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SpaziomusicaProject Festival Spaziomusica Cagliari - Projects of contemporary music 02.10.2012 Spaziomusica ... Resonance ... winter 2012 Cagliari October 25 to December 15 Categories: Festival Sounds of diversity

OCTOBER

THURSDAY 25, Cultural Center The Ghetto, 21 hours

New MADE Ensemble

Akiko Kozato, soprano; Gaetano Nenna, clarinet; Raffaello Negri, violin; Rossella Spinosa , Alessandro Calcagnile , piano

John Cage : Nocturne for Violin and Piano Alexander Solbiati : To Whom? voice for Caesar Saldicco : Spire III for violin solo Morton Feldman : Piano Four Hands for piano four hands Giorgio Colombo Taccani : Nox, Tellus for solo voice Giacomo Manzoni : Sentence for clarinet and piano Cathy

www.spaziomusicaproject.com/wordpress/?p=366 1/11 10/31/12 Spaziomusica ... Resonance ... winter 2012 Cagliari 25 October to 15 December | SpaziomusicaProject Berberian : Stripsody for solo voice Luciano Berio : Sequence VII for solo violin Luciano Berio : Sequenza III for solo voice Henry Cowell : The Banshee piano Emanuela Ballio : Narcissus for solo clarinet Rossella Spinosa : Pasicompsa for solo voice Charles Edward Ives : Largo for Violin, Clarinet and Piano Roberta Silvestrini : plaisanterie pour deux for piano 4 hands Maurizio Ferrari : Dialogue contrapuntal textures for clarinet and piano by John Cage : In a landscape for solo piano

New MADE Ensemble The New Music And Drama Ensemble is an ensemble specializing in the preparation of contemporary performances, both instrumental and nature of musical theater. Born in 2009, the New MADE it has performed in festivals and concert seasons in the major Italian cities, creating premieres of Roberto Andreoni, Luis Bacalov, Silvia Bianchera, Aldo Brizzi, Paola Calderone, Joseph Giuliano, Richard Panfili, Marcela Pavia, Rossella Spinosa, Ivan Solano, Roberta Vacca, etc. .. The ensemble has recorded the work Demain Encore Giuliano Zosi (for voices, singers, synthesizer and electronics) and twelve works for piano duo inspired anthology of Spoon River , with the voice of Ottavia Piccolo (for RaiTrade). Ensemble in Residence of the Contemporary Music Centre of Milan, New MADE was a guest in 2011 Verdi Festival in Parma for the first performance of a work for voice and ensemble the composer Milan Sonia Bo.

Concert in collaboration with the Contemporary Music of Milan

FRIDAY 26, Cultural Center The Ghetto, 21 hours

Cathy Krier , piano

Laurent Willkomm , King Otto , Œuvre acousmatique

C. Lenners , E. Martusciello, F. Casti, L. Ceccarelli , sound direction

Claude Lenners , Mirrorwilderness for piano and live electronics

Elio Martusciello , Vanishing Point, Œuvre acousmatique

Luigi Ceccarelli , counter cloud , for piano and prepared piano samples

Arthur Stammet , Homage to Leonardo of Pisa, Œuvre acousmatique

Fabrizio Casti , Transparency impossible for piano and electronic sounds

Cathy Krier Born in Luxembourg in 1985, Cathy Began taking piano lessons at the Luxembourg Conservatoire at the age of five. In 1999 she was ADMITTED to Professor Pavel Gililov's masterclass at the Hochschule für Musik und Tanz in Cologne. In 2000 she recorded Beethoven's Piano Concerto in G major with the Latvian Philharmonic Chamber Orchestra Conducted by Carlo Jans. Her first recording was only released in 2008 and features pieces by Scarlatti, Haydn, Chopin, Dutilleux and Müllenbach. Cathy Krier is the laureate of a number of prizes and scholarships Including the Prix Norbert Stelmes, Stephen Schwartz wins to her by the Jeunesses Musicales du Luxembourg in 2003 and, in le seguenti year, the IKB International Foundation Prize. In 2005 Cathy joined Cyprien Katsaris for a four-hand performance at the inauguration of the Luxembourg Philharmonie. In 2006 she played at the Ruhr Piano Festival Following an invitation by Professor Robert Levin to join his master.

