MA/IN 2017 matera intermedia festival >> SUPPORT \\ _CONTENTS_

5_ ma/in festival introduction

6_ The organizing committee

7_ Technical supervisors

8_ Selection panel

19_ MA/IN~spaziomusica commission 2017

20_ MA/IN venues

24_ festival overview

25_ awards

26_ LISTENING | visual room

With the generous support of / col generoso supporto di 35_ Sound installation

36_ live concerts

56_ shots

60_ performer BIOGRAPHIES Under the patronage of / col patrocinio di 68_ COMPOSER BIOGRAPHIES

2 3 MA/IN 2017 matera intermedia festival /// INTRODUCTION |||

The LOXOSconcept and KEYHOLE organizations, with the generous support of the “CARICAL” Foundation, Casa Cava Auditorium, the “E.Duni” Conservatory in Matera, the “Fondazione Sassi”, the “Spaziomusica” oganization of and the patronage of “Matera 2019 Foundation” promotes the second edition of MA/IN [MAtera INtermedia festival].

The MA/IN festival is aimed at the production and promotion of sonic and digital arts at an international level. Its focus is to become an annual meeting point between artists and composers, within a unique and lovely background of the city of Matera.

Every year A/V performances, live electronics, events, sound installations, workshops and masterclasses will be organized in several evocative venues like the ancient hypogea of Casa Cava.

Within the MA/IN, an annual call for artists will be announced. It involves an international jury panel consisting of famous international composers and artists in the feld of electronic arts.

The festival is composed by four diferent categories : [A] Acousmatic ~ [B] Mixed Media ~ [C] AudioVisual ~ [D] LivePerformance/SoundArt ~

With the support of SPAZIOMUSICA organization of Cagliari (, ) the MA/IN has issued a special call. The aim was the creation of new works for Voice and Electronics commissioned for ELEONORA CLAPS (soprano).

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The organizing committee technical supervisors

LOXOSconcept organization – ARTISTIC DIRECTION / ADMINISTRATION FONDAZIONE SASSi ( LISTENING | VISUAL ROOM ) Giulio Colangelo ARTISTIC DIRECTOR / EXECUTIVE PRODUCTION Giulio Colangelo TECHNICAL MANAGER Donato Corbo ARTISTIC DIRECTOR / WEBDESIGNER - COMMUNICATION Donato Corbo TECHNICAL MANAGER Valerio De Bonis ARTISTIC DIRECTOR / TECHNICAL SUPERVISOR Valerio De Bonis SOFTWARE DESIGNER valerio vitale TECHNICAL SUPERVISOR Co-Organizers conservatory of matera ( auditorium Gervasio ) ORGANIZATION Keyhole Giulio Colangelo TECHNICAL DIRECTOR ORGANIZATION spaziomusica Donato Corbo TECHNICAL SUPERVISOR/PROGRAM MANAGER ORGANIZATION materelettrica Valerio De Bonis TECHNICAL SUPERVISOR ASSOCIATION BLUECATBLUES davide sergio TECHNICAL A/V ASSISTANCE diego d’ambrosio STAGE ASSISTANCE economic support olindo linguerri SOUND ENGINEER gerardo criscio STAGE MANAGER fondazione carical (CASSA DI RISPARMIO DI CALABRIA E DI LUCANIA) CASA CAVA AUDITORIUM art patronage Giulio Colangelo TECHNICAL DIRECTOR Donato Corbo TECHNICAL SUPERVISOR/PROGRAM MANAGER matera 2019 fondation domenico filitti TECHNICAL ASSISTANCE COnservatory of mAtera davide sergio TECHNICAL A/V ASSISTANCE comune of mAtera diego d’ambrosio STAGE ASSISTANCE olindo linguerri SOUND ENGINEER SPONSORS gerardo criscio STAGE MANAGER

CYCLING 74 [ max / msp ] giovanni lancellotti VIDEO PRODUCTION / PHOTOGRAPHY fra i sassi residence Angelo Gabriele Mazzolla VIDEO PRODUCTION / PHOTOGRAPHY osteria malatesta WAVE SERVIce AUDIO RECORDING residence san pietro barisano

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Rome, as composer, researcher and musical # The selection panel »» assistant. She studied with Enrico Renna, Annamaria Morini and Peter-Lukas Graf; Composition with and Guido Baggiani, Agostino Di Scipio (, Italy, 1962) Music Technology with Michelangelo Lupone and composer, sound artist, scholar. Graduated Giorgio Nottoli and she has achieved the Diploma in Composition and from the of Flute at Conservatoire of Salerno, the Diploma of Conservatory of L’Aquila, studied Computer Music Composition and the Diploma of Electronic Music at CSC, University of Padova. Di Scipio explores at Conservatoire of L’Aquila and at Conservatoire of original methods in the gener¬ation and transmission . Silvia Lanzalone’s work is oriented towards of sound, often featuring phenomena of emergence experimentation and research into new expressive and linguistic solutions, primarily using and chaotic dynamics, in either live electronics the computer technology in order to process sound in real time. Recently her interest in performance contexts, chamber music contexts or mainly focused on the creation of pieces characterized by improvisation and a gestural sound installation works. Many of his recent works component. In these works the use of the computer is generally combined with the creation implement “man-machine-environonment” net-works of purely sonic interactions (e.g. the of interactive instruments and sound installations. In Silvia Lanzalone’s works, technology, Audible Ecosystemics series, and the more recent Modes of Interference series). A recent rather than imposing itself on the natural sound in order to modify it trough artifcial special issue of Contemporary Music Review draws on Di Scipio’s artistic achievements in algorithms, becomes part of the whole physical-acoustic structure of a new ‘instrument’, this direction. His music is available on various labels (RZ Edition, Chrysopeé Electronique, conceived and designed in parallel with the music in order to give life, each time, to a Wergo, Neuma, etc.). With pianist Ciro Longobardi, Di Scipio published a full-length specifc and independent artwork, both plastic and sonorous. The interest towards the realization of ’s Electronic Music for Piano ( Biennale 2012, available on visual element is based on the aesthetical idea that the work of art is an intermedial Stradivarius). With saxophonist and political agitator Mario Gabola, he runs the Upset duo experience in which several perceptual items do converge into it. Silvia Lanzalone’s most exploring recycled analog circuitry (Upset, Viande). His output also includes two chamber recent works have been produced with the collaboration of instrumentalists, dancers, flm theatre works with poetry reading and electroacoustics, Tiresia and Sound & Fury. Artist- directors, actors and visual art performers. In 2000 Silvia Lanzalone won the “Quarant’anni in-residence of DAAD (2004-2005) and other international residency programs, Di nel 2000” International Prize of Composition organized by Federazione CEMAT - Centri Scipio has served as full-time professor in Electroacoustic Composition at the Conservatory Musicali Attrezzati, for the creation of a musical theatre work for children, called Junofrst of Naples (2001-2013) and today holds the same position in L’Aquila, a small medieval (KHJay e Neuroboy contro i pirati del Web), that has been produced by Società Aquilana town in the Appennine mountains, where he lives. Edgar-Varèse-Professor at Technische dei Concerti “B. Barattelli” and by CRM - Centro Ricerche Musicali in Rome. In 2006 she Universität, Berlin (2007-2008), guest professor in various international institutions, active won the “Franco Evangelisti International Prize of Composition” with the work Il suono member of the research team Ecologies du son at University 8. His writings focus Incausato, improvise-action for suspended clarinet, clarinettist and electronics (2005). In on cognitive and political implications of sound and music technologies (e.g. the volume 2009 she had a grant from the “C. M. Lerici Foundation” to make a research project on Pensare le tecnologie del suono e della musica, Naples 2013), issues that are also central female voice in contemporary music at the KTH - Royal Institute of Technology of Stockholm, in many of compositions and sound works (see the recent book + CD Polveri sonore, La Department of Speech, Music and Hearing. In 2013 her work for digital medium Alba Camera Verde, Roma, 2014). Guest editor of the Journal of New Music Research for a d’oro was selected in the call of Federazione CEMAT “6° CD Call Punti di Ascolto”, for the special issue on Iannis Xenakis, and editor of various volumes including Xenakis’ Universi production of a CD of electronic works. In 2015 she created the music for Teresa d’Avila, del suono ( 2003), Gottfried Michael Koenig’s Genesi e forma (Rome, 1995), Michael Esclamazioni dell’anima a Dio, a two-hours drama realized with the complete text of Santa Eldred’s Heidegger, Holderlin & John Cage (Rome 2000). http://agostinodiscipio.xoom.it/ Teresa D’Avila, translated and performed by Silvia Schiavoni, whose voice was elaborated adiscipi/ and transfgured by computer, together with the sounds of Gianni Trovalusci’s fute and other electronic sounds; this work was commissioned and broadcast by Radio Vaticana, introduced by Cardinal Gianfranco Ravasi and Monsignor Melchor Sánchez de Toca, and SiLVIA LANZALONE (Salerno 1970), composer. Silvia Lanzalone is the Head of the produced Marco Di Battista. Silvia Lanzalone did write some articles which were published Department of New Technologies and New Languages and professor of Electronic on specifc books and magazines (Organized Sound-International Journal of Music and Composition at the Conservatoire ‘G.Martucci’ of Salerno, since 2009. She also collaborate, Technology, Syrinx, Music@, Equipeco, Le arti del suono, UTET Università) did lectures and since 1997, with CRM collaborate, since 1997, with CRM – Centro Ricerche Musicali in masterclasses on Electronic Music and New Technologies, as well as talks during several

8 9 MA/IN 2017 matera intermedia festival international conventions (CIM-Colloquium on Musical Informatics, EAW-Electroacoustic 2008 and 2004 (France), Gianni Bergamo 2007 (Switzerland), Musica Viva 2005 and 2002 Winds, NIME-New Interfaces for Musical Expression, UCM-Understanding and Creating (Portugal), Gaudeamus 2004 and 2003 (Holland), Jurgenson Competition 2003 (), Music). Her compositions have been performed both in national and international festivals: Takemitsu Composition Award 2002 (Japan). He is founding member of the Hellenic Accademia Filarmonica Romana, Rome; Arte Scienza, Rome; Corpi del Suono, L’Aquila; Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was Distanze, Catania, EmuFest, Rome; Festival di Musica Verticale, Rome; Festival di Nuova board member and president. He is currently secretary of the Interactional Confederation Consonanza, Rome; Festival Scelsi, Rome; Futura, Crest, France; Jornadas Internacionales of Electroacoustic Music (CIME/ICEM). He was Conference Chair for the ICMC 2015 and de Música Electroacústica, Cordoba, Argentine; Les Journées Grame, Lione, France; currently serves as the CEMI Director – Centre for Experimental Music and Intermediary at Musica Scienza, Rome; Music out of time. A discovery Series. Electroacustic Music: The the University of North Texas. Continuing Tradition, Maryland, USA; NYCEMF - Electroacoustic , USA; Novecentomusica, Firenze; Synthèse2005, Bourges, France; Spazi aperti 5, Rome; Stagione Concertistica della Società Aquilana dei Concerti B. Barattelli, L’Aquila, Born in Milan, holding dual Italian-Swiss citizenships, Oscar Bianchi Autumn, Warsaw, Poland. Her works are published by Ars Publica, Taukay and completed degrees in composition, choir conducting and electronic music at the Giuseppe Suvini Zerboni. http://www.silvialanzalone.it/ Verdi conservatory of Milan. He pursued studies in composition taking part in master programs such as at IRCAM - Centre Pompidou and with a doctoral degree at in New York. Vitality, pulsing rhythms, and virtuosity are the hallmarks of the Panayiotis Kokoras (Greece, 1974) is an internationally award-winning composer and music created by Bianchi, who reveals a sensible interest in new phrasings and new computer music innovator. He is an Associate Professor at the University of North Texas. ornamentations, something to be expected from someone whose ears are fnely attuned to Born in Greece, he studied classical guitar and composition in Athens, Greece and York, the music from all corners of the globe. A vocal quality, even in his instrumental work, can England; he taught for many years at Aristotle University in Thessaloniki (among others). strike us as a prominent feature of his music. Exuberant and intelligent, this vocal dimension Kokoras’s sound compositions use timbre as the main element of form. His concept of plays with a refned art of accentuations in all its intermediate degrees. We know him now “holophony” describes his goal that each independent sound (phonos), contributes increasingly interested in cantata and opera: at its core, Bianchi’s music continues to be equally into the synthesis of the total (holos). In both guided by the challenge of dramaturgical and formal issues. The unexpected contrasts instrumental and electroacoustic writing, his music between voluble virtuosity and contemplative stasis calls upon a “virtuosity of sound,” emphasizing the are the driving force of his fair for dramatic gesture. precise production of variable sound possibilities His music is joyfully violent in breath and in song but and the correct distinction between one timbre and may suddenly come to rest in prayer, via a specifc another to convey the musical ideas and structure of harmony, as though struck by the noonday light. the piece. His compositional output is also informed Commissioned by the Aix-en-Provence Festival by musical research in Music Information Retrieval and Théâtre & Musique, his frst opera, Thanks to compositional strategies, Extended techniques, My Eyes, libretto and direction by Joël Pommerat, Tactile sound, Augmented reality, Robotics, Spatial received critical acclaim by audiences and critics alike Sound, Consciousness and Music. His compositional (A masterly portrait of Melancholy, Le Monde, July 7, output consists of 62 works ranging from solo, ensemble and orchestral works to mixed 2011). His music has been performed by outstanding media, improvisation and tape. His works have been commissioned by institutes and ensembles and such as Gewandhaus Leipzig, Orchestre Philharmonique de festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), MATA (New Radio France, Deutsche Symphonie Orchester, , Klangforum Wien, JACK York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung quartet, Les Percussions de , Ictus, Quatuor Diotima, Ensemble Remix, Nieuw (Germany) and have been performed in over 600 concerts around the world. His Ensemble, Ensemble l’Itineraire, Ensemble Contrechamps, International Contemporary compositions have been selected by juries in more than 230 international calls for scores Ensemble, Alarm Will Sound, David Grimal, Kammerensemble für neue Musik Berlin, and have received 64 distinctions and prizes in international competitions, among others Phoenix Ensemble, Collegium Novum Zürich, Drumming Grupo de Percussão from Porto, KLANG! Composition Competition 2016, Franco Evangelisti Prix 2012 (Italy), Destellos Ensemble Laboratorium, Osterreichiches Ensemble für neue Musik, Sound’arte. Upcoming Prize 2014 and 2011 (Argentina), Prix Ars Electronica 2011 (Austria), Métamorphoses projects include new works for the Symphonieorchester des Bayerischen Rundfunks, 2014, 2010 & 2000 (Belgium), Giga-Hertz Music Award 2009 (Germany), Bourges 2009, della Svizzera Italiana, Ensemble Modern, Jack, Remix ensemble,

