interpenetrates with instrumental writing and provides for numerous types of synthesis and treatments of oscillatory phenomena, which allow it to carry out processes of “scenarization” of sound and a new form of dramaturgy based on the link between sound and gesture. Momi starts from the idea that the gesture that produces the sound can get rid of its frequency nature to take on a thaumaturgical value: it comes out of the instrument, from the body / perimeter, through voice or motor enchantment. It is through this episodic release (sometimes rapid or hesitant, sometimes lost and aimless) that the body knows the magnetism of what is outside. But if the “outside” speaks foreign languages, the necessary mediations bring us back to confrontation with ourselves and with the intimacy that we want to translate.

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