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Further stepping stones in Cathy's training as a professional pianist were an invitation to the Académie musicale de Villecroze and her participation in masterclasses with Dominique Merlet, Homero Francesch and Andrea Lucchesini under Whom she undertook further studies at the Music School of Fiesole. In 2007 Cathy performed at the Luxembourg European Capital of Culture opening ceremony. She makes regular appearances Also at the Bourglinster, Echternach International and Musek am Syrdall Festivals in Luxembourg. Cathy's concert engagements included performances in the United States (Kennedy Center Millennium Stage, Washington, DC) and the Netherlands where she played at Rolduc Abbey in response to an invitation by the Euriade Foundation. Also she performed at venues across Austria, Spain, Germany, Latvia, Andorra, Italy, France and Belgium and was subsequently invited to play at the Festival and Summerclassics Pianoplus at Bonn, and to perform recitals at the Museum K20/K21 in Düsseldorf, the Nordrhein Medical Association, the Bathroom Concert Gallery, The Cape Ettelbrück, the Luxembourg House in Berlin and the Grand Théâtre and the Philharmonie in Luxembourg-City. In 2012, Cathy performed at the Liepaja Piano Stars Festival, the Falkenhof in Rheine (D), the Midi-Minimes Fesival in Brussels and the Sint-Peter Festival in Louvain, and at Schoss Elmau (D) among others. Further, she has been invited to be Artist in Residence at the Biermans-Lapôtre Foundation in Paris. In 2013, more concerts Including the Leipziger Klaviersommer and the Mendelssohn-Haus are planned . In Additions to her work as a recitalist, Cathy has performed as a soloist with the Luxembourg Philharmonic Orchestra, the Solistes Européens du Luxembourg, the Luxembourg-based chamber orchestras Les Musiciens and L'Estro Armonico , the Liepaja Symphony Amber Sound Orchestra and the Latvian Philharmonic Chamber Orchestra under various conductors Including Jack Martin Händler, Bramwell Tovey, Garry Walker, Pierre Cao, Yoon K. Lee and Atvars Laktsigala.

Claude Lenners Mirrorwilderness

The title of the piece goes back to the famous poem by TS Eliot (19,290). poem The riguarda the opinions and impressions of a gerontic, or elderly man, through a dramatic monologue Which Describes Europe after World War I through the eyes of a man who has lived the Majority of his life in the 19th Century. Eliot Considered Already published using this poem as a preface to the Waste Land too, but Decided to keep it as an independent poem ... The phrase " wilderness of mirrors "gave me inspiration to write this piece using the piano connected to an electronic device. Unlike the context of the poem, I Consider the title as opening a window to a larger space, where sound is not only reflected by Hundreds of echoes, but increased At Also with multiple chromatic scales of colored shadows. The piece is like a monologue and close to the character of a prelude. ( Claude Lenners, september 2012)

Elio Martusciello Vanishing Point

The vanishing point in this context sound is located not so much in sound gesture, but rather in the suspension before it. From there it radiates a perspective that allows us to observe or "feel" the potential energy that the instability of stasis, the pause, silence, emptiness already eats carefully under his thin skin. Our task is not necessarily to release the energy, nor to hold, sometimes our task can and perhaps should be just to look at it in silence, leaving her there, where she likes to be ... dreaming while sleeping.

Luigi Ceccarelli The Counter Clouds

The job of counter clouds is not easy. The clouds change shape at every moment they join together, separate, appear and vanish continuously. The counter clouds will never reach a definitive result, his is a frustrating job with few rewards. Also counters notes are more or less the same difficulty. The more you rush to provide, to calculate, to structure, plus the nature of the music eludes him.

Arthur Stammet Homage to Leonardo of Pisa

Leonardo of Pisa, mieux connu sous son nom Leonardo Fibonacci (1175 vers à Pise - vers 1250 en Italie) était a mathématicien italien . Nous Devons him the "suite de Fibonacci," one série de nombres entiers, dans chaque nombre Correspond à laquelle the amounts des deux nombres en Precedents commençant par la séquence 1-1 ou 0-1. The résultat obtenu est une progression exponentielle : 0 1 1 2 3 5 8 13 21 34 55 89 144 ... Ces nombres, ainsi que les relations entre eux (par exemple les spirales, the branches agencement des plantes de maintes et du approximation en nombre d'or des utilisant fractions entre les nombre CONSECUTIFS) réapparaissent tellement souvent dans la nature, qu'il pourrait être of chance pts affirmer que les mathématiques en une grande partie régissent. appliquant En une série de croissante modulus à ces nombres, nous découvrons plus ou moins des Séquences répétitives longues, contenant des formules here réapparaissent de temps à autre. Cette caractéristique fractale east autant à la base de la structure de cette musical piece que l'intégration des proportions dues au nombre d'or et des sons de la nature des Traités par algorithmes granulaires. Cette play, here hard exactement huit minutes, culminating point are trouve à la minute cinquième , après des pics intermédiaires aux minutages 2 et 3 (les premières approximations du nombre d'or à une durée de possibles face 8 minutes). Elle évolue microformes, comprimées à partir de macroformes, elles-mêmes microformes, comprimées à partir de macroformes, telles les feuilles d'un arbre here en reflètent the silhouette ou the spiral of a ouragan Earth retraçant the Morphologie toute d'une galaxie entière, structure que nous dans la coquille retrouvons du minuscule escargot pétrifié il ya des millions d'années. Cet homme à Leonardo Fibonacci east aussi a hommage aux mathématiques, dont the fut a pères des européens, et une révérence devant les lois here régissent la nature.