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Symphonietta, Asko-Schoenberg and Collegium Novum Zürich. Oscar Bianchi was a Berlin 2002, Activating the Medium, San Francisco 2003, sounding spaces, Tokyo 2003, guest of the DAAD Kunstlerprogramm Berlin, Pro-Helvetia in Warsaw and Johannesburg Resonances - The Electromagnetic Bodies Project, ZKM, Karlsruhe 2005, Her Noise, and the Atlantic Center for the Arts in Florida. He has been awarded numerous prizes, London 2005, B!AS International Sound Art Exhibition, Taipei 2005, Stockholm New Music such as the Gaudeamus frst Prize, the Grand Prix de la SACEM, the Dussurget Prize, the 2006, Invisible Geographies: Sound Art from Germany, New York 2006, Sharjah Biennial Asm-Stv Prize, the Aargauer Kuratorium fellowship and the Ictus fellowship. «Partendo», for 2007, Huddersfeld Contemporary Music Festival 2007, Soni(c)loud, Mexico City 2008, countertenor and ensemble, has been awarded with the 2016 IMC International Rostrum RUHR2010, European Capital of Culture project, Ruhr area 2010, Salon Urbain de Douala, of composer’s prize. His CD Portrait won in 2013 the German Record Critics’ Award. The Cameroon 2010, gateways, Art and Networked Culture, Tallinn 2011, White Walls Have works of Oscar Bianchi have been performed throughout Europe, Asia and the Americas Ears, Hong Kong 2012, Sound Art. Klang als Medium der Kunst, ZKM, Karlsruhe 2012, in prestigious venues such as Philarmonie Berlin, Alice Tully Hall (Lincoln Center, New bonnhoeren, Beethovenstiftung Bonn, 2013, festival NOW, Essen 2014, blurred edges York); Luzern Festival; Festival d’Aix-en-Provence, La Monnaie, Moscow Philharmonic, festival, Hamburg, 2015. Her music has been released with various labels such as Cramps Muziekgebouw, Amsterdam; Herkules Saal Munich, Venice Biennale; Musica Festival Records, Edition RZ, ampersand, semishigure, Die Schachtel, Olof Bright, AA Records. Strasbourg; Autumn Festival Warsaw; Casa da Musica Porto, Cairo Opera, Ultrashall Berlin; Christina Kubisch has been a visiting professor in Maastricht, Paris and Berlin. She has Eclat ; Gasteig Munich; Ars Musica, Bozar, Brussels; Archipel, Geneva; Tages für been a professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany, from Neue Musik, Zürich; IRCAM Centre-Pompidou, Paris; Abbaye du Royaumont; DRS; RSR; 1994 to 2013. She is a member of the Akademie der Künste Berlin since 1997. RSI; RAI; France Culture; RFI; TFI; France Inter; RTBF; ORT; SWR; Deutschland Kultur, RBB, Tchaikovsky Conservatory, Moscow; the University of Witwatersrand, Johannesburg; Kulturhuset, Stockholm; Sonora Festival, Cologne; OggiMusica, Lugano; Musica è Realtà, Pierre JODLOWSKI is a composer, performer and multimedia artist. His music, often marked Milan; Nuove sincronie, Milan; Milan Conservatory; Teatro Comunale di , Nuova by a high density, is at the crossroads of acoustic and electric sound and is characterized Consonanza, Rome; CEMAT, Rome. [Jean-Luc Plouvier] by dramatic and political anchor. His work as a composer led him to perform in France and abroad in most places dedicated to contemporary music aswell as others artistic felds, dance, theater, visual arts, electronic music. His work unfolds today in many areas : flms, Christina Kubisch was born in Bremen in 1948. She studied painting, music and interactive installations, staging. He is defning his electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Performances, music as an “active process” on the physicall level concerts and works with video in the seventies, subsequently sound installations, sound [musical gestures, energy and space] and on the sculptures and work with ultraviolet light. Her psychological level [relation to memory and visual compositions are mostly electroacoustic, but she has dimension of sound]. In parallel to his compositions, written for ensembles as well. Since 2003 she works he also performs on various scenes (experimental, again as a perfomer and collaborates with various jazz, electronic), solo or with other artists. Since musicians and dancers. Numerous grants and 1998 he is co-artistic director of éOle (research and awards, such as the Award of the German Industrial production studios based in Odyssud - Cultural Association (BDI) 1998, composition grant of the city center in Blagnac) and Novelum festival in Toulouse of Berlin 2000, Carl Djerassi Honorary Fellowship, (from 1998 to 2014). He has been collaborating with USA 2000, artist-in-residence IASPIS, Stockholm various ensembles such as : Intercontemporain (Paris), Ictus (Belgium), KNM (Berlin), the 2002, Honorary prize of the German Sound Art Prize Ensemble Orchestral Contemporain (France), the new Ensemble Moderne (Montreal), Ars 2008, City sound artist Bonn, 2013. Since 1974 solo Nova (Sweden), Proxima Centauri (France), Court-circuit (France), Ensemble Les Éléments exhibitions in Europe, USA, Australia, Japan and South America. Numerous participations (France), the Berg Orchestra (Prague), Soundinitiative (Europe) and various soloist from the in international festivals and group exhibitions such as: Pro Musica Nova, Bremen 1976 and international contemporary music scene. He also conducts collaborations with musicians 1980, Für Augen und Ohren, Berlin 1980, Biennale of Venice 1980 and 1982, documenta such as preferred Jean Geofroy - percussion, Cedric Jullion - fute, Wilhelm Latchoumia 8, Kassel 1987, Ars Electronica, Linz 1987 and 2010, Steirischer Herbst, Graz 1987, - piano, for works and research on the new instruments capacities. He performed in a trio Biennale of Sydney 1990, Biennale of Nagoya 1991, Donaueschinger Musiktage 1993 with Roland Auzet (percussion) and Michel Portal (sax & clarinet), a duo with drummer and 1997, Sonambiente, Berlin 1996 and 2006, Klangkunstforum Parkkolonnaden, Berlin Alex Babel and diferent projects with musicians from improvised music scene in Europe. 1999, Sonic Boom, London 2000, Visual Sound, Pittsburgh 2001, Singuhr Hörgalerie, His work led him to develop collaborations with visual artists, in particular, David Coste for

12 13 MA/IN 2017 matera intermedia festival specifc projects with video. He also works as a stage designer on several projects at the cros.art ensemble, Neue Vocalsolisten Stuttgart, Ensemble Intercontemporaine, Jack intersection of theater, installation, concert or oratorio. He has received commissions from Quartet, Chiara Quartet, Ensemble L’Arsenale, Ensemble Hand Werk, Nikel Ensemble, IRCAM, Ensemble Intercontemporain, the French Ministry of Culture, Akademie der Künste Elision Ensemble, Promenade Sauvage, Ensemble Dal Niente, Ensemble Contrechamps, (Berlin), CIRM, GRM, the Donaueschingen Festival, Radio France, the Piano Competition Orchestra and Choir of the Staatstheater (DE). Her electronic music has been in Orleans, GMEM, GRAME , Siemens Foundation, the Opera of Toulouse, the European selected for the International Computer Music Conference in Huddersfeld, UK (ICMC 2011), project INTEGRA, the studio EMS - Stockholm, the Royaumont Foundation, Cabaret Seoul International Computer Music Festival (SICMF 2012), New York City Electroacoustic contemporain, Venice Biennale music festival, Polish Ministry of Culture… Winner of several Music Festival (nycemf 2013 and nycemf 2015, New York City); International Computer international competitions, he won the Prix Claude Arrieu SACEM in 2002, the Prix Hervé Music Conference in Perth, Australia (ICMC 2013); Athens, Greece (ICMC 2014); Denton, Dugardin SACEM in 2012, and was in residence at the Academy of the Arts of Berlin in Texas (ICMC 2015). In 2017, she will be composer in residence at IRCAM with a research 2003 and 2004. In 2013 he won a Prize awarded by “Academie Charles Cros” for one of project on voice and voice extended techniques. his CD. In 2015 he is the winner of The Great Lyceum Prize in France for his piece “Time & Money”. His works are performed in key places devoted to contemporary sound arts in France, Europe, Canada, China, Corea, Japan and Taiwan and the United States. His Valerio Murat (1976, Italy) is an intermedia artist. After his studies in Composition with works are partly published by Editions Jobert and are the subject of several CD and video Antonio Poce and Electronic Music with Alessandro Cipriani he carried on his exploration recordings on the labels éOle Records, Radio France and Kaïros. He is living in France and between arts working with music and video. His works have been awarded in diferent Poland. international competitions: I° prize Giga-Hertz-Awards, ZKM, Karlsruhe, Germany. I° prize Concours International de Musique et d’Art Sonore Electoacoustiques, Bourges, France. I° prize “eading Panel IRCAM, Ensemble Intercontemporain, Paris, France I° prize Marta Gentilucci studied Vocal Arts as soprano at Conservatory “F. Morlacchi” in Gaudeamus Composition Prize, Amsterdam, Netherlands. International Computer Music Perugia; there she also obtained her Master of Arts Conference (2005/2006/2012) Honorable mention in English and German Literature cum laude. She Concours International de Musique et d’Art Sonore began studying composition at the Conservatory “L. Electoacoustiques”, Bourges France (2005/2008). Cherubini” in . In 2004 she moved to the EXiS International Competition Experimental Film and University of Music in Stuttgart, where she attended Video, Seoul, Korea (2005/2007) Prix de la Création the composition course with Marco Stroppa, and Vidéo, Videoformes, Clermont Ferrand, France in 2007 she obtained her diploma. In 2008 she (2012/2013) Roma Poetry Film Festival - Special attended the post-graduate course in composition awards 2013 His works have been performed with Chaya Czernowin in Vienna and the Master in and screened in diferent places all over the world, Composition-Computer-Music with Marco Stroppa among others: Paris, France, IRCAM Agorà Festival; and Oliver Schneller in Stuttgart (2008-2010). In Amsterdam, Netherlands, Concertgebouw; Paris, 2009/10, she was selected for the Cursus1 at Ircam; in 2011/12, she participated at France, Radio France Festival Presence; Amsterdam, Netherlands, Gaudeamus Muziek Cursus2 with a project for Voices, ensemble and live electronics. She is currently fnishing Week; Venezia, Italy, Biennale di Venezia; Karlsruhe, Germany, ZKM Center for Art and the Ph.D Program in composition at Harvard University under the guidance of Chaya Mediatechnology; New York, USA, Electronic Music Foundation; Barcelona, Spain, Czernowin and Hans Tutschku. She obtained several scholarships and prizes, including: L’Auditori; Amsterdam, Netherlands, Stedelijk ; Amsterdam, Netherlands, Theater the scholarship of the Festival Junge Künstler Bayreuth 2004, Scholarship-prize of the Felix Meretis; Apeldoorn, Netherlands, Gigant Theater; Berlin Germany, International “44. Internationalen Ferienkurs Darmstadt” 2006, scholarship of the Centre Acanthes Sound Art Festival; Morelia, Mexico, CMMAS Centro Mexicano para la Musica y las Artes 2007, Markel Stiftung 2006-09, scholarship of the Kuststiftung Baden-Württemberg 2008, Sonoras; Boston, USA, Institute of Contemporary Art; Chicago, USA, Columbia College; residency at the Electronic Studio Akademie der Kunst Berlin (ADK) 2010, scholarship of New Orleans, USA, Dixon Hall; New York, USA, Living Theatre; New York, USA, Stony the Experimentalstudio des SWR Freiburg for Matrix09/10/11/12. In 2011 she obtained Brook University; Roma, Italy. Auditorium Parco della Musica; Clermont-Ferrand, France. the Stroebelstiftung Arbeitstipendium. Her music has been performed in Italy, France, Hamburg, Germany, International Sommerfestival Kampnagel; Videoformes; London, Germany, Korea and Japan, USA and UK by ensembles as Wind Quintet from the England, Barbican Centre; Los Angeles, USA. The Vine Theatre; Lyon, France, Conservatoire Orchestra Nazionale RAI, Ensemble Surplus, Interzone Percettible, Ensemble Ascolta, National Supérieur Musique et Danse de Lyon; Eindhoven, Routebeschrijving Witte Dame;

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Cologne, Germany, 10th Cologne International Videoart Festival; Marseilles, France, Fe.V.E. for the theatre. He also worked as artistic director Festival de Vidéo Expérimentale; Marseilles, France, Instants Video; Marseilles, France, for over twenty years, especially for the concert Les Instants Video Numériques et Poétiques; Berlin, Germany, Zebra Poetry Award; series Clair de terre (Association pour la création et la Minneapolis, USA, MacPhail Center for Music; Osnabrueck, Germany, European Media recherche électroacoustiques du Québec (ACREQ)) Art Festival; Rotterdam, Netherlands, Theater Lantaren-Venster; San Francisco, USA, The from 1989 to ’93 at the Planétarium de Montréal, Victoria Theatre; Stuttgart, Germany, Filmwinter; Tokyo, Japan, Seco Lounge, The Ball and Rien à voir and Akousma (Réseaux) from 1997 Room; Toulouse, France, Traverse Video; Umeå, Sweden, Verkligheten “Borders”; Utrecht, to 2006. He is Professor in electroacoustic music Netherlands, Impakt Festival; Utrecht, Netherlands. Theaterkikker; Athens, Greek, Athens composition at Université de Montréal since 1999. Video Art Festival; Beirut, Lebanon, New Moving Images; Washington, USA. Western after completing the frst PhDMus in Electroacoustic Washington University; Wellington, New Zealand. Victoria University Campus; Ankara, Composition (1992), under Marcelle Deschênes and Turkey. Metu Video Festival; Miami, USA, New Music Miami ISCM Festival; Seul, South Francis Dhomont. He leads the Groupe de recherche immersion spatiale (Spatial Immersion Korea, EXiS, Experimental Film Festival. His music is broadcasted by the BBC3 England; Research Group, GRIS), which produces sound spatialisation software. He received three Radio France, France; SWR2, Germany; VPRO Radio 4, Netherlands. Currently he is Prix Opus from the Conseil québécois de la musique (CQM): two in 1999 — “Composer of professor of Multimedia at the Conservatorio di Musica Licinio Refce, in Frosinone, Italy. the Year” and “Record of the Year — Contemporary Music” for Figures (IMED 0944) — and one in 2013 — “Record of the Year — Contemporary Music” for Palimpseste (IMED 12116). The Académie québécoise du théâtre (AQT) has given him two Masque Awards (“Best Du Yun, born and raised in Shanghai, China, Music for Theatre”): one in 2002 for the play Malina and the second in 2005 for the play La currently based in New York, is a composer, multi- cloche de verre, both directed by stage director Brigitte Haentjens. Robert Normandeau instrumentalists, performance artist, curator, working is an award winner of numerous international competitions, including Ars Electronica, Linz at the intersection of orchestral, opera, chamber (Austria, 1993, Golden Nica in 1996), Bourges (France, 1986, ’88, ’93), Fribourg (Switzerland, music, theatre, cabaret, pop music, oral tradition, 2002), Luigi Russolo, Varese (Italy, 1989, ’90), Métamorphoses, Brussels (Belgium, 2002, visual arts, electronics and noise. Hailed by the 04), Musica Nova, Prague (Czech Republic, 1994, ’95, ’98, 2012, ’13), Noroit-Léonce New York Times as a leading fgure in China’s new Petitot, Arras (France, 1991, ’93), Phonurgia Nova, Arles (France, 1987, ’88), and Stockholm generation of composers and often cited as a key (Sweden, 1992) and Giga-Hertz (Karlsruhe, 2010). He received commissions from The Banf activist in New York’s “new movement in new music,” Centre for the Arts, BBC, CKUT-FM, Codes d’accès / Musiques & Recherches, Jacques she was selected by the National Public Radio (US) Drouin, Les événements du neuf, Groupe de recherches musicales (GRM), Groupe de as 100 composers under 40. Known as chameleonic musique expérimentale de Marseille (GMEM), Terri Hron, Claire Marchand, Musée d’art in her protean artistic outputs, her music is championed by some of today’s fnest contemporain de Montréal, Open Space Gallery, Orchestre symphonique de Montréal performing artists, ensembles, orchestras and organizations. In addition, Du Yun has also (OSM) / Société de transport de Montréal (STM), Arturo Parra, Société Radio-Canada, made works in the art world, including the 4th Guangzhou Art Triennial, Sharjah Biennial Réseaux, Sonorities Festival, Vancouver New Music Society, and Zentrum für Kunst und (UAE), Auckland Triennial, and Istanbul Biennial. Du Yun is on the composition faculty at Medientechnologie (ZKM). He was composer in residence in Banf (Canada, 1989, ’92, ’93, SUNY-Purchase. She was a founding member of the International Contemporary Ensemble 2012), Bangor (Wales, UK, 2008), (Northern Ireland, RU, 1997), Bourges (France, (ICE), and currently she serves as the Artistic Director of MATA, a pioneering organization 1988, ’99, 2005), Huddersfeld (England, RU, 2015), Karlsruhe (Germany, 2004, ’05, ’10, dedicated to commissioning and championing young composers from around the world. ’11), Mons (Belgium, 1996), Morelia (Mexico, 2013), Ohain (Belgium, 1987, 2007), Oslo (Norway, 2015), Paris (France, 1990, 94), and Santiago (Chile, 2013).

ROBERT NORMANDEAU His work as a composer is mainly devoted to acousmatic music, although he composed some mixed works. More specifcally, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well Cat Hope is a composer, researcher, performer, as ‘sound’ become the elements that elaborate his works. More recently he composed songwriter and noise artist. She is a fautist and a cycle of works of immersive multiphonic music for dome of loudspeakers. Along with experimental bassist who plays as a soloist and as part concert music he has composed, for a period of twenty years, incidental music especially of other groups. She is the director of and performer