Fabrizio Casti Transparency impossible

Shreds sound , linearly arranged, sounds associated with long or short, with or without pauses (in time), or overlapping sounds associated with acute or severe slipping, anticipating that extend (in space), or placed on different layers of sound (from which hides or shows the meaning), which form disordered constellations from which they emerge and transmit direction. This work has been fundamental in collaboration with Elio Martusciello who composed and performs the electronics.

Concert in collaboration with Noise Watchers Unlimited asbl Luxembourg - www.nowa.lu

www.spaziomusicaproject.com/wordpress/?p=366 3/11 10/31/12 Spaziomusica ... Resonance ... winter 2012 Cagliari 25 October to 15 December | SpaziomusicaProject Sunday 28, Cultural Center The Ghetto, 21 hours

Aki Kuroda , piano

Alexander Scriabin

Ranked # 7 White Mass Sonata

Op.9 Nocturne for left hand

Sonata Ranked # 9 Black Mass

Ver la flamme

Bussotti (1931 -) Shining (1975 )

Yuji Takahashi (1938 -) Hanagatami 2 in memoriam Kazuko Takada (2008)

Yoichi Sugiyama (1969 -) Intermezzo VII (2012), Intermezzo II (2000)

Gabrio Taglietti (1955 -) Study VIII Honky-tonk (eight studies for piano (2011)

Aki Kuroda Completed her studies at Tokyo National University of Fine Arts, improves her musical study under Prof. Bruno Mezzena in Italy. She is very active as concert pianist in Both Europe and Japan. She won first prize at French Music Competition '93, and Contemporary Music Competition in '97th edition. In 1995 she received Xavier Montsalvage Competition prize in Spain. Beyond classical repertoires, Kuroda is collaborating with various contemporary composers like G. Ligeti, I. Xenakis, F. Donatoni, P. Boulez, R. Field, M. Mochizuki and T.Takemitsu . On 2003, Kuroda showed up at Parm's Reggio Theater playing "Pictures at an Exhibition" by M. Mussorgsky, with Maurizio Also Pisati's piece. Afterwards, in the Ticino Musica festival Kuroda played Modifications by M. Jarrell . Kuroda played 2004 On the version for solo piano of Kammershmphony Ranked # 1 by A. Schoenberg . Kuroda collaborates various international musicians as: Alessandro Carbonare (cl), Giorgio Bernasconi (cond), Elena Casoli (chit), Ole Edvard Antonsen (trumpet) , Prometheus Quartet, Catherine Manoukian (vno), Keiko Urushihara (vno), Mari Fujiwara ( vc) etc. Kuroda is specialized Also for A. Piazzolla's music and she came out 2 CD of Piazzolla's music from Japan Victor and in 2004 she released album Tarkus & Pictures at an Exhibition with the music by Keith Emerson Transcripted by Maurizio Pisati.

MONDAY 29, Auditorium of the Conservatory, at 18

A Manuel

Wolfgang Amadeus Mozart (1756-1791) Quintet in me flat Major for Piano and Winds K 452 , Largo - Allegro Moderato, Larghetto, Allegretto

Manuel Pinna, piano; Valeria Manai, oboe; Irene Ferrigni, clarinet; Alessandro Piras, horn, Angelo Ugas, bassoon

Robert Schumann (1810-1856) Three Romances Op 94 for Oboe and Piano, Nicht schnell, Einfach, innig, Nicht schnell

Mario Frezzato, oboe; Paola Chiarion, piano

Gordon Jacob (1895-1984) Two Pieces for two oboes and English horn , Adagio, Allegro

Lia Scalas, oboe I, Claudia Frau, oboe II, Sara Alagna, English horn

Jean Françaix (1912-1997) Quartet for flute, oboe, clarinet and bassoon , Allegro, Andante, Allegro molto