16 17 MA/IN 2017 matera intermedia festival in Decibel: a group focused on Australian repertoire, the nexus of electronic and acoustic instruments and graphic score realisations. In 2011 and 2014 Cat won the APRA|AMC MA/IN ~ SPAZIOMUSICA COMMISSION 2017 Award for Excellence in Experimental Music, and for 2014 she was resident at the Peggy Glanville Hicks composers house, and a Civitella Ranieri and Churchill Fellow. She is co- With the support of “Spaziomusica” organization of author of Digital Art – An Introduction to New Media (Bloomsbury) and is a Professor of Music Cagliari (Sardinia, Italy) the il MA/IN promotes the at Monash University, where she is currently head of the Sir Zelman Cowen School of Music. creation of new works for Voice and Electronics/ Multimedia. The best three projects has been selected and the works performed twice: the world premiere at the 36th Festival Spaziomusica (Cagliari, Fabrizio Casti is an italian experimental music composer that operates also in acustic October 2017), the second performance during the and electroacoustic improvisation. He teaches MA/IN 2017 (Matera, December 2017). Elements of Music Composition and analysis at the State Music Conservatory of Cagliari. He took his The selected works are: degree in Experimental Composition with Franco Oppo in Cagliari and in Electronic Music with Alvise Fabio Monni (ITA) – Del buio e altri luoghi Vidolin in Venice and at CSC, University of Padova. His works have been performed in diferent places all over Daniel Fawcett (USA) – Radiant Cry the world, among others: Teatro alla Scala (Milano), Gerardo De Pasquale (ITA) – Del dolore e altre passioni - lamento I Musica XXI Accademia di Francia (Roma), L’Home Armé (Firenze) Teatro Lirico di Cagliari Fondazione (Cagliari), Festival Musica Verticale (Roma), I Teatri eleonora claps Born in Basilicata, she studied opera singing at the (Reggio Emilia), Computer Art Festival (Padova), Musiche in Mostra (Torino), Festival di Conservatory of Music “G. Martucci” of Salerno, where she graduated under the Nuova Consonanza (Roma) e internazionali quali Ici L’onde (Dijon), Festival Internacional guidance of Elisabetta Scatarzi. Her repertoire ranges in diferent vocal areas; primarily Cervantino (Guanajuato), Konstacademy, Samtida Musik Festival (Stockholm), University of concerned with the fgure of the interpreter singer/actress, she is assiduously engaged Cincinnati (USA), St Cut’s: Fringe Festival (Edinburgo), 46° International Festival of in the Twentieth-Century and contemporary, acoustic and electroacoustic, music. Contemporany Music (Warsavia) Festival Dal Niente, City University of London” (Londra), Art She perfected her studies under the guidance of Alda Caiello, attended the “Corso di + Mècènat L’Italie Source Vive (Ginevra), Festival internacional de Musica Contemporanea specializzazione in canto lirico per l’opera contemporanea” at the Verona Opera Academy (Argentina), Secondo Incontro Tra Due Culture (Tokio), The Days of New Music (Chisinau), and the Postgraduate Summer Courses at the Internationales Musikinstitute of Darmstadt Settimana Internazionale di Musica Nuova (Bucarest), Internazionale Ferienkurse fur neue (with Michelle Donatienne-Dansac), during which she performed as a vocal interpreter műsik (Darmstadt), Festival de la Habana, Festival de Luxembourg, Musica del Siglo XX in ofcial concert IMD2016 (M. Ciciliani’s Workshop “Music in the Expanded Field”). She (Bilbao), Encuentros (), Perspectivas (Madrid), Sibelius Academy (Helsinky), regularly participates in courses, masters and seminars aimed at the study and deepening of XXIV Foro Internacional De Musica Nueva (Città del Messico), Muziekcentrum De Ijsbreker the contemporary musical language (S. Gervasoni, A. Solbiati, M. Di , T. Murail, P . Aralla, (Amsterdam), Synthèse (Bourges), Sonorities Festival of Contemporary (Belfast); Digital F . Dillon, F . Filidei, J. Dashow etc..), collaborates with emerging composers, specialized Stilnovo BizArt Art Center (Shanghai). He is Artistic Director of Spaziomusica and is on Ensemble, CRM (Centre of Musical Research) in Rome and performs regular concerts. the Board of SpaziomusicaRicerca, Cagliari (Italy). Both associations aim at the music She has performed in numerous concert halls including the “Teatro Studio Gianni Borgna” research, oriented towards the music composition, and the promotion of contemporary at the Auditorium of Rome, as a fnalist in the “Premio Bucchi Interpretazione – Parco and experimental music also in relation to contemporary performing arts. His works are della Musica 2015”. She is interpreter of world premieres presented by the Association published by RaiTrade, Ricordi and Ut Orpheus and recorded by ECM, die Schachtel, “Alessandro Scarlatti – Ente Morale” of Naples in the “ScarlattiLab/Electronics” since its frst edition in May 2012 (Art Director: G. Turaccio, A. Di Scipio), in International Festival and Stradivarius, LIMEN, Ricordi-Nuova Fonit Cetra, Warsaw Automn e Spaziomusica. Composition Competitions, often live on RadioCEMAT. Her repertoire includes works of the most important authors of the Twentieth-Century Classical Music like “Laborintus II” (L. Berio), “Sequenza III” (L. Berio), “Aria” for voice and magnetic tape (J. Cage), “József -Attila Töredékek Op. 20” for solo voice (G. Kurtág), etc.. as well as numerous world premieres.

18 19 MA/IN 2017 matera intermedia festival _ MA/IN VENUES >>

Matera is a suggestive city in the region of Basilicata, in Southern Italy.

Matera is well known for being one of the oldest inhabited cities in the world; the town lies in a small canyon carved out by the Gravina. “Sassi”, ancient cave-dwellings, has been inscribed as World Heritage Site, and the city was declared Italian host of European Capital of Culture for 2019.

Casa cava is a rock-cut auditorium. Can be considered the only underground Cultural Center in the world! Firstly carved as a quarry of stones, then abandoned and used as a waste dump, now restored and transformed into a Center for Youth Creativity. It is a symbol of the historical evolution and cultural rebirth of Matera.

20 21 MA/IN 2017 matera intermedia festival

fondazione sassi

conservatory of matera © LOXOSconcept © LOXOSconcept

casa cava auditorium

© michele morelli

22 23 MA/IN 2017 matera intermedia festival « festival overview /// + awards +

Category [A] – Acousmatic ~

- Honorarble Mention - John Wiggins [String II] Reuben De Lautour [Transcoding]

Category [b] – MIXED MEDIA ~

+ AWARD of DISTINCTION + Alessio Rossato [Veglia]

- Honorarble Mention - Lior Eytan [Mitgardim] Jacob Sudol [Vanished Into The Clouds ]

Category [c] – audiovisual ~ of DISTINCTION

+ AWARD of DISTINCTION + [ex aequo] Tristan Berger [Recognizer] Joao Pedro Oliveira [Neshamah]

- Honorarble Mention - Samuel Béland [Naica]

Category [d] – LIVEPERFORMANCE/SOUNDART ~ of DISTINCTION

- Honorarble Mention - Roberta Platania [Midnight Sun ] Miloš Cathals [Ode 2]

24 25 MA/IN 2017 matera intermedia festival ALFREDO ARDIA RAMI [audiovisual] The idea behind Rami came during a study about beats phenomenon: an acoustic interference, produced by two or more sine waves with slightly diferent frequency, which results in a periodic amplitude modulation. Looking at a naked tree I imagined it as a score where a set of frequency moving near and away, crossing each others, following the branch’s shape and creating complex beats patterns. In Rami the sound is created by a sonifcation process of shape and movements of the tree showed in the video component.

MASSIMO VITO AVANTAGGIATO ATLAS OF UNCERTAINTY [audiovisuaL] The video of Atlas of Uncertainty is based on the representation of 4 Classical elements, that typically refer to the concepts in Ancient Greece, of earth, water, fre, and aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances.The music try to create a sonic continuum ranging from unaltered natural sounds to entirely new sounds - or, more poetically -- from the real world to the realm of the imagination. “Atlas of Uncertainty” is an electronic music video in which a microcosm of sounds, explored through some csound interfaces, becomes the hyletic universe of the work.

ANDREW BABCOCK VENTRILOQUY [acousmatic] Ventriloquy centers on the vococentrism of aural perception and how the presence of voice, in its natural and digitally mediated states, structures the sonic space it lies in. The physical characteristics of the human voice, in terms of its register, spectrum, and prosody, form a reference point from which all other sounds are comprehended, often LISTENING | VISUAL ROOM bending the boundaries of what is voice and what is not.

DANIEL BLINKHORN 1-6 december fondazione sassi KIBUYU [acousmatic] Of the coast of Tanzania, on the small island of Zanzibar I happened upon a bazaar in Stonetown with all manner of beautiful African instruments. I found myself drawn to a small, hand made mbira. This humble instrument buzzed and creaked and was far from perfect, yet striking a tine was instantly so musically agreeable. Kibuyu in Swahili translates to ‘Calabash’ and is the box resonator used in the construction of the instrument. I wanted to use the term as a metaphor similar to the phenomenon of

26 27 MA/IN 2017 matera intermedia festival seashell resonance, except in this instance, as one holds the mbira against their ear MIRKO ETTORE D’AGOSTINO they don’t hear sound redolent of the ocean, but rather a more dynamic abstraction of sonic imagery resounding well beyond the instrument itself and deep into the island of 6 A.M. [acousmatic] Zanzibar and the many evocative soundscapes it contains. All the material within the 6 A.M. explores the world of microsound and represents at the same time a personal composition comes from the striking of three tines of the mbira, with no additional sonic investigation into compositional constraints and self-imposed routines in order material employed within the piece. Zanzibar is a UNESCO World Heritage Site. to increase creativity. This approach involved limitations and restrictions on sound material, compositional techniques, sound processing, deadlines, working hours and RODRIGO CADIZ even personal habits, just to name a few. The title itself refers to one of these restrictions, which was that the entire piece should be composed during work sessions beginning WAR OF THE CURRENTS [acousmatic] at 6 AM in the morning. War of the Currents is an acousmatic eight channel work inspired on the actual war of the same name that took place in the late 1880s, where George Westinghouse and MARCO DIBELTULU Thomas Edison became adversaries due to Edison’s promotion of direct current (DC) for electric power distribution against alternating current (AC), invented by Nikola Testa. SGUARDO CONTEMPORANEO [acousmatic] This work turns around the idea of the encounter of two of the probably most attractive This piece is inspired by urban life and pollution. Exhaust fumes and waste modify geniuses of all times: Thomas Edison and Nikola Tesla. The work is structured in four the appearance of a city to such an extent that traces of the past remain only in one’s movements I.Tesla II.Edison III.Westinghousing IV.Chicago memory. The image of what the physical world was like before overlaps with what it is today - polluted and therefore altered. Memory flters out the “additions”, and acts as a sort of virtual “garbage disposal” that restores the environment to its original value. The ROCÍO CANO VALIÑO question is: what would a contemporary glance pass on? Are the younger generations able to disapprove as strongly and to feel the same discomfort as those who have TÂCHES [acousmatic] historical memory? Tâches (2016) is an electroacoustic work that wants to represent the routine of a person who performs diferent types of manual tasks. For this reason, most of the recorded MIRTRU ESCALONA-MIJARES material come from electrics tools such as: drills, saws and sanders. At the beginning of Tâches, granulated and saturated materials with complex and contrapuntistic gestures L’ERMITAGE AU TOIT DE CHAUME [acousmatic] are perceived. Opposite to this, sounds like water and tea kettle are used to portray Commissioned by INA-GRM. France. the moments of lower tension which represents the time when the person rests. These This piece is a small tribute to the Buddhist monk Roan (1758–1831) and the impression materials are continuous with homogenous sonority. At the end, samples are saturated it left on me after reading some of his poems. The starting point of L’ermitage au toit de remarkably and the texture is even more complex than the beginning. chaume is the poetic image of fve tanka (Japanese poem without rhyme, 31 syllables in fve lines) written by Ryokan in diferent periods of his life.

ENZO CILLO ANDREA FAMILARI WHAT REMAINS [audiovisuaL] UNTITLED [audiovisuaL] The work displays light sources acting in a sort of nocturnal forest; the light shakes the “Untitled” is a sound based video installation by Andrea Familari. In his research, it branches and fragments of a sculpture laid on the ground. To achieve it, I began from represents the natural evolution from a live perspective to a more contemplative point a static shot, slowly going towards a fragmentation of the the image itself through the of view , carrying the feeting moment of creation into a deeper analysis of what has light’s game. My main interest is on the latency created by the movement of the light, been created. Driven by an original audio track composed by Andrea Taeggi, Familari the moments ruled by shadow, when everything is invisible. has portrayed and analysed the geometry provided by the natural structure of the Music: Maria Lindström leaves translating them into circles and spheres in order to express the complexity of

28 29 MA/IN 2017 matera intermedia festival the plant’s growing process.“Untitled” is a seed that discloses, sprouts and blooms in MIKEL KUEHN front of our eyes. On planet Earth, fowers has been here since the very beginning of times. Blooming has always boosted life and beauty: thousand of colours in billions of …LILAC SHRIEKS AND SCARLET BELLOWINGS… [audiovisuaL] kind, everyone with the unique goal to attract someone or something that could help ...lilac shrieks and scarlet bellowings... (2010) is a nine minute visual and sonic them to close in itself and create something else. “Untitled” tries to describe this kind interpretation of six related texts of E. E. Cummings that focus on themes of nature and of magic and more: the birth of a seed, a journey through its life, its transformation into the cycle of life. The flm is in six linked sections, each focusing on one of Cummings’ fower, its attractive blooming and the metamorphosis back to reborn as seed, again texts enhanced with images by Jean Dethuex and electroacoustic music by Mikel Kuehn. and again. A neverending loop creating and reshufing linear forms and holy colours, The sonic material is derived from manipulated environmental sounds and the recitation spheres mutating in an hypnotic vortex made by petals, that magnetize and show all of Cummings texts by soprano Deborah Norin-Kuehn. The images were created frst their story and world. Our World. by Detheux (in 2008) and were then set to music by Kuehn in 2009-10. The visual idea behind the work was to create a life in multiple parts, followed by a “recollection” of that EVELYN FROSINI life, as if at the moment of death. SAMOA [acousmatic] SAMOA is an acousmatic piece constructed using sound materials from bells, THE SECRET WORLD OF BOOKENDS [acousmatic] bowls, gongs and scratch of cello. This work is based on diferent types of The Secret World of Bookends (2005) is an electroacoustic fantasy based entirely impulse responses, resonance transformations, counterpoint between granular on recorded sounds made by two generic metal bookends. I found the inexpensive materials, reliefs within dense sound atmospheres, loaded with hidden gestures bookends in the basement of my new house and was intrigued by the sound that they that are developed and recycled throughout the work. made when I accidentally dropped one. The resulting piece not only explores their sonic attributes but also the boundless imaginary world that exists in the myriad of thoughts and information between a functioning set of bookends. The sounds that the bookends make are gradually exposed and transformed over the course of the work. Most of the ANA GNJATOVIC sounds in the piece were produced by striking, bowing, or grating the metal bookends. PHONATION 2 – MEMOIRES [acousmatic] Phonation 2 - Memoires (2016), was written as part of my doctoral project in composition. ANTHONY LYONS It is an electroacoustic piece exploring the meaning of voice and vocal in my music. The majority of the work is made of cut-ups of my own voice, overdubbed, and re- COSMOS [audiovisuaL] composed. It contains the fragments of my vocal past, some of the most signifcant Cosmos is an audiovisual collaborative work of composer Anthony Lyons and animator pieces of music, songs, and stories from my childhood. They are all read and sung, Paul Fletcher. It draws on self-similarity and data tree structures in the making of, and sampled and processed in tender, yet somewhat ironical memoire. relationship between sound and vision. The work explores interconnections between the worlds of the micro and the macro such that one is simultaneously viewing a macro cosmos of planetary systems that are forming, growing, dissolving, AND a complex ELSA JUSTEL micro system of interacting biological cells. The sound world was inspired by the similarities between big data fows of digital information and the organic complexities CERCLES ET SURFACES [acousmatic] present in the life of trees. The audio was composed solely from numerous feld Cercles et Surfaces (2013) Acousmatic Music – Octophonic recordings of trees using hand-held recorders and contact microphones. These sounds Commissioned by French State and GRM were then manipulated via a number of granular and spectral processes - exploring “Circles and surfaces” responds to the principle of musical gestures in space, creating sound patterns, shifting textural densities and timbres that come from magnifying tiny a fow of seemingly chaotic sound patterns that approach each other and meet in grains of sound. The two systems of sound and vision were composed separately before arborescence creating a new order. The multitrack discourse contributes to creating a being fused together yet share similar creative processes drawing on organic, digital, polyphonic texture that accompanies the gestural movements in the space intuitive and generative techniques. The resulting work Cosmos superimposes sound

30 31 MA/IN 2017 matera intermedia festival and vision in the form of an infnite data tree structure with continually evolving shapes physically altered piano strings. Source samples were prepared acoustically and and sounds like branches fanning out of a tree. Cosmos tries to capture a small sense manipulated through various processes, such as convolution, resonance fltering, and of the vastness, fow, beauty and self-similarity between micro and macro systems. granular synthesis.

FRANCESCO MARCHIONNA JUNG-WOONG OH I GIORNI SOSPESI [acousmatic] MISSING TIME [acousmatic] There are periods in life when the real world turns into a nightmare from which escaping it is missing time. and the vision of a distant future becomes the only existential push. In this phase the you are watching us from the sky. you walk through the night. you walk through the air. time is suspended and the days, always the same, alternating moments of struggle the air makes you what you are. you are watching your mind.you are missing us. you are to other of stasis in the need to continue the journey. The work was born from this missing the time that you thought you’d had. experience and is based on the use of piano samples and physical modeling synthesis and convolution techniques. It was realized in 2016 with Csound through assisted composition techniques of Mathematica. CLELIA PATRONO HYPERSCAPE [audiovisuaL] rICCARDO MAROGNA Hyperscape is an electro-acoustic audiovisual composition in which we see and hear elements of natural matrix and sound elements that evoke the world of communication OSSI DI SEPPIA [acousmatic] and the technological day, or the evolved reality in which we currently live. The work In 1925 Eugenio Montale published its most famous collection of poems, Ossi di seppia. described here is an attempt to communicate two landscapes - the natural acoustic The title means “Cuttlefsh bones” and has always been strongly evocative for me: the and the electroacoustic - through the use of an imaginary and virtual visual bridge. inner essence of things, of reality itself, is presented here as a residual, a relic which Hyperscape is a counterpoint to the natural sound landscape with acoustic marks survives the sea and arrives to the beach in the form of a white, levigated cuttlefsh bone. belonging to the world of contemporary technology. Slowly moving images of nature This image is a powerful sum of existential refections and sensorial recalls, which came ofer a visual carpet on which electronic sounds travel, which cause a disturbance from back to me during the walks by the North Sea near my new hometown, The Hague, which we no longer feel threatened but integrate within the sound and visual landscape such a diferent-but-similar sea compared to the Italian one, which I knew since I was by creating a dialogue between sounds of natural reality and Sounds characteristic of a child. Montale’s poems are full of sounds, like the “snakes rustle“, the “blackbirds liquid modernity. Hyperscape has been attempting to create an “immersive” audiovisual catcall“, the “cicadas’ wavering screaks“ ... a whole soundscape is presented to our composition in which the spectator fnds himself intertwined by this dialogue of sounds ears through concrete, onomatopoeic words. In 2016 I was commissioned by an Italian that we have “memorized” and that, if proposed in diferent situations, may seem clarinetist, Francesco Massaro, to compose a piece for bass clarinet and tape. For the pleasant or assume meaning Diferent from the one commonly associated in our daily electronic part, I decided to start from this poetic idea – Ossi di Seppia – and to work life. on pre-recorded material of bass clarinet sounds, processing them through spectral decomposition techniques, in order to extract the bones, the residuals, the relics of the original sounds. Starting from this concrete material, the piece has been developed WALTER CORNELI & LUCA RAUTTi into six sections, each inspired by a sonic image taken from Montale’s poems. I then decided to realize an 8-channel fxed-media version of the piece, which is presented PERCORSI [audiovisuaL] here. “Percorsi” is an audiovisual work realized on the occasion of the Fairy tale Festival in Castro Dei Volsci. Sounds and images merge into a bond which aims to recreate the emphasis of Italo Calvino’s thought about fairy tales and their funcion. All of this has PAUL OEHLERS been done according to the interpretation and style of the authors. FLUX HAMMER [acousmatic] Audio/video : Luca Rautti e Walter Corneli / Voice: Martina Corneli / Text from: Italo An exploration of sounds derived from a piano, Flux Hammer employs sounds of Calvino “Fiabe italiane”.

32 33 MA/IN 2017 matera intermedia festival JORGE SAD LEVI and talus on the side of a mountain or clif. The sounds used in the piece are the sounds of rocks colliding, rolling, and crumbling. A control fle spreads or fractures VA(A)UTOUR(S) [acousmatic] parts of one fle against the features of another fle, adaptively conforming the one to Va(a)utour(s) was comissioned by Groupe de Recherches Musicales in 2016 and was the N-dimensional geometrical space of the other. Multiple time scales are invoked to premiered in 2017 in Paris. When I began to work on the piece I was very interested create a network of micro-time forms in which parallel movements are realized in multi- to explore the possibilites given by the octophonic setup of the studio and specially dimensional space. With the application of eruptive events and dissipative processes, to work with very fast (apparent) rotations using triggering of very short percussive singular gestures are set in relation to a complex unfolding of textural streams. sounds in diferent channels (not panning). At the same time in my country, the right wing government of Argentina succeeded to approve a humiliating law that established KYLE VANDERBURG an extremely bad agreement with ¨vulture¨funds that harmed the economy for at least three generations. One day during the residency I linked the two domains. Vautour in TEMPEST IN A TEAKETTLE [acousmatic] french is ¨vulture´ but can be also be interpreted as ¨Va au tour¨ , that´s to say ¨turning The title suggests the small problems we consider on a daily basis, waiting as they around ¨. The stereo reduction does not give a good idea about what is going on in the build within us. ‘Waiting’ is explored in several ways throughout, and uses the medium work and is sent only to accomplish the rules of the contest. to augment these daily dramas until we will allow ourselves to view them center-stage. After being introduced to the teakettle in which we’ll be experiencing the storm, the PIERRE-LUC SENÉCAL noise of rain and wind quickly begin to fll the sonic space. Soft rains and distant thunder churn over one another in a tempest, fnally giving way to cautious harmonies PUBLIC GARDENS [acousmatic] fashioned from the wail of a storm siren. Through these elements, we explore the sense Public Gardens was composed with recordings from a trip in Europe, where one can of obsession that comes from being kept constantly on alert. We wait for the storm, wait discover public spaces like airports, train stations, malls and parks. I was inspired by for it to pass, and are waiting for what comes next. Just as soon, the sirens fade, and a the inexhaustible energy of those objects and locations, in stark contrast to the twenty full kettle has come to boil while we were preoccupied.As the sonic manipulations alter World War 2 and memorials that I’ve visited. and extend the soundscape of the piece, the unease of waiting blurs the sense of scale between the tempest and the teakettle. EWAN STEFANI SOUND INSTALLATION THE ASTRONOMER [acousmatic] The Astronomer is an abstract musical interpretation of the painting by Johannes casa cava Vermeer of the same title, where a process of successively re-working recorded | 4th - 6TH DECEMBER | sounds to create greater dynamic contrast and complexity is inspired by Vermeer’s painting techniques. All sounds in the piece were derived from electronic and acoustic instruments recorded by the author in 2010. Instrumental phrases that were originally roberta platania composed as discrete microtonal melodic phrases were manually edited, combined, distorted and coloured with spectral editing tools. Finally, the completed phrases and MIDNIGHT SUn HONORABLE MENTION [soundinstallation] textures resulting from this process were resampled and remixed live with Reaktor to Midnight Sun is an intermedia work in the form of audiovisual installation.An organized create this version of the work. room to explore our perception through the relationships between sounds, shapes and the space. A vision that materializes in the darkness on a multilayered surface with the consistence we may experience in dreams or mind images to unveil a concrete boundary FRED SZYMANSKI between the inner visions and the whole outside. Elusive yet material, Midnight Sun is a space where time loses its clock and becomes an intimate dimension, with its own SCREE [acousmatic] peculiar dynamic, and the imaginary, far from naturalism, turns to the links join matter Scree is a multi-channel electroacoustic piece referencing the various forms of and spirit. weathering that, together with the forces of gravity, lead to the amassing of loose rocks

34 35 MA/IN 2017 matera intermedia festival CONCERT#1 AUDITORIUM GERVASIO (CONSERVATORY OF MATERA) | 4TH DECEMBER - 6 PM |

David Berezan Starboard [acousmatic] ITALIAN PREMIERE | 11’00” Starboard (the fourth work in my Nautical Cycle, following Buoy, Moorings and Lightvessels) develops sonic materials within themes of navigation, current, resistance and transmission into a musical language that touches on ambient, noise, electronica and melodic traditions.Starboard (the fourth work in my Nautical Cycle, following Buoy, Moorings and Lightvessels) develops sonic materials within themes of navigation, current, resistance and transmission into a musical language that touches on ambient, noise, electronica and melodic traditions. Starboard was composed in the studios at the University of (UK) and was a Finalist in the 2015 Music Nova competition (Prague).

Francesco Altieri Momenti Di Respiro [acousmatic] 10’22” “Breathing moments”

« live concerts » Francis Dhomont [acousmatic] Phœnix XXI 14’58” To Inés Wickmann An archetypal symbol of rebirth and continuity, what is this musical Phoenix? A trace / confrmation of the acousmatic vitality at the beginning of the XXIst century, of course.But, for me, it is also a new life given to ancient musical ashes, very old recor- dings and reanimated but transvestites extracts of instrumental works. A kind of eternal return, the present - so prominent today - being fnally only the past of the future.Phoe- nix XXI was commissioned by the INA-GRM. The work comprises three movements in chains and was composed in the author’s personal studio in Avignon. World premiere on October 8th 2016 in Paris (MPAA Saint Germain), concert INA-GRM.

36 37 MA/IN 2017 matera intermedia festival Fabrizio Casti the pitched sound, etc.). The organization of the pitches is quarter-tone. The materials in the tape are derived from the voice, electro-acoustically treated (it Abstract Song [mixedmedia] pursues the idea of distant, subtle, delicate, silky sound wires on magmatic, For flute | 6’00” organic materials) and from a recording of monarch butterfies (Danaus Plexip- flute : enrico di felice pus) that suddenly rise in fight during their annual migration to the Michoacán (With oscillating movements, vibrating, violent). Musical polyphonic ideas simulate region, Mexico. from the velocity of performance, that approaches the musical events (well reveal, in the time or fuctuating) performed in succession until almost to give the impression Paolo Geminiani of hear them at the same time (around individuals sounds and to agglomerations of sounds), and with the use, to the inside of the diferent voices (with manifold noises, Gesture Without Motion [mixedmedia] pufs, breaths), of heights and melodic structures always similar, (but not identical, that remembers voices of the nature, always diferent, never rigid, with continuous changes, For violin + electronics | 10’30” with extreme fuidity, also casual). violin : alessandro cazzato electronics : p. geminiani The piece is composed of three main parts characterized by various contrasting musical situations, emphasized and delineated by insertion of the audio tracks. While in the frst Daniel Fawcett and last sections are performed in ensemble with the violin, the two middle tracks constitute real solo interludes, thus dividing the whole piece into three parts. The central MA/IN ~ SPAZIOMUSICA COMMISSION [mixedmedia] Radiant Cry part is largest, with a solo like a “cadenza” of various sections. One of which is a two- for voice + ELECTRONICS | 6’.00” part polyphony based on the low pedal tones, and then this is afterwards alternated soprano : eleonora claps with harmonics to the bridge in “tremolo”. electronics : giulio colangelo Radiant Cry, is part of a series of pieces exploring the writings of the Victorian Robert Fuller Murray (1863-1894), as well as exploring the unique relations between the human Roberto Zanata body, light and sound. The vocal part utilizes the words of Murray’s poem “Moon Dark World”. As part of this piece, the performer wears a custom made light suit that is re- Meccanica I [mixedmedia] active to sound and becomes a living sound sculpture embodying the words and emo- world PREMIERE | 6’00” tions in the poetry. “The trees are forming hands to cloak the sky with pillow whispers, For + live electronics until the soft equilibrium behind laughing eyes departs down the Moon Dark World.” flute : enrico di felice live electronics : roberto zanata + davide wang marco marinoni “Meccanica I” is the frst of a series of studies aimed at investigating possible compositional strategies that involve the use of musical instruments belonging to yo no naka ya MA/IN ~ SPAZIOMUSICA COMMISSION [mixedmedia] the woodwind family combined with the implementation of live electronics executive for voice + ELECTRONICS | 6’.00” environments which provide articulated motion mechanisms of sound in space. The soprano : eleonora claps composition “Meccanica I” is dedicated to fautist Enrico Di Felice electronics : giulio colangelo The piece uses as a text the haiku of Kobayashi Issa: “yo no naka ya / choo no Cesare Saldicco kurashi mo / isogashiki” (transl. “in this world / frenzy even in life / of butterfy”) and is all about minimal dynamics, on long notes held unstable and changing Shadow Puppet Sketch [audiovisual] through the transition between diferent modes of emission (regular and irre- 3’.40” gular vibration, closed or half-sealed mouth, emission of breath together with Shadow Puppet Sketch is an experimental audiovisual study, where animation,

38 39 MA/IN 2017 matera intermedia festival acousmatic and sound design are on the same level. The animation – made with Reuben De Lautour the rotoscope technique on a 1.218 frames fragment – was drawn frame by frame, in negative, to further dramatize the sequence through the use of black and white, HONORAble MENTION [acousmatic] and then composed, segmented and re-composed in a extremely rhythmic editing. Transcoding A sleeping woman, is reached by the shadow of a hand, the disturbing presence of world PREMIERE | 9’45” The sonic textures in Transcoding are all derived from a single data segment excerpted the shadow reveals a growing fragility that lends itself to multiple readings: it could from the fle header of a digital image showing the area around Byblos Citadel in be the metaphor of a morbid story, or a son who is tormenting his own mother, or the Lebanon. Depending on the sample rate used to convert the data to audio, the segment representation of a certain female condition: the puppet-woman, as the personifcation sounds alternately like a series of impulsive clicks with a changing spectral residue, or of the object and subject, the machine and the body, a slave icon of a still strongly male a kind of noisy comb flter. The sonic characteristics of the audio are highly unusual for culture, and the shadow, as an alter ego of man, an almost persecutory projection, this type of material, which is normally characterised by dense broad spectrum noise. which trains its power only with armless persons. The image is now lost, and the composition is an attempt by the composer to try to hear through this one remaining data segment some of the same vivid textures and colours Sebastiano Trombatore as seen in the original image. Jupiter [audiovisual] 10’.58” Robert Normandeau “A man whose dream literally led to unexpected demise”. (Electroacoustic sound on 1909’s silent movie “Voyage sur Jupiter”) Jeu de langues [acousmatic] ITALIAN PREMIERE | 11’52” The title is a play on words in French. Jeu is a word that can be translated into English CONCERT#2 by both the words “game” and “play.” Langues means “tongue” but also “language” at the same time. The frst meaning belongs to the nature of the instrument used in AUDITORIUM GERVASIO (CONSERVATORY OF MATERA) the work, while the second is related to the context of the production:three players coming from diferent countries and a premiere that would take place in a festival | 4TH DECEMBER - 9.30 PM | where fve diferent languages were used.This piece uses recordings of futes, baritone saxophone and recorders. All the pitch material was removed from the recordings so Damian Gorandi as to keep only the sounds of whispers and breaths as well as the mechanical noises of the instruments. I cleaned these very soft sounds and amplifed them such that they La Machinerie d´un Imaginaire [acousmatic] became audible, while normally they are not. In addition, I kept the natural rhythm of 8’.58” the performers’ breathing intact and the musical events appear according to it. Finally, The theme of the work is based on the ideas of Luigi Russolo and his vision about the there are sounds of glasses superimposed on the wind instruments’ sounds.The idea machines .The work reveals the voyage of an unknown machinery conceived as a multi- for the piece sprang to my mind during a conversation I had in Lisbon (Portugal) in object. The curious thing is that the trip of this machine happens through diferent layers 2008 with the Música Viva festival organizers about the fact that music, unlike other belonging to an imaginary stratigraphy, that is to say that it perforates and exploring the contemporary art forms — literature, painting, cinema — has hardly dealt with eroticism hidden recesses of the imagination. The machine works as a leitmotiv that articulates as a genre. This is my contribution to the genre. the diferent sections. The structure of the work is subject to the voyage mentioned before. From the beginning of the work to the minute 5 ‘25’ is transited by four stratums, giulio colangelo and it is from here, that emerges the ffth and last stage, as a dream to which is reserved the bigest depth in the internal space of the entire work in analogy to the area of more [dialogue for percussive amplified guitars] [mixedmedia] profundity of our imagination. After this section, a rallentando announces the return to THAUMA reality. The motor of the machine stops at the end of the work , so the “silence“ of the for percussion/guitars + ELECTRONICS | 9’.20” concert hall is the reality . percussion : fabio macchia

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percussion : giulio cintoni and its implementation in Max, as well as PhiSM models from the Percolate library (cre- ated by Perry Cook and Luke DuBois). It uses extended techniques - such as scrubbing electronics : Giulio Colangelo on the string of the instrument, using objects to make the strings sound, and playing movement I – forgiante / movement II – sospeso on both sides of a stopped note - in combination with real-time interactive electronics every knowledge comes from [wonder] piloted by timbral and fundamental analysis to create an electronically ‘augmented’ [thauma] is amazement and strength; tension instrument. pressure and force desire and attraction; rage. [thauma] is to bite restlessy; a sense found. Samuel Béland [ to peoples of Greece ] Naïca HONORAble MENTION [audiovisual] james o’callaghan euro PREMIERE | 7’40” Naïca simultaneously shows islands of matter disconnected by the darkness where [mixedmedia] the void between objects serves as a spatial bufer zone. It is a mineral microcosm, a For Or From pre-anthropological universe out of the human scale: the primordial soup buried in the italian PREMIERE | 7’00” belly of the Earth. For flute + voice+ live electronics flute : enrico di felice donato Corbo / domenicoFilitti / luca Acito soprano : eleonora claps live electronics : james o’callaghan Immagiscenza [liveperformance] For or from draws from sounds from the environment, especially non-human animal vo- 10’.00” calisations, and interpolates these sounds with instrumental and vocal imitations. Com- posing the work was an attempt to transform recordings specifc to a time and a place composition + el. guitar : Donato Corbo into abstract notation, realisable by performers in a new specifc context. Sometimes keyboards + electronics : Domenico Filitti these transformations are heard ‘in real time’ in the performance, as the live sounds of live video : Luca Acito the musicians morph into the feld recordings and vice versa. In this way, the work is a Immagiscenza is an interactive audiovisual composition. Images and conscience; the meditation on memory, temporality, and individual embodiment of sound - sounds from sound driven by the meaningful voice explores several fuid soundscapes. the past, from experiences outside of the concert hall, are preserved and transported through the transcription process, reshaped for interpretation and refection by the mu- sicians, whose present experiences and individual sound qualities embody the external Simone Longo sounds as their own. For or from was commissioned by Sarah Albu and Jef Stonehou- se and won 2nd prize in the Destellos Competition in the mixed media category in 2016. Neutro [liveperformance] 15’.00” patricia alessandrini live multimedia : simone longo Neutro is an audio-video multichannel live performance aimed to investigate the [mixedmedia] concept of nothingness through sound geometries which evolve in time and space. The Menus Morceaux Par Un Autre Moi Réunis audiovisual work is divided in 4 sections, each part uses a diferent video technique. italian PREMIERE | 8’30” The audio is based on multi level iteration of sounds samples organized in a minimal For nylon guitar + live electronics structure; the result is a polyrhythmic texture that changes through the space. The work guitar : michele perrone is live performed with Ableton and MaxMSP, composed during an artist residence at live electronics : patricia alessandrini ZKM (IMA Institute for music and acoustics). Menus morceaux par un autre moi réunis is a work for guitar and electronics employing real-time physical modelling, using models creating in the Ircam environment Modalys

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fnd in each of these conditions but, no less, to describe the pent-up energy that exists CONCERT#3 between the two. Since neither the purely static nor the purely mobile exist in the real world, I have sought to show the paradox of the static existing in the mobile and the AUDITORIUM GERVASIO (CONSERVATORY OF MATERA) mobile in the static. I have tried to show the efervescence is in the static and the | 5TH DECEMBER - 6 PM | stagnation that is in the mobile. Zooming in on the static, its microscopic movement becomes apparent; zooming out on the mobile, one discovers its fxity. I want the two conditions, the static and the mobile, which at the beginning are much divided and Filippo Mereu separate, to become more and more connected and similar. Two pieces become one when the very artifcial defnitions of the two seemingly opposites disintegrate in the Social Machine [acousmatic] face of the complex simplicity of things. world PREMIERE | 7’48” Social Machine alludes to a vision of a postmodern reality where our vital fow is fooded with a constant proliferation and hoarding of “data” from the system surrounding us, which signifcantly afect our mental frameworks – cultural heritage of the industrial era Salvatore Sciarrino - and our way of living. The resulting product is a mechanic relationship system which tends to exasperate the operating logic of machines. An anti-human ‘modus operandi’ Studio n. 1 [mixedmedia] that identifes the frenzied logics of life in today’s society with the productive and efcient 5’.00” industriousness of machines. The efort that each individual puts into himself is therefore cello : Nicola Baroni frustrated by the intricate net of “sensory distortion” by now established in today’s N/A society. A net that nullifes the natural/primordial feelings of man, driving his mind towards a productive capitalistic/consumerist machine by dictating its limits and its standards. jacob Sudol Levy Oliveira (雲隠) HONORAble MENTION [mixedmedia] [acousmatic] Vanished Into The Clouds Hyperesthesia 10’.30” italian PREMIERE | 6’18” Hyperesthesia is a condition that involves an abnormal increase in sensitivity to stimuli cello : Nicola Baroni of the sense. Therefore, such as in a hyperesthesia crisis, all stimuli in the music (even live electronics : Valerio De Bonis the smallest) changes the general atmosphere or triggers larger gestures. Vanished into the Clouds takes its title from a chapter in the ancient Japanese novel The Tale of Genji. This chapter is signifcant because it has no content. There are two theories about this chapter. The frst theory is that the chapter is lost. The second theory, and the one that I prefer, is that the chapter was left intentionally blank so as to express Lior Eytan the narrator’s sorrow about the death of Genji which occurs between the end of the preceding chapter and the following chapter. Unlike the aforementioned chapter, this HONORAble MENTION [mixedmedia] work for cello and live electronics is not left blank. This said, many conventions of music Mitgardim such as melodic or motivic development, clear phrase structure, and rhythmic motion world PREMIERE | 15’00” are regularly obscured and ignored. The resulting work instead focuses on exploring the cello : Nicola Baroni inner sonic regions of the cello’s open and muted C string, sudden ruptures in motion, live electronics : Valerio De Bonis and the gradual degradation of material. The goal of this approach is to create a sort of My main intention in the piece has been to realize and describe two archetypes, which new musica povera that refects on both a narrators’ or authors’ difculty of writing as I believe to be fundamental to music in general and which serve as primary elements well as the sort of inequalities of wealth that pervade our world. The work was written in my own music: the static and the mobile. I have tried to portray the beauty that I for and premiered by cellist Jason Calloway and is dedicated to him.