Eleonora Tripiciano, flute; Lia Scalas, oboe, Andrea Lai, clarinet; Sebastiano Italy, bassoon

Luigi Lai (1932) A S. Efisio , ( arr. Ignatius Perra for small orchestra of reeds )

Palestrina Oboe Ensemble: Lia Scalas, Maria Grazia Arcà, Frau Claudia, oboes I; Laura Piras, Valentina Masons, oboes II; Littarru Elena, Giovanna Fulghesu, Leonardo But dau, Jessica Perra, oboes III; Claudia Cogotti, George More, Andrea Deidda Vittorio Pala, oboes IV; Eugenia Feed, Laura Spanu, Joseph Exiana, Manuel Loddo, Gabriele Usai, Nicola Loi, oboes V; Sara Alagna, English horn; Sebastiano Italy, Angelo Ugas,

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bassoons, Mirko Cadeddu, percussion

Mario Frezzato, Director

Concert in collaboration with the Conservatory of Music in Cagliari

MONDAY 29th, Ghetto The Cultural Center, 21 hours

String Quartet Cagliari

Attilio Motzo, Corrado Lepore, violins ; Dimitri Mattu, purple, Oscar Pistrelloni, cello

Marcello Cualbu, Michael Casanova, visual, Marcellino Garau , sound

Fabrizio Casti, Seven variations on the sky for string quartet video and electronic sounds

Steve Reich, Different trains for string quartet and tape

Fabrizio Casti Seven variations on the sky

A world of impalpable abstractions puntillistiche, a world of contours that vibrate ... balance ... that break and reform as you listen to them ... resonances breathing, panting ... stasis swarming ... a world without weight, without force, without a shadow. Suspension to the nth degree.

Steve Reich Different trains

The idea for Different Trains is from my childhood. When I was one year my parents separated. My mother moved to Los Angeles and my father was in New York. Although at the time the trips were exciting and romantic, now I look back and think that if I had been in Europe during this period, as a jew I would have had to travel on trains very different (Steve Reich).

Tuesday 30, Cultural Center The Ghetto, 16-20 hours

International Competition for CYBERARTS 2011

Prix Ars Electronica 2011 (Linz, Austria)

Since 1987, the Prix Ars Electronica has served as an interdisciplinary platform for everyone who uses the computer as a universal medium for Implementing and designing Their creative projects at the interface of art, technology and society. The Prix Ars Electronica, the Ars Electronica Festival, the Ars Electronica Center - Museum of the Future and the Ars Electronica Futurelab are the four divisions That comprise the Ars Electronica Linz GmbH, Whose specific orientation and long-term continuity make it a unique platform for digital art and media culture. The competition is organized by the Ars Electronica Linz GmbH and ORF's Upper Austria Regional Studio in collaboration with the OK Center for Contemporary Art and the Brucknerhaus Linz, and the prizes are Receives Living During the Ars Electronica Festival each year. The Prix Ars Electronica is one of the most important awards for creativity and pioneering spirit in the field of digital media. The event calls for entries in seven categories, Including a youth competition . And since Internationally renowned artists from over 70 countries participate Also in the Prix Ars Electronica, it has established businesses itself as a barometer for trends in contemporary media art. With 48.939 entries since 1987 and prize money in 2011 totalling 117.500 Euros, the competition offers the largest cash purse for cyberarts worldwide. Each year, six Golden Nicas, twelve Awards of Distinction and approximately 70 Honorary Mentions as well as a grant for the category [ the ne xt idea] voestalpine Art and Technology Grant are presented to participants. Since media art is such a highly dynamic field, criteria for the categories have to be modified and adjusted to Constantly societal and technological Developments, and so updated to meet new demands. The Prix Ars Electronica calls for entries and awards prizes in le seguenti categories:

COMPUTER ANIMATION / FILM / VFX

Metachaos / Alessandro Bavari (IT) / Alessandro Bavari Studio; THE EXTERNAL WORLD / David O'Reilly (IE) / David O'Reilly Animation, The Third & The Seventh / Alex Roman (ES) Black Rain / Semiconductor (GB); Chernokids / Matthieu BERNADAT (FR), Nils BOUSSUGE (FR), Florence Ciuccoli (FR), Clement Deltour (FR), Marion PETEGNIEF (FR) / Premium Films; FLUX / Candas Sisman (TR) / freelance, Mei Ling / Stéphanie Lansaque (FR), François Leroy (FR) / Je Suis Bien Content; Raving Rabbids Travel in Time / Akama (FR); Slimtime / Bertrand AVRIL (FR), Pierre Chomarat (FR), David Dangin (FR), Théa Matland (FR ) / Premium Films, The Chase / Smith & Foulkes (GB), The Experience of Fliehkraft / Till Nowak (DE) / framebox, The Ishiyama Excursion / Stefan Larsson (SE) / NQF / AUJIK, The Origin of Creatures / Floris Kaayk ( NL)

www.spaziomusicaproject.com/wordpress/?p=366 5/11 10/31/12 Spaziomusica ... Resonance ... winter 2012 Cagliari 25 October to 15 December | SpaziomusicaProject DIGITAL MUSICS & SOUND ART

Energy Field / Jana Winderen (NO) Bee / Apostolos Loufopoulos (GR); Suite / Philip Jeck (GB), A Balloon for ... / David Tidoni (IT) A Hidden Place / Sohrab (IR); Echelon Teufelsberg / Thomas Ankersmit (NL), Valerio Tricoli (IT): eye contact with the city / Budhaditya Chattopadhyay (IN), Hemispheric / Philip Reeder (GB) La chambre des machines / Nicolas Bernier (CA), Martin Messier (CA) Magic / Panayiotis Kokoras (GR); Music For Listening On The Earth / Yan Jun (CN), NOT BY NOTES / Serhat Karakayali (DE), Sebastian Meissner (DE); Oval - O / Markus Popp (DE) / S / O / N / I / C / / D / O / N / E / S / / Anna Ceeh (AT), Franz Pomassl (AT); Spiderbytes / Lars Lundehave Hansen (DK)

INTERACTIVE ART

Newstweek / Julian Oliver (NZ), Danja Vasiliev (RU); Face to Facebook / Paolo Cirio (IT), Alessandro Ludovico (IT); particles / Motoi Ishibashi (JP), Daito Manabe (JP)

HYBRID ART

May the Horse Live in me, 2011 / Art Orienté Objet (FR); MACHT GESCHENKE: DAS KAPITAL / Christin Lahr (DE); Pigeon d'Or / Tuur Van Balen (BE)

U19 - freestyle computing

Flugundfall / Nikolai Maderthoner (AT) / HTBLVA-Ortweinschule; MADLY IN LOVE / Tarek Khalifa (AT); Die gut gemeinten Fesseln / Bernhard Riedl (AT); APACI-styler / Murat Gürcü (AT), Furkan Hatip (AT), Tugay Sevim (AT) Disco, Dance / Alexander Doubrava (AT) / Zentrum für Medienkompetenz / Verein Erfolg

In collaboration with the Prix Ars Electronica in Linz and Interansemble of Padua

WEDNESDAY 31, Cultural Center The Ghetto, 21 hours

Modular Ensemble

Marco Caredda, Francesco Ciminiello, Migoni Roberto, Roberto Pellegrini, percussion

John Cage / Lou Harrison Double Music (1941)

John Cage Radio Music (1956)

David Lang's The So-Called Laws of Nature (2002)

part 1, part 2, part 3 (very fragile)

Modular mutant is a collection of musicians who has found and continues to find their own sound through percussion figure. The drum sound is here understood not as a sector level and exclusive but, on the contrary, as time including allowing to focus on a few significant moments of thought of contemporary music. Modular was founded in 2005 around the study and research of the Classes of percussion at the Conservatory of Cagliari, and just the drummers of the Conservatory will form the core, from time to time supplemented by the valuable contribution of other musicians, as required by organic. Drumming by Steve Reich is the first major production of the ensemble (First Festival of Percussion 2005 - Music on Ports 2006 - Signal 2007 - Festival Spaziomusica 2011), and was able to take advantage of the valuable contribution of David Cossin (percussionist of "Bang on a Can ") who took care of the orchestration. Always with David Cossin in 2007, the exploration of the universe composition of Steve Reich continued with the execution of Sextet , Music for pieces of wood and Marimba Phase (Signal Festival 2007). Was in September of 2009, a major new production of Modular with the creation, first performance in Sardinia, "Persephassa" by Iannis Xenakis (Musical Encounters 2009). Within this organization "building blocks" of groups of various sizes, comes the Modular Quartet, with the aim of exploring the percussive sound from different operating modes but interconnected.

John Cage Double Music (1941) , Radio Music (1956) .