44 45 MA/IN 2017 matera intermedia festival Joao Pedro Oliveira CONCERT#4 Neshamah award of DISTINCTION [audiovisual] AUDITORIUM GERVASIO (CONSERVATORY OF MATERA) italian PREMIERE | 11’00” This work is part of a cycle of four works related to representations of the four elements | 5TH DECEMBER - 9.30 PM | in the Old Testament. Neshamah means “breath” and is related to the following passage: “then the Lord God formed the man of dust from the ground and breathed into his Epameinondas Fasianos nostrils the breath of life, and the man became a living creature” (Genesis 2:7). This piece was commissioned by the Ibermúsicas Project and was composed at the Centro Chromatocosmos [acousmatic] Mexicano para la Música y las Artes Sonoras and at the Centro de Pesquisa em Música italian PREMIERE | 7’15” Eletroacústica of Federal University of Minas Gerais. It received an honorable mention “Chromatocosmos” is an electroacoustic piece which is based on Baghlamas original at the Concours International de Composition Electroacoustique de Monaco 2016 and recordings. Baghlamas is a traditional Greek instrument which has its roots to an Ancient at the Destellos Competition 2016. Greek instrument called Pandoura. Thanks to its touchette, it provided great potential to the instrumentalist to perform phonetic and organic passages which accompanied single pitches, which led to the creation of plural melismata and legatti, a technique which was impossible to be implemented in Ancient Greek chordophones such as the Gabriele Paolozzi / Diego Capocitti lyre, where only one single string was used in relation to each pitch. In my work I made an attempt to explore the characteristics of the instrument and its relation to history and Il Vaso Di Pandora [audiovisual] Hellenic Culture via acousmatic music. The work has references to melodic lines widely 8’.03” used by Baghlamas performers but is mainly an attempt to recreate a new sonic world. “Il Vaso di Pandora” is an audiovisual work inspired by the myth of Pandora’s box. The I also aimed to use the instrument in innovative ways, from the recording process (use work is built on altering the state of purity, or evils-free, and exploits the interconnection of sounds emerging from the chording of the instrument) to the development process between the recorded performance of the “pre-textual” poet Gianni Fontana, the original (application of a wide range of transformations which would lead the sound in new music of Gabriele Paolozzi, and the original triptych video of Diego Capoccitti. boundaries). The addition of background cinematic-style sounds emerging from the Baghlamas through various transformations, creates a constant dialogue with the foreground sounds. The various sonic colours observed as the piece evolves justify its Francesco Pellegrino title.

Rituale [liveperformance] Adrian Moore 10’.00” singing bowl+ clarinet + electronics : Francesco Pellegrino Metricity [acousmatic] Rituale, for tibetan bowl, clarinet and live electronics.The composition is based on italian PREMIERE | 11’15” the idea of “ritual”, the possibility to create a shared time and space, a condition for Metricity is a concert piece that marries an investigation into pulse and repetition (meter contemplation. A ritual is a moment where a men try to go above the men itself. and rhythm at times) – Metric, with a fascination for creating sonic environments (that are often busy, bustling and energetic) – City. Rhythms were found within manipulated soundfles and constructed, using samplers playing very small sounds. This purposeful investigation took in a wide range of musical infuences (Åke Parmerud from the electroacoustic repertoire and numerous commercial artists from EDM to Dubstep). It also incorporated a number of techniques not normally used in electroacoustic music (sidechain compression, use of snap to grid, bass drops and flter sweeps). These

46 47 MA/IN 2017 matera intermedia festival techniques led to my discovery of sound ‘icons’ - sounds (and techniques) that defne Pierre Jodlowsky a genre but defy cliché. Metricity led to questions concerning the accumulation and repetition of small sounds, sonic density within a multi-channel space, and the nature [mixedmedia] of embodiment within a sonic environment. Something out of Apocalypse italian PREMIERE | 18’.14” accordion : Ghenadie Rotari CArlos De Castellarnau live electronics : Giulio Colangelo This composition refers of course to Coppola’s masterpiece, Apocalypse Now, which I Natura Morta [mixedmedia] discovered in a rather unusual way : I didn’t actually see the flm when it was originally italian PREMIERE | 8’30” released, but a few years later. I frst listened to the soundtrack, on an old L.P(vinyl) accordion : Ghenadie Rotari which was quite damaged, spoilt with scratches to the extent that the voices of Willard live electronics : Valerio De Bonis and Colonel Kurtz were scarcely heard. Some time after, I read Heart of Darkness by Joseph Conrad which Coppola adapted for his flm and it was only a few years later that The possibility of transforming the accordion sound and obtaining the result in a I saw the flm in a poor suburban cinema. What can I remember from this “Apocalypse” ? inmediate audition has allowed me to work in a new way, an empirical approach which A very efcient but completely out of control movement of the mind.., the feeling it was has made me feel near to the peinters work. The form of the piece emerge directly since unbearable to listen to Kurtz’s recorded voice at the beginning of the flm... images of the materials generated by the computer using the accordion sounds transformed. the hostile jungle and of the river, of man being lost… an impression of irrational power From these materials I sought the highest integration between the instrumental and and a great emotion. It was a realistic and powerful lesson on war and its absurdity. As the digital sound. Thus, the structure of the piece has been the fruit of a constant I was beginning to work on this project, I came across that old vinyl and after listening questioning without previous planifcations. The instrumental part is characterized by to it, I felt it would be interesting to use that imperfect music full of scratches, so a lack musical developpement in contrast with the organic and complex nature of the typical of old records. Then, I started to make some links between the Apocalypse I was electronic sound. These almost inert musical elements has made me think about the listening to, and this strange instrument, the accordion, an instrument which belongs passive objects in still-life paintings. to a bygone era, and which we still hear, as a French symbol in foreign flms although the world it refers to is gone forever. And, in this way doesn’t this instrument sound apocalyptic ? Therefore, this piece is structured around two main themes: a rather nostalgic atmosphere created by extracts from accordion popular dance music and Marta Gentilucci in the same time, a weird and uncontrolled energy in which one can still hear machine guns, screams and distorted guitar sounds. This piece is dedicated to Pascal Contet. Exercise de stratigraphie [mixedmedia] 6’.18” accordion : Ghenadie Rotari Bret Battey live electronics : Giulio Colangelo Stratigraphy is a branch of geology that studies sedimentary and volcanic rocks layering Estuaries 2 [audiovisual] (stratifcations). In the past years, the discovery of this captivating world, with its slow 5’.45” and powerful mechanic of rocks’ transformations, has been a vital source of inspiration. N/A Exercice de Stratigraphie is the frst piece of a triptych, that has the accordion and the stratigraphy as central elements. The second work of the series is a piece for accordion and guitar (discordanza angolare, 2014), and the third one will be for accordion solo valerio Murat and ensemble. Here, the accordion explores the musical seeds, the ‘rocks’ and the movements, that are provoking collisions and frictions. Something that might have Al Signore delle Ombre [audiovisual] happened in million of years, that it is compressed in the telluric grumbling of the italian PREMIERE | 12’.00” bellow or a sharp sequence of chords. The electronic creates a vaster space around “All I know is that while I’m asleep, I’m never afraid, and I have no hopes, no struggles, the accordion and the public, magnifying the inner force of these changes. no glories and bless the man who invented sleep, a cloak over all human thought, food

48 49 MA/IN 2017 matera intermedia festival that drives away hunger, water that banishes thirst, fre that heats up cold, chill that Agostino Di Scipio moderates passion, and, fnally, universal currency with which all things can be bought, weight and balance that brings the shepherd and the king, the fool and the wise, to the [mixedmedia] same level. There’s only one bad thing about sleep, as far as I’ve ever heard, and that is Kairos that it resembles death, since there’s very little diference between a sleeping man and 13‘.00” a corpse” ― Miguel de Cervantes Saavedra, Don Quijote de La Mancha sax : Gianpaolo Antongirolami live electronics : Nicola Casetta The title (καιρóς), in ancient Greek, meant “the right time” or “the occasioning of Erik Nystrom appropriate circumstances”. It stood in contrast to κρòνος, time measured, quantized, spatialised. The soprano sax is used mostly with very thin and breathy emissions of Spheroid [liveperformance] sound, just below the threshold when the breathing noise turns into the normal pitched italian PREMIERE | 10’00” sound (note). For the saxophonist, that requires a very fne control of the reed (the reed live electronics : Erik Nystrom is seen as a very sensitive and non‐ linear mechanical device), and only occasionally Spheroid was composed in 2016-17, and is a live computer music work which uses yields into the normal sax tone. For the computer‐synthesized sounds, instead, the improvised performance and algorithmic processes to synthesise a textured spatial departure point is a very high pitched and prolonged tone, whose development creates environment. The spine of the work is a snowballing irregular loop which sequences, more or less rough sonic dusts and turbolent textures (e.g. at the end). The score deforms and attracts material as it revolves in interaction with performance. Developing and the sound track were composed between 1991 and 1992. The synthetic sounds the piece I was compelled by the idea of a synthetic ecology where unnamed organisms were realized with a particular form of (non‐real‐time) granular synthesis I had myself elasticate and reposition categorical conceptions of species, nature, and technology implemented in standalone programs on a personal computer. For minor details, I also in a speculative morphogenesis. The work was created as part of a Leverhulme Early utilized the venerable MUSIC‐V audio programming language (a version developed Career Fellowship at BEAST, University of Birmingham, researching synthesis of spatial at Laboratoire Musique et Acoustique, University of Marseille) and custom programs texture. for digital mixing developed by Roberto Doati and Giovanni Cospito. The real‐time processing transformations (and the relative adaptations in the score) were added in 2006, during a residency at ZKM (Karlsruhe), with the collaboration of Giampaolo Antongirolami. CONCERT#5 casa cava AUDITORIUM Marco Molteni | 6TH DECEMBER - 6 PM | Effimere Emergenze, Eremi, Eclissi [acousmatic] 6‘.48” The piece EFFEMERE EMERGENZE, EREMI, ECLISSI (ePWsM 1-3) is part of a series Steve Wanna of short or medium lengths that use the patchwork technique … new or past recordings of my previous work (acoustic or electronic) are mounted with extreme care of detail. In Edge Of Sound [mixedmedia] a second phase, two or more pieces in the “ePWsM” series can be further processed euro PREMIERE | 8’00” and mixed to create a new piece. It is the case of “Efmere Emergenze …” which is the result of the assembly of parts of the frst three pieces of the series. viola : Rosalba Potenza live electronics : Giulio Colangelo Edge of Sound explores the boundaries between audible and inaudible or imagined Silvia Lanzalone sounds. The piece is inspired in part by the phenomenon of a slowly decaying sound, like that of a bell or gong, that fades so gradually it becomes difcult to discern the Ombre, Penombre, Bagliori [audiovisual] exact point at which the sound has completely stopped. N/A 14‘.00”

50 51 MA/IN 2017 matera intermedia festival Carmine Emanuele Cella this document gives us, in addition to the inexpressible and boundless love for her brother, is the tremendous beauty transpiring of pure modesty that every time stops the [mixedmedia] lament before it rises to complete song; thus the piece that constantly builds a phōnē, Improvviso Statico an intimate and suspended dialogue of osmotic fusion between the electronic and the 8’.00” soprano’s timbre. It is a continuous consummation and stretch at the most a genesis of sax : Gianpaolo Antongirolami sound when the tension of expectation is unexpectedly beaten and torn of inescapable. live electronics : Nicola Casetta Improvviso statico designs a narrative space made of “sonic” islands foating in a foggy sea. Without apparent reasons an isle gets closer or further, disappears and reappears transformed, in an unreal space in which distances are internals and relationships Michele Abolaffio imaginary. Each isle represents a Moebius strip going from inside to outside continuously; in each isle the saxophone and live electronics create a fused sonic image, without Synaesthesia [liveperformance] hierarchies, priorities or time. 10‘.00” Synaesthesia is a live electronics solo performance involving biophysical sensors and Fabio Monni active lighting. Synaesthesia aims to explore the musical and corporeal performance practice built upon the active stimulation of the senses of sight, hearing and the Del Buio e di altri luoghi MA/IN ~ SPAZIOMUSICA cOMmission perception of the muscles. The performance is based on a synesthetic system MA/IN ~ SPAZIOM [mixedmedia] | 7‘.00” composed of wearable sensors that respond both to bio-signals and dynamically controlled lighting. The qualities of small movements and actions done by the performer soprano : Eleonora Claps are put in the foreground of the audience’s perception, amplifying them and extending electronics : fabio monni the perception of the performer’s body over the audience space. A nocturnal visitor fnds herself into a dark and unknown villa. This villa is diferent form other villas, its walls and furniture reacts to sound stimuli and answers back. The visitor tries to interact with the resonating space while fnding her way through the house. The risk is to turn into the resonating space itself… In the darkness of the wide rooms the sonic space substitutes the visual one. Del buio is divided in two parts. In the second CONCERT#6 one the singer wears a mouthspeaker and becomes part of the electronic. The mouth casa cava AUDITORIUM is used as a sounding box for external sounds, it flters the soundscape of the room. | 6TH DECEMBER - 9.30 PM |

Gerardo De Pasquale Alessio Rossato Del Dolore e altre passioni MA/IN ~ SPAZIOMUSICA cOMmission AWARD OF DISTINCTION [mixedmedia] (Lamento I) [mixedmedia] | 6‘.00” Veglia 12’00” soprano : Eleonora Claps viola d’amore : Luca Sanzò electronics : Gerardo de pasquale Lament I, from the cycle of compositions “About pain and other passions”, inspired by a live electronics : Alessio Rossato recording belonging to the sound collection of the frst Lucan ethnographic expedition, Veglia, wakefulness, is a state of transition; a condition of being, in the which perceptive made by Ernesto de Martino in 1952 on the traces of the ancient, Mediterranean and activities are similar to a state of dreaming and/or hallucination. The viola d’ amore pre-Christian crying. The recording, made in Ferrandina – Matera province, is a funeral becomes a guide leading through an archaic, perhaps visionary world, and an invitation lamentation performed by a young peasant woman from the area who accepted to to the experience of listening. The piece has a cyclical structure, the electronics “interpret” it only after exhausting negotiations. The most disconcerting datum that propose modifed elements arraying them in time without consequentiality. In this work 52 53 MA/IN 2017 matera intermedia festival