These two pieces by John Cage correspond to two modes of conceiving the different composition. Double Music , written in collaboration with Lou Harrison, belongs to the period in which Cage, using the semiography traditional music develops insights of Edgar Varese in a direction completely original and radical. The musical texture is developed in an exclusively tonal-rhythmic, without any reference to the heights of the tempered system. The percussion is understood by Cage as inclusive territory that encompasses within it the means of all ethnic traditions, pre- musical objects ( eg. brake drums) and all those special sound stress that change the physical character of the sound of the instruments pre-existing (as in the case of water gong that, immersed in water, can glide as a tool to bow). The sound material is decidedly ethnic organization of durations is characterized by the presence of processes and polyrhythmic layering Polimetrica very sophisticated anticipate decades compositional ideas that

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will be developed under the minimalism. In Music Radio Cage completely abandons the traditional musical notation. Each interpreter has to play his radio, for the entire duration of 6 minutes and a maximum volume, alternating breaks and frequencies laid down in the score. It is an approach to the organization of sounds conceived as a set of containers temporal and random processes of determination of the musical parameters that transforms the composition in a generator of sound events totally different among them.

David Lang , The So-Called Laws of Nature (2002)

" I remember a discussion particularly keen on a quotation from Wittgenstein: ' the basis of all modern view of the world is the illusion that the so- called laws of nature are the explanations of natural phenomena 'This quote bothered all of us ... because it implied that science can not explain the universe, but can only offer mere descriptions of things observed. Over the years, it occurred to me that this could be rephrased as a musical problem. Since the music is made of proportions and numbers and formulas and diagrams I wonder always what they really mean these numbers. Are the numbers themselves generate a certain structure, creating the context and the meaning and form, or are just accidental by-products of other processes deeper and more mysterious? My piece 'so-called laws of nature' attempts to explore the 'meaning' of the various processes and formulas. " (David Lang). Composition The So-Called Laws of Nature has divided the three movements. In the first movement the four percussionists play four instruments of wood-built apparently identical but actually differ slightly from each other. The first part of the piece is characterized by a periodic compression-rarefaction of weaving omoritmica / polyrhythmic, as a kind of repeated breath sound; in the central part of the composition becomes more intense rhythmically giving rise to a stratification kaleidoscopic and then resume, in the final part, the thematic elements of the beginning. percussionists In the second movement, arranged in single file, they play four identical set-up consisting of metallophones tuned autocostuiti, tom-tom and bass drum pedal. It 's the most kinetic movement of the composition that develops a rigorous and complex rhythmic layering Progressive metric of all materials. The third movement, the more static / ecstatic composition, develops in a strictly homorhythmic on 4 set-up of teacups, vases, small metallophones tune, a wod-block and a guiro for each percussionist.

Concert in collaboration with the Association of Musical Encounters of Cagliari

NOVEMBER

FRIDAY 2, The Ghetto Cultural Center, 21 hours

Death in Death Valley

Olivier Dumont (guitares préparées) / Nicolas Thirion (ordinateur) - improv / noise

Pour le projet Death in Death Valley, Olivier Dumont prend sa guitare the corn sil maltraite comme elle était the main cause de ses problèmes. Nicolas Thirion Capte les sons, les TRANSFORME en direct sur son ordinateur et les Projette à grande vitesse sur différents amplis guitare et low. Pas étonnant qu'ils soient cassés ... Death in Death Valley trace son chemin aux frontières de la free impro, de la musique de la ou Electroacoustique noise, corn n'oublie jamais ses Roots rock n 'roll!

Nicolas Thirion

Neither au milieu des années 70 sans être trop pour autant marqué par disco. Ses premières expériences musicales : à deux accords doigts sur harmonium Farfisa orgue et de son grand-père. The découvre bourdons et ainsi clusters. À 15 ans, premiere guitare , The laisse tomber the sport et passe à des heures de tenter reprendre AC / DC et Led Zep, avant de découvrir Sonic Youth, My Bloody Valentine et les musiques industrielles: les vertus du bruit him révèlent one forms différente beauty parlors. Traverse plus tard par la vague électro, the son premier acheté pour ordinateur d'abord toucher à la techno puis à des musiques plus expérimentales. Nicolas Thirion in collaboré of a rock depuis une vingtaine innombrables groupes d'années, formations ephemeres ou plus substantielles comme a ujourd'hui ou Projet Vertigo Death in Death Valley produit et plusieurs Cds. The in achevé a cursus de composition de musique au Electroacoustique Conservatoire de Chalon-sur-Saône (professeur: Jean-Marc Weber). Il est depuis 2003 directeur de Why Note à Dijon, association dédiée à la création, the diffusion et la promotion des musiques contemporaines et expérimentales, organisatrices notamment des festival Why Note, Mégaphone, the Son en Scène Ici et l'Onde.

Concert in collaboration with the Association of Dijon Why Note

Olivier Dumont

Olivier Dumont Officie en sous only the pseudo Allein Luddite également au sein de mais comme Ghotul formations, Death In Death Valley ... Sa musique, utilisant principalement des sources analogiques (magnetic cassettes, objets, voix, guitares) balaie a large specter de la musique concrète aux sonorities électroniques, en passant par le drone et le blues rachitique, entre experimentation, improvisation et composition. "Olivier Dumont guitariste de Dijon, auteur of a CD only étonnant et vraiment excellent sur Utech, Living in Holes and Disused Shafts ; donc pour une exploration only tantôt rugueuse, tantôt nébuleuse, traquant les vibrations, scrutant les textures, épousant les silences, souvent proche de l'équilibre instable, corn moins qu'il n'est cherchant à l'écoute. Une approche personnelle, bruitiste et Audacieuse. "Fernando Sixto - The Cave 12 / Geneve.

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www.myspace.com/olivierdumont http://soundcloud.com/death-in-death-valley-1/death-in-death-valley-this

http://soundcloud.com/death-in-death-valley-1/death-in-death-valley-ive-been

3 Saturday, Cultural Center The Ghetto, 21 hours

Nadejda Tzanova , piano

Modest Mussorgsky , Pictures at an exhibition

Alfred Schinntke , Prelude and fugue I, II

Dmitri Shostakovich , Prelude and fugue

Vassil Kazandjiev , Toccata

Nadejda Tzanova was born in 1986 in Kazanlak, Bulgaria. He began studying music at the age of five years under the guidance of Elena Yulianova. In 2005 he was admitted to the National Academy of Music in the class of Stela Dimitrova - Maystorova and Iliya Chernaev. In 2011 he received his diploma in piano and began specializing in the Royal Conservatory of Brussels, Belgium, with the Master Boyan Vodenicharov. Nadejda Tzanova has participated in numerous master classes with teachers Marcella Cruel , Valerii Shkarupa, Plamena Mangova, Boyan Vodenicharov, Maurizio Moretti. He has won over twenty international competitions, including: Franz Schubert (Russia), German and Austrian Music (Burgas), Classic and Modern Times (Stara Zagora), Young Virtuoso (Sofia), The Music and the Earth (Sofia), Hopes, Talents, Masters (Dobrich - Albena), Zeiler (Sofia), Zeiler (Rhodes, Greece) Valentino Bucchi (Rome, Italy) and Sergei Prokofiev (Donetsk, Ukraine). In 2007 Nadeida participated in the Festival Pianissimo and Apolonia, in 2008 Austrian Music Weeks in 2011 IV International Festival Bosa Antica, Italy. For artistic merit has received major scholarships from foundations such as Solty Foundation and Todoroff , Globul M3 Communications Group and many others. In 2008, during the gala concert dedicated to the 110th anniversary of the Master P.Vladimirov and eighty years of the Sofia Philharmonic Orchestra, conducted by Martin Klepetko, performed the first Tchaykovski Concert for piano and orchestra. He plays in important seasons in Italy, Germany, Spain, Portugal, Ukraine, Hungary, Austria, Czech Republic Records, also, regular concerts and recitals for Radio Television of Bulgaria.

4 Sunday, Cultural Center The Ghetto, 21 hours

Orlando ...

Shreds Of Humor Nitrite And Fugues Clopete Clopete

Senio GB Dattena , direction and interpretation; Alessandro Cau , percussion, Daniele Ledda , music and electronic processing; Mariano rope , sculpture