I have tried to create/unearth a primordial acoustic fossil, like in a state of dreaming or Milos Cathals halluncination in a dialogue with the outside world, brought back to life in thew present Ode 2 HONORABLE MENTION [liveperformance] Brian Topp italian PREMIERE | 14’00” live electronics : Kyriakos Charalampides Ljós [mixedmedia] live electronics : Chris Loupis euro PREMIERE | 8’00” live electronics : Michele Abolaffio sax : Justin Massey live electronics : Giuliano Anzani live electronics : Brian Topp Miloš Cathals was an important fgure in the ofcial state-band of the USSR, later to Ljós was originally based on a set of poems ‘Light’ by Souvankham Thammavongsa. be erased from the archives due to suspicions about his dedication to the party. This The poems themselves focus on various interpretations of ‘light’ and while often very performance is an homage to his legacy, which is none. short they convey quite vivid and often fragmented imagery. There isn’t really a direct connection between the poems and the resultant music, but I often found myself reading them during the composing of this piece, and fnding inspiration when doing so. Much Diego Ratto of the material for the electronics came from an extended vocal improvisation with vocalist-composer Katerina Gimon. These recordings were cut into various gestures, Echoss [acousmatic] which the saxophone often imitates and much of the piece is built around them. 8‘.16” The piece is made by three movements. Violent gestures interrupt a fake tranquillity. Deeper, there is a stormy excitement that really comes out in the last part. Silence, John Wiggins virtual-space and picture-background management, are just a few of the important aspects which the composition is focused on. string II HONORABLE MENTION [acousmatic] 5‘.54” STRING II was made with “real” sounds – sounds that I recorded both in my studio and MaterElettrica in the feld. I isolated and used the most complex bits of these recordings to represent, hopefully, something else. It seems everyone hears it diferently because the sounds Rosso Cenere [liveperformance] are familiar but out of context. All I’m looking for the bit of unheard sound or isolated world PREMIERE | 20’00” fragment that’s is the music of nature. After four months of recording and combining, I acting : Fabrizio Festa layer, edit, mix and string the fnal composition together. My process is very much like soprano : Valentina Rizzato flmmaking and I’ve adopted musique concrete techniques into my TV and flm sound DAW, MS-20, microKORG : Gianpaolo Cassano design work as well. Synth : Lucio Corizzo + Nunzia Gargano DAW + El. Guitar : Costantino Temerario Rosso. Rosso è il colore della cenere, prima che la cenere sia cenere. La cenere prima Tristan Berger è brace. La brace è rossa. Di un rosso che si mescola col nero. Il nero vira al rosso. Poi torna nero. Poi ancora rosso. La brace è viva: pulsa. Sembra dibattersi, non accettare il Recognizer AWARD OF DISTINCTION [audiovisual] suo Destino che è Rosso. Rosso è il colore della cenere, prima che la cenere sia cenere. La cenere prima è brace. La brace è rossa. Prima della brace, la famma, cui tocca il medesimo italian PREMIERE | 6’07” destino. Questo è il punto: ciò che fu diviene quello che non sarà più. La cenere non nasce Objects of mostly organic origin were digitalized via 3D-scanningsoftware and put into cenere. E’ stata albero, ad esempio. Come il carbonwe, come il petrolio: alberi a perdita new perspective. The absence of color enables the visibility of geometrical details and d’occhio, foreste immense, un brulicare di vita, ridotto ad un nero liquame, a neri blocchi creates new landscapes and surfaces out of the seemingly familiar. polverosi. Infne, una famma li consuma, Rosso il cielo, Rossa la brace, Rossa la cenere. Poi, solo cielo: nero. (text of Fabrizio Festa & Simona Spinella) 54 55 MA/IN 2017 matera intermedia festival

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58 59 MA/IN 2017 matera intermedia festival M. Di Bari, T. Murail, P . Aralla, F . Dillon, F . Filidei, J. Dashow etc..), collaborates with ||| PERFORMER / COMPOSER » emerging composers, specialized Ensemble, CRM (Centre of Musical Research) in Rome and performs regular concerts.She has performed in numerous concert halls including the “Teatro Studio Gianni Borgna” at the Auditorium of Rome, as a fnalist in the “Premio Bucchi Interpretazione – Parco della Musica 2015”. She is interpreter of world premieres presented » BIOGRAPHIES \\\ by the Association “Alessandro Scarlatti – Ente Morale” of Naples in the “ScarlattiLab/ Electronics” since its frst edition in May 2012 (Art Director: G. Turaccio, A. Di Scipio), in International Festival and Composition Competitions, often live on RadioCEMAT. Her Alessandro cazzato graduated and specialized repertoire includes works of the most important authors of the Twentieth-Century Classical “cum laude” in Violin with Franco Mezzena and Felix Music like “Laborintus II” (L. Berio), “Sequenza III” (L. Berio), “Aria” for voice and magnetic Ayo. He performed solo concerts in major Concert tape (J. Cage), “József -Attila Töredékek Op. 20” for solo voice (G. Kurtág), etc.. as well as Halls and Festivals in Italy and abroad: Carnegie numerous world premieres. Hall (New York), New York Philharmonic Biennial, Spectrum NYC, NYC Electroacoustic Music Festival, “Flatus – International Music Festival” Sion, “Euro Ernico di felice completed his fute diploma in Arts – International Music Fondation”, Grosser Saal 1978 with full marks cum laude. He has performed Gürzenich of Köln, Theatre Euskalduna of Bilbao, as soloist in the most prestigious European concert Theatre Petruzzelli, Auditorium “Juan Victoria” – San Juan (Ar), “Universidad de las Artes” halls, including the Concertgebouw Amsterdam, Buenos Aires, “Center for Contemporary Arts” Glasgow, “Museu Condes de Castro” the Musikhalle Hamburg, the Conservatoire Hall Lisbon, Festival “Valle d’Itria”, International Festival of Kardista (Gr), Lucca International Geneva, as well as Montreal, Tokyo, Dijon, Brussels, Festival, etc. His repertoire spans from baroque to contemporary music. He recorded CD Strasbourg, Dresden, Leipzig, Neuchâtel, Bern, “Rewritings for solo violin” dedicated to contemporary music published by Tactus – The Innsbruck, Budapest, Bucharest, Copenhagen, Italian Classic Music Label. Graduated “cum laude” in Literature and Modern Philology, Madrid, Lisbon, Ljubljana, Athens, Istanbul, Tirana he has written appreciated essays and papers on Music and Literature. He devotes also etc. He has also performed in some international festivals: Nuova Consonanza Rome, to teaching. He has been invited to take part in juries of International Competitions. He Biennale Musica and Festival Galuppi Venice, Antidogma and Musiche in Mostra , actually teaches Violin at “F. Torrefranca” Conservatory of Music (It). Schleswig-Holstein Musikfestival, Autunno Musicale Como, Contrechamps Geneva, Musikfestival Davos, Festival Barroco Oporto, Hofschlössnitz Dresden, Ma/In Matera etc.

Enrico has recorded for the RAI (radio and television), ORTF (France), NOS (Holland), RDS Eleonora Claps Born in Basilicata, she studied (German Swiss), ORF (Austria) and for radio in Hungary, Romania, Egypt and Canada. He opera singing at the Conservatory of Music “G. has also recorded numerous CDs of the most important works for fute by Vivaldi, Albinoni, Martucci” of Salerno, where she graduated under Telemann, Scarlatti and Monteclair. His CD recording of Pergolesi and Leo’s concertos the guidance of Elisabetta Scatarzi. Her repertoire for fute was given maximum recognition in the prestigious French music publication ranges in diferent vocal areas; primarily concerned Diapason. On 2014 he published a CD with the complete works for fute and piano by Astor with the fgure of the interpreter singer/actress, she Piazzolla (Stradivarius - STR 14001) valued with “Five Stars” by the two best musical italian is assiduously engaged in the Twentieth-Century and magazines Amadeus and Musica. On July 2016 he published a CD with some works by contemporary, acoustic and electroacoustic, music. Beethoven for fute and piano (Stradivarius 37049). Since 2016 Enrico Di Felice is member She perfected her studies under the guidance of Alda of New Made Ensemble Milan, with this group he performed in some important festivals Caiello, attended the “Corso di specializzazione in canto lirico per l’opera contemporanea” like Festival Cinque Giornate Milan, Bellagio Festival Italy, Festival Tours France and in at the Verona Opera Academy and the Postgraduate Summer Courses at the Internationales prestigious theatres like Teatro Lirico Cagliari, Politeama Garibaldi Palermo, Masini Theatre Musikinstitute of Darmstadt (with Michelle Donatienne-Dansac), during which she performed Faenza etc Since 1993 Enrico has been professor of fute at the Conservatoire of Cagliari as a vocal interpreter in ofcial concert IMD2016 (M. Ciciliani’s Workshop “Music in the as well as holding the position of further studies in baroque fute and chamber music at the Expanded Field”). She regularly participates in courses, masters and seminars aimed at Centre of Baroque Music Studies in Oporto (Centro de Estudos de Musica Barroca). the study and deepening of the contemporary musical language (S. Gervasoni, A. Solbiati,

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Fabio Macchia is born in Basilicata (Brienza). series in Europe and has won many awards in international competitions, including a special He studied percussion at the Conservatory of Music prize assigned to the “most promising chamber ensemble”. The duo has also won the “C.G. Da Venosa” of Potenza, where he graduated “Sony Classical Talent Scout” award. As a soloist, Ghenadie performs regularly with under the guidance of Nunzio Pietrocola (2012). He orchestras such as Orchestra Filarmonica Marchigiana, the string orchestra of the Academy attended training courses at “Accademia d S. Cecilia” of Music of Ljubljana, the string orchestra of the “Elena Teodorini” State Theatre in Craiova, in Rome with Andrea Santarsiere and Antonio Catone to name just a few, often performing new pieces written for him. He also collaborated and he attended several masterclasses of with the Augsburger Philharmoniker Orchester and the Webern Kammerphilharmonie contemporary and classical techniques with Antonio Orchestra of the Universität für Musik und darstellende Kunst Vienna. Ghenadie has Caggiano, Peter Sadlo, Gregory Lacuer, Claudio recorded and performed live for numerous radio stations, both as a soloist and in chamber Romano etc. As pecussionist, he played in several chamber ensemble and international music ensembles, most notably: Radio Vaticana, Radio Capodistria, RTV Slovenia, Radio orchestra like the “Orchestra Italiana” (Chine Tour) and the Symphonic Orchestra of Münster Beograd, Radio Classica, Venice Classic Radio, ORF, Radio Ars Slovenia and BR-Klassik (Germany). Actually is member of the “Chigiana Percussion Ensemble” and he regularly Munich. Many are his TV appearances: TVR International, Tele U Craiova, ProTV, Moldova1, performs with big names like Lilya Zilberstein and Patrick Galloise. He is a funding member RTR Modova, etc. Ghenadie was one of the fnalists of the show “Romania got Talent” with of ThaumaTrio. an audience of several million viewers.A convinced and active promoter of new music, Ghenadie has collaborated with many of today’s leading and young composers, such as Rebecca Saunders, Chaya Czernowin, Mark Andre, Franck Bedrossian, Gabriele Vanoni, Ghenadie Rotari Described as “a magnifcient of the accordion...a true revelation of Maurizio Azzan and Sara Caneva, to name a few. These collaborations resulted in more the festival...” (Formula-AS) and as an “exquisite accordionist” (Artribune), Ghenadie is a than 30 world or national premieres of works for accordion solo (also with orchestra) or very active musician who has performed across Europe in venues like Musikverein and chamber music works. “Ensemble Oktopus”, “ensemble XX.Jahrhundert”, “ensemble the Konzerthaus in Vienna, Gasteig in Munich, Kontrapunkte”, and “ensemble PHACE” are among the ensembles in which Ghenadie Teatro Regio in Turin, St. Martin in the Fields in played over the past couple of years.Ghenadie is the recipient of the Erasmus scholarship London, Concert Hall of the Academy of Music in that allowed him to study with Matti Rantanen at the prestigious “Sibelius Academy” in Ljubljana, and others. Born in 1991 in Moldova, Helsinki, Finland. Together with Valentina Vargiu, Ghenadie is a participant at the courses Ghenadie started playing the accordion at the age held by the internationally acclaimed Trio di Parma (Ivan Rabaglia, Alberto Miodini and of 9 in his hometown, Chisinau (Rep. Moldova). Enrico Bronzi) at the International Chamber Music Academy in Duino. Since 2016 he is a Later he continued his studies in Trieste under scholarship holder of the Yehudi Menuhin Live Music Now foundation. the guidance of Corrado Rojac and in Munich with Krassimir Sterev. Winner of frst prizes and many awards at various international music competitions, such as the frst prize at the Gianpaolo Antongirolami received the “Strumenti&Musica festival” in Spoleto, the frst prize at the international competition “Svirel” saxophone diploma with top honours in 1986. in Slovenia and frst prize in the “Città di Piove di Sacco” international competition in Italy, He then continued further studies with Jean- among others. Ghenadie is a frequent participant in numerous concerts in various cities of Marie Londeix. In addition he received his Italy and abroad as well as at various international music festivals such as, for example, diploma in Electronic Music and in Chamber “Wien Modern”, “Festival Brücken”, “Nei Suoni dei Luoghi”, “Madesimo Music Festival”, Music. He performs regularly as a soloist as “Festival di Portogruaro”, “Trieste Prima” contemporary music festival, “Innersound New Arts well as with orchestra and chamber music Festival” in Bucharest, “Tzlil Meudcan” festival in Tel Aviv, “Craiova Muzicala” international ensembles, concentrating primarily on music of music festival, “aDevantgarde contemporary music festival” in Munich and “MA/IN Matera the 20th and 21st century with a repertoire that Intermedia 2017 Festival”, among others, performing a repertoire that ranges from classical includes works by such composers as Berio, Bussotti, Bennett, Bryars, Cage, Donatoni, to contemporary music for accordion.Chamber music plays an important role in Ghenadie’s Gentilucci, Glass, Grisey, Nyman, Risset, Scelsi, Sciarrino, Stockhausen, Torke, Xenakis, repertoire and his collaborations with young and active musicians are numerous. He has Zorn, as well as works by the most signifcant emerging composers. He premiered several performed extensively in concerts with the cellist Georgy Gusev, the accordionist Margherita compositions, in most cases dedicated to him. With a keen interest in research, innovation, Berlanda and with the saxophonist Vanja Sedlak. Together with the Italian pianist Valentina and experimentation, he has focused his interests on electro-acoustic music, performing in Vargiu, Ghenadie has founded the “Duo Aspera”, which has performed for various concert important electro-acoustic music festivals and concert series like the Festival International

62 63 MA/IN 2017 matera intermedia festival de Musique et Créations Electroacoustiques in Bourges (F). Gianpaolo Antongirolami is Teatro della Fortuna (Fano), Teatro Manoel (Malta), Auditorio de la Diputaciòn (Alicante), frequently invited to give special courses, master-classes and concerts at important Auditorio Teulada-Moraira (Teulada) etc.; and in some famous festivals: Nuova consonanza European musical institutes such as the Musikhochschule in Freiburg (D), the Universität (Roma), Festival, Festival dei 2 mondi (Spoleto), Chigiana International Festival 2015 Mozarteum in Salzburg (A); the Keele University and the Edinburgh University (UK). (Siena), Chigiana International Festival 2016 (Siena). Recently he has been invited from the SaxAmE international association (The Saxophone in He worked with diferent famous artists. The most important are: Anton Gakkel, Francisco America and Europe) to be included in the next book “Saxophone soloists and their music” Maestre, Marcelo Panni, Carlo Boccadoro, Gian Luigi Zampieri, Tonino Battista, Cord (Indiana University Press); the book will collect the biographies of the most signifcant Garben, Patrick Gallois, Enrico Dindo, Giuseppe Grazioli, Katsuto Yokoshima, Ennio saxophone players of the last 20 years. Gianpaolo Antongirolami has taught saxophone Morricone, Antonio Pappano, Daniel Oren, etc. He is a funding member of ThaumaTrio. at various Italian Conservatories of Music since 1987 and currently holds the chair of saxophone at the Conservatory in Perugia. Justin Massey Canadian saxophonist Justin Massey is a contemporary artist currently based out of Morgantown, West Virginia. Giulio Cintoni Born in Genzano di Roma (1994). Summa cum laude graduate at the Passionate for new music, Justin strives to Conservatorio statale di musica di Latina “O. present modern music in all his performances, Respighi” as a student of M° Rodolfo Rossi, he often performing on the entire battery of had also been an apprentice to M° Ignacio Martin saxophones. To this end, Justin constantly seeks Ceballos, who is the principal timpanist of Teatro out new repertoire and enjoys working with dell’Opera di Roma. He attended in 2015 and composers in order to recreate their visions into 2016 a specialization course at the Accademia live performances. Recent commissions include Chigiana di Siena with M° Antonio Caggiano Scrap Metals by Jason Charney and 9 Rhymes obtaining, in both years, the merit diploma. In by Jacob Sachs-Mishalanie. Justin is currently 2016 participates in the audition for the O.N.C.I. pursuing his Doctorate of Musical Arts Degree at West Virginia University. He has studied (Orchestra Nazionale dei Conservatori Italiani), at the Conservatoire de Bordeaux, Bowling Green State University, and the University of with commission wa formed by A. Catone and A. Santarsiere, respectively timpanist and Alberta. His primary teachers have included Dr. Michael Ibrahim, Marie-Bernadette Charrier, percussionist of the Accademia Nazionale di Santa Cecilia, reaching the second place Dr. John Sampen, Dr. Allison Balcetis, and Dr. William Street. Justin has received grants from in entire Italy. In the same year he wins an audition as both timpanist and percussionist the Edmonton Arts Council, and is a multi-year recipient of the Winspear Fund Scholarship for the O.F.C. (Orchestra Filarmonica Campana). Took part in many concerts, both as and the Anne Burrows Music Foundation Scholarship. Justin-massey.com solo player and as orchestra. Some of the are: Orchestra Sinfonica Ottorino Respighi [Percussionist and Timpanist]; Filarmonica d’Opera di Roma [Timpanist]; Roma Tre Orchestra [Percussionist and Timpanist]; Orchestra Roma Sinfonietta [Percussionist]; Michele Perrone was born in Potenza in 1986 where he later Roma Chamber Orchestra [Timpanist]; Orchestra Italiana del Cinema [percussionist and graduated in Classical Guitar cum laude at the Conservatory timpanist] Orchestra Filarmonica di Benevento [Percussionist and timpanist], Orchestra of Music “Gesualdo da Venosa”. Even though guitar is his Nazionale dei Conservatori Italiani (O.N.C.I.) [Percussionist and Timpanist]; Orchestra del frst passion he has also played electric bass for many years. Teatro dell’Opera di Roma [percussionist]; Orchestra Sinfonica Abruzzese [Timpanist and Besides playing for several institutions and associations in the percussionist] etc. Moreover, he collaborates in many Ensemble, like: Freon Ensemble, Basilicata region, he has collaborated with many recording P.M.C.E. (Parco della Musica Contemporanea Ensemble); Ars Ludi Ensemble. Since 2015 studios. Since 2017 Michele Perrone is professor of classical he has been member of Chigiana Percussion Ensemble with which he joined some concerts guitar. for seasons 2015/16 and 2016/17 of the Accademia Chigiana di Siena. In 2018 he found the Thauma Trio: a percussion trio that plays the reprtory of XX century and works with a new composer. He had a play in many theatres, like: Teatro Olimpico (Roma), Teatro Italia (Roma), Teatro Palladium (Roma), Aula Magna Università “La Sapienza” (Roma), Teatro Nicola baroni gained conservatory diplomas in Cello Performance and in Electronic D’Annunzio (Latina), Teatro Moderno (Latina), Teatro Vittorio Veneto (Colleferro), Teatro Music, as well as a degree in Musical Aesthetics at the University of Bologna. He Ventidio Basso (Ascoli Piceno), Teatro A. Bonci (Cesena), Teatro Ariosto (Reggio-Emilia), participated in post-graduate courses in cello and chamber music with Franco Rossi, Alain

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Meunier, Anner Bijlsma, Siegfried Palm, and He is a founding member of the Michelangelo followed stages on musical softwares at IRCAM Quartet and is regularly invited to perform at in Paris. He fulflled a PhD in Composition at the the annual Rome Chamber Music Festival with University of Edinburgh developing a research musicians from all over the world. He has played on Hyperinstruments. Cello teacher in Bolzano as Principal Solo Viola, with the Rome Opera at the “Claudio Monteverdi” Conservatory House, the Teatro Lirico in Cagliari and the in addition to Improvisation Techniques and Concerto Italiano, a Group which has allowed Music Informatics, he is involved in solo and him, thanks to a collaboration with amongst the chamber music repertoire. He collaborated with best instrumentalists in this sector, to deepen the contemporary music ensembles Octandre, his knowledge of philological performance of Icarus, Siddharta, Musica Attuale, Musica/Realtà, Interensemble, Antisonic- Elektronika, Baroque Music using original instruments.He has published a revision of Campagnoli’s 41 FontanaMix, Cardew Ensemble. He has directly worked with composers like Sylvano Caprices for solo viola, for Ricordi. He is viola professor at the Rome Conservatorium of Bussotti, Paolo Castaldi, , Ivo Malec, Igor Linz Maues, Alvin Curran, Santa Cecilia. He has recorded for the following labels: Nuova Era, Bottega Discantica, Lawrence Casserley, Adriano Guarnieri. He is also involved in electro-acoustic music BMG Ricordi, Opus 111, Tactus, Edi Pan, Stradivarius, Naïve, Chandos, Naxos and the and composition, and principally in live electronics performance and interactive music Hindemith viola and piano sonatas and Brahms viola and piano sonatas with Brilliant environments. For many years he has been active in the concert scene in Italian theatres Classics. and festivals in Europe, US, Canada, South America, Japan. Ha has hold conferences and workshops on string contemporary repertoires, Improvisation, and Live Electronics in diferent universities such as Berlin, Wien, Atlanta, Stanford. www.nicolabaroni.com

Rosalba Potenza Violinist and Violist, she is graduated in Violin with Maestro Bonaccini and Viola with Maestro Misciagna, both at the Conservatory of Music “C. Gesualdo da Venosa” of Potenza. She has an intense concert activity in Italy and she performs in chamber ensembles and in lyric-symphonic orchestra regularly, both classical and contemporary music. She is tenured professor of violin and viola.

LUCA SANZO’, pupil of Bruno Giuranna, conducts an intense professional activity dividing his time between concerts, recordings and teaching. He has performed concerts all over the world, as a guest artist in prestigious concert halls and festivals: the music Biennale in Venice, Musicacusticafestival in Beijing, EMUFEST in Rome, the Staatsoper in Stuttgart, the Festival Synthese in Bourges, the Concertgebouw in Amsterdam, the Hercules Saal in Munich, the Metropolitan Museum in New York and Monaco Electoacustique, to name just a few. He is particularly interested in the production and dissemination of new music, of which he is an esteemed performer. Many composers have dedicated works to him and consider him a reference point in the interpretation of their works. He is a member of the PMCE, Parco della Musica Contemporanea Ensemble; resident ensemble specialized in 20th century and contemporary music at the auditorium Parco della Musica in Rome.

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ALFREDO ARDIA Born in 1989 in a small Apulian town of South of Italy. He is fascinated à Rayonnement Régional de Lyon, France. She won the Audience Award at the Luigi by sound’s nature and is interested in its perception and relations with other media and Russolo Award 2014 with her work “El Sendero hacia lo Profundo”. In the year 2015, she the environment. In his works, he explores sound phenomena and behaviors, using simple received a commission from the Festival Bahía[in]Sonora for the creation of a quadraphonic sound material, aiming to an aware form of listening. Lovers of a calm life, he is inspired by electroacoustic piece called “Pyxis”. Her works have been selected and performed nature and daily life. around the world in diferent festivals such as Mixtur Festival, CEMI Circles, Forum Wallis Ars Electronica, EVIMUS, MUSLAB, FILE, Phas.e, Musinfo, SIME, Sonicscape, Festival Zéppelin, etc. She has attended to several master class and conferences with Dhomont, MASSIMO VITO AVANTAGGIATO He took a master degree in Electroacoustic Composition Vaggione, Vande Gorne, Normandeau, Mary, Tutschku, among others. In 2017, the label with full marks at “” Conservatoire in Milan and a master degree as a Sound Resterecords released her frst monographic album. Engineer. He has also studied composition in the same Conservatory. Finalist in some composition and video competitions, he has recently participated in: MUSLAB2017, ENZO CILLO attended the high school of arts in Benevento, continuing his studies in visual Mexico; NYCEMF 2017, New York, USA; BIENNALE D’ARTE DI ROMA 2017, Rome, Italy; arts at the Academy of Fine Arts in Naples. The video is for him a way to get in touch with SEGNALI 2017, Perugia, Italy; DME 2017, Portugal; Oasis Short Film Festival, August something more deep and hidden. At the core of his research there is the topic of light and 2017, New York, USA. shadow, and the constant questioning of the invisible image that exists between those two elements. His works are displayed at various international museums and festivals. He ANDREW BABCOCK Born in Bufalo, NY, Andrew Babcock has been working in a variety currently lives and works in Madrid. of contexts with music and multimedia for over 15 years. As a composer, Andrew’s main interest lies in the transmission and perception of voice in the electroacoustic medium. Recently, he received his PhD in music composition at the University of Florida, studying MIRKO ETTORE D’AGOSTINO is an Italian sound artist, composer, music producer, with Paul Koonce. Andrew’s works have received several international prizes and honors, drummer and mastering engineer. His artistic output includes acousmatic music including CICEM (Monaco, 2016), Città di (Italy, 2016), Metamorphoses (Belgium, compositions, soundtracks, audiovisual and multimedia works, EDM and experimental 2012), Música Viva (Portugal, 2015), Prix Destellos (Argentina, 2015), SCI/ASCAP (United electronic music pieces. As a producer he specializes in rock, indie and electronic music. States, 2016), ASCAP/SEAMUS (United States, 2017), and Sound in Space (United States, He works as producer and mastering engineer at Babajim Istanbul Studios & Mastering and 2011). he is a PhD candidate in Sonic Arts at Istanbul Technical University’s Center for Advanced Studies in Music (MIAM). He is a co-author of Laboratorio di Tecnologie Musicali - Vol. I and Laboratorio di Tecnologie Musicali - Vol .II, a series of books specifcally designed for music DANIEL BLINKHORN is an Australian electroacoustic composer and sound artist. He technology courses in music schools, high schools and conservatories. is self-taught in electroacoustics, his creative works have received various international composition citations and he is a passionate feld recordist. MARCO DIBELTULU (Alghero, 1971) studied at the Conservatory of Cagliari Composition, Choral Music and Electronic Music (with Francesco Giomi, Sylviane Sapir and Elio RODRIGO CADIZ (1972) is a composer, researcher and engineer, currently working at the Martusciello).His compositions have been selected in many competitions as 24th Centro de Investigación en Tecnologías de Audio of the Pontifcia Universidad Católica de International Electronic Music Competition “Luigi Russolo” – Varese; CALL 2006 and Chile. He obtained his Ph.D. in Music Technology from Northwestern University in 2006. His 2013 – Federazione CEMAT, Rome; 6th International Computer Music Competition “Pierre music has been presented at several venues and festivals such as ICMC, June in Bufalo, Schaefer” 2007 (1st Prize) – Pescara; ICMC 2012 – Ljubljana; EMUFest 2012 - Rome; Ai-maako, Bourges, SEAMUS, EMM, Festival de Música Contemporánea UC, Silencio and NYCEMF 2014, 2015 - New York City Electroacoustic Music Festival. He performed Musica Viva. He has received several composition prizes and grants both in Chile and the at Festivals: Synthèse – Bourges; Biennale di Venezia on-line; Moscow Biennale of USA. He is currently associate professor in the Music Institute of the Pontifcia Universidad Contemporary Art; Zeppelin 2008 – Barcelona; Primavera en La Habana 2008; CONCERTS Católica de Chile. DE BRUITS: PIERRE SCHAEFFER 1948-2008 – Centro Tempo Reale, Florence; Audio Art Circus 2008 – University of Arts, Osaka; 60x60 Dance – Theatre Square, London; 60x60 Video - Audiograft – Oxford Brookes University, Oxford; Urban soundscapes – Vienna. ROCÍO CANO VALIÑO (Argentina, 1991) Composer and designer. Currently, she has been accepted to study electroacoustic composition with Stéphane Borrel at the Conservatoire

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MIRTRU ESCALONA-MIJARES He has received multiple internationally recognised awards, Recordings by Empreintes Digitales (Canada) (http://www.electrocd.com/fr/bio/justel_el/ He works regularly with highly recognized ensembles and musicians. His 2017/2018 season discog/), and other publishers. In 2007 she creates the Foundation Destellos to promote include performances of his latest works in several festivals in Europe, Latin America, and electroacoustic musica and digital arts, organizing an International competition. the US. MIKEL KUEHN American composer Mikel Kuehn (b. 1967) has received awards, grants, and residencies from ASCAP, BMI, the Banf Centre, the Barlow Endowment, the Chicago Italian artist, born in 1987, lives and works in Berlin, Germany. He ANDREA FAMILARI Symphony Orchestra, Composers, Inc. (Lee Ettelson Award), the Copland House (Copland investigates mostly the perception of audio, the way to represent it and to describe the Award), the Fromm Foundation at Harvard, the Guggenheim Foundation, the International feeling with geometrical structures. His works are focused on the data analysis of the sound Contemporary Ensemble (ICE), the League of Composers/ISCM, the MacDowell Colony, to generate distorted landscape, surreal forms and abstract scenery of decomposition of the Ohio Arts Council, and Yaddo. Professor of Creative Arts Excellence at Bowling Green micro/macro cosmos. His projects encompass from performance, interactive installation, State University and former director of the MidAmerican Center for Contemporary Music photography and geometry. (MACCM), Kuehn received degrees from the Eastman School of Music and the University of North Texas. In November 2016, New Focus Recordings released Objet/Shadow, a EVELYN FROSINI (Argentina, 1983). Composer and sound designer. She studied portrait CD of Kuehn’s music; other recordings of his works are available on ACA Digital, Composition at the National University of Arts (UNA) and Sound Design at the National School Centaur, Erol, ICMA, MSR Classics, and Perspectives of New Music/Open Space. He is the of Film Experimentation and Production (ENERC) in Buenos Aires, Argentina. Currently, she author of the computer music application nGen. is Professor and Researcher at the ENERC and at the Musical Arts Department at the UNA, where she is also Co-Director of the DaMus Electroacoustic Ensemble. In addition, she is member of the GEAM Group and of the Destellos Group as a composer. Her compositions, which have been performed in several venues in Argentina and abroad, includes works ANTHONY LYONS is an Australian composer and sound maker whose creative output ranging from instrumental music, mixed music and acousmatic music to sound design in includes works for orchestra, bands, EDM, installation, and hybrid-arts projects. An active flms and in multimedia works. performer in audiovisual electronic music his work has been featured in festivals such as the Zèppelin Ars Electroacustica and the International Computer Music Conference. Anthony is interested in the ways technology, audiovisual interactions and structural design coalesce ANA GNJATOVIC (Serbia, 1984) is a composer and performer of acoustic and electro- in creative practice. He is drawn to the inner worlds of sound and connections to memory, acoustic music, collecting and combining found items, works, concepts, and ideas that sonority and place. Anthony is a lecturer in Interactive Composition at the University of lend themselves to generalization, translation, interpretation, and sonorization. She fnished Melbourne. Paul Fletcher created the visual for Cosmos and has been creatively involved her doctoral studies in composition at the University of Arts in . She is an associate for many years in experimental music and short flm/animation and media projects. His professor of music analysis at University of Kosovska Mitrovica Faculty of Arts. She has AudioVisual Midi Vacuum Cleaner was frst premiered at the Commonwealth Games attended various composition masterclasses, working with composers Georges Aperghis, Cultural Festival 2006. Paul is a Lecturer in Animation at the University of Melbourne. Chaya Czernowin, Brian Ferneyhough, Beat Furrer, , G.F. Haas, and Ivan Fedele, among others. Her pieces have been performed throughout Europe, in USA FRANCESCO MARCHIONNA Always interested in the Art / Science report, he graduated and Japan, and have been programmed at festivals such as the International Review of cum laude in Electronic Music at the Conservatory “N. Piccinni” of Bari in 2014, under the Composers, Culturescapes, Wratislavia cantans, Espressivo, Festival de Wallonie, Biennale direction of Francesco Scagliola. He attended seminars with Lionel Marchetti, Leonello of Contemporary Music Koper, Ankara Music Festival. Tarabella, Danilo Girardi and a laboratory of Hardware Hacking with Nicolas Collins. His compositions have been selected in various festivals Italian and abroad, collecting praise ELSA JUSTEL (Argentine-France) PhD in Aesthetics, Science and Technology of the from critics and audience. Among the events: Fimu-2010 (International Festival of University Arts at the University of Paris, Justel currently works as an independent composer and Music - Belfort), URTIcanti10 (Bari, 2014), SEAMUS-2015 (Society for Electro-Acoustic video artist. Her works have received numerous awards in international competitions Music in the United States -Virginia), Ruid al Sud 2015 (International Arts Festival - Bari) and were commissioned by the French government and diferent European studios. She and ArteScienza 2017 (International Festival - Roma). Since 2010 is part of the research has developed a pedagogical and research activity at the Universities of Marne La Vallée group Sin[x]Thesis and is currently enrolled in the second year of specialization of Electronic (France) and Pompeu Fabra (Spain) and several European schools of music. Music.