"Women, knights, arms, loves, the courtesies, the daring enterprises I sing" ... Start with these verses the Orlando Furioso. Almost a declaration of intent. But to take faith in this statement Ariosto plunders the mythology of Greek and Latin ( Iliad, Odyssey, Aeneid, Metamorphoses , etc.), takes the Italian Trecento (Dante, Petrarch, Boccaccio), takes the Breton Cycle and the Carolingian incorporates ' love Orlando of Boiardo, takes a lot of other things, puts everything in one pot and shake well. He puts it to rest for some time (just thirty years of continuous corrections, filings, additions), then fires it, sorry ... the public. All this for the beauty of forty songs all pretty long . Also we will begin our performance with the first verses of the Orlando furioso, but ... then what? The other verses? The countless, extraordinary, wonderful stories? Unable to tell you all, we tried to figure out how to make the multitude of voices, of colors, of intentions, rhythms. How to make the striking irony that permeates much of the work. importantly, how to make everything an actor, a percussionist, live electronic processing and voice recordings . Somehow, we have taken the same path of our. Recordings of the voices we have left fragments, explosions, echoes of stories. This is to give the perception of physical, tactile, aural, of the countless voices, colors, intentions, rhythms, present in ' Orlando . then we have entrusted the task of the actor introduce us to the main themes, the best-known stories, but also in the " dark forest "of feelings and adventures parallel, so dear to Ariosto. A mass of fragments full of beautiful lines and refined irony . In this operation, is the fundamental musical feeling should permeate the whole work. Feeling that it is not the exclusive prerogative of the percussion or electronics but the performance altogether. Where each element becomes a character and each character becomes a musical instrument. It is in this unit that you play performance in this listening and listening, in this constant dialogue between the various elements. Is in this game of references and expectations, in this continuous lost and found, one of the keys to understanding that most fascinated us nell'Orlando and we have tried, if not penetrate, at least to touch.

DECEMBER

www.spaziomusicaproject.com/wordpress/?p=366 8/11 10/31/12 Spaziomusica ... Resonance ... winter 2012 Cagliari 25 October to 15 December | SpaziomusicaProject Saturday 15, Cultural Center The Ghetto, 0re 21

Te Deum

For choir, string orchestra, soprano saxophone and percussion

Choir of the University of Sassari - Small Orchestra D'arcs

Daniele Manca, director

Marcello Pusceddu , Take Daniele Manca , Te Deum David Soddu , you gloriosus Gabriele Verdinelli , Tu Rex gloriae Daniele Manca , Aeterna fac Stefano Garau , Miserere

The Te Deum for choir, string orchestra, soprano sax and percussion , already premiered on June 9, in the Church of St. Catherine in Sassari, was commissioned by the Choir of the University of Sassari composers Sassari Stefano Garau , Daniele Manca, Davide and Gabriele Soddu Verdinelli, on the occasion of the events for the celebration of the 450th anniversary of the founding of the University of Sassari. Though written "many hands", the composition expresses a unitary concept, both on the stylistic and structural, and on that of the symbolic meaning: the material theme of its five parts, in fact stems from a common matrix, based on notes and lyrics of the Gregorian chant "Veni Creator Spiritus" that the Jesuit Order - founder of the University of Sassari, 450 years ago - was singing at the inauguration ceremony of the academic year. In carrying out this evening, the Te Deum play in a partially renovated version, which also includes the insertion of a Take only instrumental, in which the composer Cagliari Marcello Pusceddu has developed through a liberal interpretation, the melodic motifs characteristic of " Veni Creator Spiritus ", then organically integrating its contribution in the composition project work.

The Choir of the University of Sassari H in started its activity in 1999 with the students and staff of the University of Sassari, united by a common passion for music and singing. It has a varied repertoire of sacred and secular songs from different genres and eras, and participates in all the institutional manifestations of the University of Sassari. Since it was established in 2011 Association Choir of the University of Sassari, currently chaired by the Vice-Chancellor Prof. Laura Manca, under the leadership of Chancellor Dr. Grace delegated Fenu and the artistic direction of Prof. Stefano Melis. The choir is directed from its inception by M ° Daniele Manca. Since 2001 he has participated in several editions of the concert in the presence of the Holy Father in the Sala Nervi of the Vatican City . well as in numerous centers of Sardinia, the choir has given concerts Perugia, Reggio Emilia, and accompanied the Holy Mass in the Lower Basilica in Assisi. In 2007 he participated in the fourth edition of the National Competition for polyphonic choirs "notes the end of summer" , winning the first prize. Among the most recent, in December 2011 he participated at the International Advent Singing, held annually in the city of Prague, and has performed the world premiere of Te Deum for choir, string orchestra, soprano sax and percussion, composers S. Garau, D. Soddu, D. Manca and G. Verdinelli, on the occasion of the celebrations of the 450th anniversary of the founding of the University of Sassari.

The Little String Orchestra is an ensemble of young musicians that will appeal to a diverse audience of enthusiasts and experts, in order to occupy a yet unexplored repertoire for string orchestra. Thanks to the research, composition and arrangement by Daniele Manca and David Soddu, respectively director and first violinist of the group, the Orchestra engages in a repertoire ranging from contemporary music to jazz, funk to blues, from Latin American music to pop up the most famous film scores and some original compositions written specifically for this ensemble .

Concert in collaboration with the University Choir and the Little String Orchestra Sassari

The entrance to the exhibition is free to all

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