70 71 MA/IN 2017 matera intermedia festival rICCARDO MAROGNA Musician, improviser, composer, born in Verona (Italy), currently Enthusiastic, well-motivated and accustomed to working with tight deadlines, she is a based in The Hague (NL). His research is focused on developing an improvisational member of the collective of musicians MUMI Prod. language in the electro-acoustic scenario, where the electronic manipulations and the acoustic sounds merge seamlessly in the continuum of the sonic gesture. He is active WALTER CORNELI & LUCA RAUTTi N/A in many projects, playing a range of reed instruments (bass clarinet, clarinet, tenor saxophone) combined with live electronics. With drummer Riccardo La Foresta he founded Sho Shin Duo, with which he published three albums and toured extensively in Europe. He JORGE SAD LEVI Buenos Aires (1959) Studied composition with Francisco Kröpf in received a BD summa cum laude in Jazz Music and Improvisation by the Conservatoire Buenos Aires and with Marcelle Deschênes at Université de Montreal. His music has been “G. Frescobaldi” in Ferrara, Italy, a MD in Electronic Engineering by University of Padua programmed in Festivals and concerts around the world , including L´espace du son (Italy) and then he specialized in Computer Music at IRCAM (Paris) with Mikhail Malt. He (Bruxelles) , Korea World Music Days, Seoul Computer Music Festival, (Korea), Aspekte is currently doing his Master Research project at the Institute of Sonology at the Royal (Austria), Festival de Bourges (France), Festival de Música Contemporánea de Caracas Conservatoire in The Hague. (Venezuela), Festival Musica Nova (Brazil), Centro de Experimentación del Teatro Colón, Festival Internacional de Teatro de Buenos Aires , ICMC Utrecht. He received comissions and /or worked in artist residencies at GRM(Paris, France) , Musiques & Recherches (Ohain, PAUL OEHLERS is most recognized for his “extraordinarily evocative” flm scores. (Variety) Bélgium) Phonos (Barcelona, Spain) , CCRMA (Stanford, U.S.) , LIEM(Madrid, Spain). His Films incorporating his music have won the Grand Jury prize at the Hamptons International music is published by BabelScores and Luscinia Discos (Spain). He´s currently teaching Film Festival, the Atlanta International Film Festival, and the Indiefest Film Festival. In Musical semiotics at Universidad de Tres de Febrero and electroacoustic composition at addition, flms with his music have screened at dozens of festivals in Europe, Asia, Africa, Conservatorio Alberto Ginastera and Australia. Paul A. Oehlers’ compositions have been performed in the United States and abroad including performances at the Society for Electro-acoustic Music in the United PIERRE-LUC SENÉCAL Composer and sound designer Pierre-Luc Senécal is piecing States national conferences, the International Computer Music Conferences, the Seoul together his reputation as curious and dashingly passionnate about sound. His compositions International Electro-acoustic Music Festival, the Institut für Neue Musik und Musikerziehung for concert, theater, flm and dance bear his fondness for poetry, lyricism and exuberance. in Darmstadt, Germany, and the VII Annual Brazilian Electronic Music Festival.Paul was He is currently realizing a masters degree at University of Montreal on the topic of mixing named the Margaret Lee Crofts Fellow by the MacDowell Colony for the year 2006. He is and mastering in acousmatic music. His work has been presented in the United States, currently Associate Professor of Audio Technology at American University in Washington, Canada, Monaco and Germany. His piece, Schrei, a composition on the thematic of the DC. Nazi genocide, has been presented during the San Francisco Tape Music Festival 2014 and the soundLAB – soundCollective exhibition project. JUNG-WOONG OH (b. 1992, South Korea) was born and raised in Seoul, and he currently resides in Bloomington, Indiana. He studied music composition with Hyun-Sue Chung in EWAN STEFANI is a composer, musician and associate professor at the University of Seoul Arts Center Academy, music composition with Uzong Choe and computer music Leeds. Ewan has been composing with synthesizers and tape recorders since the 1980s. with Roland Breitenfeld in Seoul National University, and is studying music composition with As a composer and performer in the last few years he has worked closely with a broad P.Q. Phan and computer music with John Gibson and Jefrey Hass in Indiana University. cross-section of collaborators. His solo pieces have been performed on BBC Radio 3 and at various national and international events. CLELIA PATRONO is a musician, composer and sound designer based between Rome and Paris.She specializes in composition, sound design and sound fx for moving images, FRED SZYMANSKI is a sound and image artist who lives in New York City. In his work, creating original music for flm, television, corporate videos, commercials and Podcasts. he investigates the relations between nonlinear forces and applies the results to sound Clelia works as both a composer and sound designer for RAI Television and SKY Arte HD in difusion and multi-screen installations and performances. His work has been performed Italy. She is the composer, guitarist and musical director of the band “Atome Primitif”, which at many festivals, including the 2017 New York City Electroacoustic Festival, 2016 Matera released its frst album “Three Years Three Days” in 2010 and an EP “Quipu” in 2016. She Intermedia Festival, 2015 Monaco International Electroacoustic Festival, International composes music for flms and advertising, while at the same time continuing her activity as Computer Music Conference 2015 (Denton, Texas), SonicLIGHT (Amsterdam), Abstraction a live performer around the world. Now (Vienna), the European Media Art Festival (Osnabruck), and Mutek (as part of RML’s

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CineChamber) (Montreal). He has participated in the shows “What Sound Does a Color divided the second half of his life between Paris and Montreal. Gifted with a sense of Make” at the Eyebeam Center (New York) and “Bit Streams” at the Whitney Museum the narrative never matched, he is able to tell captivating tales through acousmatic art. of Art, and has exhibited at the Diapason Gallery for Sound (New York). Szymanski has The two parts of his Cycle of Depths works, the albums Sous le Regard d’un Soleil Noir released his sound work (A Laminar Project) with Sub Rosa (Belgium), Asphodel Ltd., JDK (1981) and Foret Profonde (1996), remain some of the most enduring examples of musique Productions, Soleilmoon, and Staalplaat (Amsterdam). concrète, transcending the genre to touch the core of mankind. Born in 1926 in Paris, Francis Dhomont came to musique concrète through classical music. He studied with Ginette Waldmeier, Charles Koechlin, and Nadia Boulanger. Stumbling upon musique KYLE VANDERBURG (b. 1986) grew up in Missouri where the Ozarks meet the Mississippi concrète at about the same time Pierre Schaefer did, he abandoned musical composition River valley. Raised on southern gospel and American hymnody, his music tries to walk the around 1953 to create only electro-acoustic music. Little is known of his works before line between eliciting nostalgia and devising innovative sonic worlds. His electronic works 1972, as the composer repudiated them. Sous le Regard du Soleil Noir introduced him place familiar sounds in new contexts, his acoustic works feature catchy melodies and too to a relatively larger audience, the album becoming a classic of the genre and a source many time signatures. He writes music he hopes his parents will like. He holds degrees from of inspiration for many sound artists. He created many acousmatic works playing on Drury University and the University of Oklahoma and has studied under Carlyle Sharpe, sound and meaning, but his best results were obtained through the use of dream-like Marvin Lamb, Konstantinos Karathanasis, and Roland Barrett. He’d be delighted if you narratives and “cinema for the ear.” His work in the 1990s grew even more evocative, checked out KyleVanderburg.com. culminating in the 60-minute piece Foret Profonde, a fantasy on fairy tales through the works of Bruno Bettelheim. Dhomont was also very active as a theorist. He edited several issues of magazines on electro-acoustic music (L’Espace du Son, Circuit), created radio roberta platania (Rome, 1975) studied Electronic Music at the Conservatory of music programs for Radio-Canada and Radio-France, taught electro-acoustic composition at the of Frosinone where graduated in Digital Audiovisual Composition in 2017. Singer, author Universite de Montreal where he maintained a strong infuence on younger composers, and composer, since 2008 she works for cinema, theater and television. More and more and co-founded the Canadian Electroacoustic Community. His work has been recognized attracted to the relationships between sound and image, at this time the artist experiences internationally through numerous awards and prizes, including the Magisterium of the the possibilities of integrating music and new media. Closely observing our perception’s Bourges International Electroacoustic Music Competition in 1988. In February 2001 he behaviour in real and virtual space, she realizes installations, sculptures and projection received a career grant (60,000 dollars Canadian over two years) from the Conseil des Arts surfaces that may include many diferent materials, matters and methods et Lettres du Quebec, an incredible achievement for an avant-garde artist.

David Berezan has acted, since 2003, as Director of the Electroacoustic Music Studios Daniel Fawcett (b.1991) is a composer, sound artist, visual artist and instrument builder and MANTIS (Manchester Theatre in Sound) at The University of Manchester (UK). In 2012 from the United States. He is a graduate of New York University’s Steinhardt School with he was appointed Professor in Electroacoustic Music Composition. After completing a BA a M.M. degree in music composition where he studied privately with Joan La Barbara and in History (1988) at the University of Calgary, a Diploma in Composition (1996) at Grant Morton Subotnick. Prior to this, he completed his B.M. studies at Roosevelt University’s MacEwan College (Edmonton) and a MMus in Composition (2000) at the University of Chicago College of Performing Arts, studying with Stacy Garrop and Kyong Mee Choi. Calgary, he moved to the UK and completed a PhD in Electroacoustic Composition (2003) His work has been featured at events including the Look and Listen Festival (NYC), the at the University of Birmingham (UK). Berezan has been awarded in the Klang! (France, Spaziomusica Festival (IT) and Matera INtermedia Festival (IT). Much of his recent work deals 2015), Music Viva (Portugal, 2012), Bourges (France, 2002), Luigi Russolo (Italy, 2002), with the interaction between humans, light and sound as part of focused performance. This Radio Magyar (Hungary, 2001), São Paulo (Brazil, 2003, ’05), L’espace du son (Belgium, has led to the use of both wearable and stationary, sound reactive, light units for a series of 2002) and JTTP (Canada, 2000) competitions. He has worked in residence in the studios of works designed to be performed in a wide variety of spaces. the University of Calgary (Canada, 2011), Université de Montréal (Québec, 2011), CMMAS (Mexico, 2011), EMS (Sweden, 2011, ’12), VICC marco marinoni (10/04/1974) is a professor at the Conservatory of Music “G. Verdi” of Como where he teaches Electroacoustic Performance Practice. He gained a M. Mus. Francesco Altieri N/A Conservatory Degree in Computer Music (2007) 10/10 cum laude, a Master’s Degree in Sound Direction and Live-Electronics at the Conservatory of Music “B. Marcello” of Venice Francis Dhomont Born in France, electro-acoustic composer Francis Dhomont (2007), 110/110 cum laude with Alvise Vidolin and a Master’s Degree in Composition (2013),

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110/110 cum laude. He studied music composition with Mario Garuti. He was fnalist for Cesare Saldicco (*1976) is graduated in piano, composition and electronic music. For the Internatioanl Gaudeamus Composers Competition 2002 and 2003, Prix du Trivium at his artistic development have been very important his encounters between 2005 and 2006 the 29e Concours International de Musique et d’Art Sonore Electroacoustiques – Bourges with Anders Hultqvist and Ole Lützow-Holm during the Erasmus scholarship in Sweden. 2002, selected for the project What’s Next by Nuova Consonanza – Rome 2003, winner Soon afterwards he attended lessons and master classes with Philippe Hurel, , at the second call for electroacoustic music by Federazione CEMAT and included the CD Oscar Strasnoy, Helmut Lachenmann, Gavin Bryars, Stefano Gervasoni, Salvatore Sciarrino Punti di Ascolto 2005, 1st Prize at the Primo Concorso Internazionale di Composizione per and Ivan Fedele, with whom he obtains the alto perfezionamento diploma in composition at Iperviolino – Genova 2007, 1st Prize at the VIII Concorso Internazionale di Composizione the Accademia Nazionale di Santa Cecilia in Rome. Winner of several scholarships he has Città di Udine – 2010. He is a member of SIMC - Società Italiana Musica Contemporanea. been awarded in important composition competitions such us Bourges (2009) EmuFest The scores of his pieces are published by ArsPublica and Taukay. (2009, 2010. 2011 and 2013) and Mùsica Viva Poutugal which selects the work “Digressione Ipertestuali N.10” for the installation “Sound Walk 2012” at the Goethe Institut in Lisbon. In the same year “La Biennale di Venezia” invites him to produce a new electroacoustic Paolo Geminiani Studied in composition, electronic music, choral music and choral work - “Still Life”- staged during the 56th edition of the festival. His music is edited and conducting, band instrumentation at the conservatoires of Bologna and Modena. He has published by ArsPublica, Philology, Da Vinci Publishing and Sconfnarte. His works have undertaken advanced study under Franco Donatoni, Azio Corghi, Alessandro Solbiati, been performed in Australia, Austria, Albania, Belgium, Bulgaria, Canada, Chile, Denmark, Adriano Guarnieri and Alvise Vidolin. He has won and received commendations at England, Finland, France, Germany, Greece, Italy, Malta, Portugal, Russia, Spain, Sweden, various competitions including: Gustav Mahler, Counterpoint International Competition, Switzerland, U.S.A. and broadcasted by Italian National RadioRAI. Currently he teaches SuonoSonda, Daegu Contemporary Music Orchestra, Valentino Bucchi Prize, Pierre Electroacoustic Music at Conservatory of Lecce (Italy) Schaefer, Egidio Carella, Reggello International Festival, IBLA Grand Prize, Romualdo Marenco and many others. Some scores published in Italy by Ut Orpheus, Agenda, Sconfnarte, ArsPublica, TEM-Taukay, and performed at International Contemporary Sebastiano Trombatore 23yo Italian Canadian sound designer and audiovisual Music Festival Deagu, Lefrak hall-Queen College of New York and Steinway Hall NYC, composer. After graduating at the “Licino Refce” conservatory, I started an audiovisual and Columbus State University, Ruidalsud Festival Internacional de Música Contemporánea, music project named “Eyevenear” that concerns intersection of Disturbing imagery and Guitar Festival of Lipica, Hagi Origami Museum Japan, and in Italy: Risuonanze Festival, Nostalgic feelings. It aims to a community that likes and spreads this art genre. I post all Oltre il Contemporaneo, 3 Quarti d’ora di Musica, Sulle ali del Novecento, Festival dell’Arte works on the namesake YouTube channel. Meanwhile, I’m gonna start the sound design Contemporanea-La Settimana del Contemporaneo Faenza, Sagra Musicale Ambrosiana, program at the Vancouver Film School, BC. Then, we’ll see... Milano: Cinque Giornate, Tempo Reale, Cluster–Compositori Europei Lucca, and performed by Linda Wetherill, Antonella Bini, Alessandro Cazzato, Duo Novecembalo, Chiara Urli, Tiziano Cantoni, D’Antonio-Montanari, Ensemble Suono Sacro, Soundif Ensemble, Damian Gorandi was born on 11- 11 of 1991, Buenos aires , Argentina. He was Awarded Ensemble Filomusia, Daegu Contemporary Music Orchestra, Dedalo Ensemble, Uroboros with the 1 ̊ prize in the international conquest Franz liszt (weimar ) 2017. Exhibitronic Ensemble: Italy, Slovenia, UK, South Corea, Japan, USA. Actually teaching in Bari (Italy), award 2017, 1 ̊ prize in the international competition “Mas/menos”, Destellos (Honorary Conservatorio “N. Piccinni”. mention 2016/nominated 2017), Prix russolo, 1 ̊prize SADAIC (2015), 1 ̊prize Trinac, 1 ̊Prize Fondo nacional de la artes. Silver Medal in the Global Music Awards ( 2017), others. He obtained the scholarship of ibermusicas to studie with Joao pedro Oliveira. The scholarship Roberto Zanata born in Cagliari, Italy where he also graduated in Philosophy. He in Weimar (Germany) to take classes with Robert Normadou. The scholarship in Cmmas studied and graduated in composition and electronic music at the Conservatory of Cagliari. (Mexico). Residence at the study EMS ( Sweden)..He have participated in numerous He attended the Ferienkurse in Darmstatd in 1996 where he studied with K.Stockhausen festivals as CIME / ICEM in Moscow, Ina GRM Banc Essai 2017,Nycemf 2015,Musinfo and M.Spahlinger. In the middle of nineties Roberto became active in Italy and abroad. 2015, ect. His Artistic works and composition was declared like “ High cultural and artistic He wrote chamber music, music for theatre, computer music, electroacoustic and interest” by the Ministry of Culture Argentina.Study compotition with Elsa Justel , Ricardo acousmatic music as well as multimedia works. His music is published by Audiomat, Mandolini and Jorge Sad. Taukay and Vacuamoenia. In International competitions his works have been awarded Grands Prix Internationaux de Musique Electroacoustique (Bourges), Interference Festival (Poland), Sonom Festival (Mexico) and more. He currently teaches Electronic Music at the Reuben De Lautour New Zealand-born is a composer, sound artist and pianist. He is Conservatory of (Italy). a faculty member at Istanbul Technical University’s Center for Advanced Studies in Music,

76 77 MA/IN 2017 matera intermedia festival where he founded the Program in Sonic Arts in 2012. He composes music for instruments respectively. Her principal composition teachers were Ivan Fedele, Paul Koonce, Tristan and / or electronics, and writes about music, technology and listening practices. His music Murail, and Thea Musgrave.Her works have been presented at Agora, Archipel, Ars Musica, has been performed and recorded by artists such as Evelyn Glennie, the Nash Ensemble, Musica Strasbourg, Musiques Démesurées, Mostly Mozart, Sonorities, and Miso Music the New Jersey Symphony and UMS ‘n JIP. He holds a PhD from Princeton University, (Lisbon), and performed by ensembles including Accroche Note, Arditti Quartet, Ensemble where he studied with Paul Lansky and Steven Mackey, and was the recipient of a Fulbright Aleph, Ensemble Alternance, Ensemble InterContemporain, l’itinéraire, Nicolas Hodges, award. Before this he studied piano and composition at the University of Auckland in New and Ensemble Vortex. She has collaborated with institutions including le centquatre (Paris), Zealand with Bryan Sayer, John Rimmer and John Elmsly. Elektromusikstudion (EMS-Stockholm), the Groupe de Recherches Musicales (GRM), IRCAM, and La Muse en Circuit (Paris). She is also a performer and improvisor of live electronics. She was composer-in-residence at the 2010 soundSCAPE festival, and with giulio colangelo holds an MA cum laude in electronic composition after studying with the International Contemporary Ensemble (ICE) in 2012. She was awarded frst prize in Alessandro Cipriani and Giampiero Gemini in Frosinone (Italy). He attended masterclasses 2009 in the Sond’Arte Composition Competition for Chamber Music with Electronics, and in instrumental techniques and electronic composition plus specialist courses in sound a Förderpreis in Composition by the Darmstädter Ferienkurse in 2012. In 2015-6, she will engineering and postproduction. He researches parallel languages in order to create be featured in the four-concert Soundkitchen series of the Ensemble InterContemporain at complex perceptive experiences. It is focused on instrumental experimentation and the Gaîté lyrique.She previously taught at the Accademia Musicale Pescarese and Bangor electroacoustic/acousmatic compositions, on electronic performances and sound University, and is currently a part-time Lecturer in Sonic Arts at Goldsmiths. installations, in the domain of the intermedia development. His works have been exhibited in several international contests and broadcasted on Radio France, Radio4, Brava TV, VPRO etc. He has recently worked at the “ZKM” on his sonic projects and contributed to Samuel Béland is a graduate of the Montreal Conservatory of Music where he studied the exhibition “SoundArt” curated by P.Weibel. He was one of the fve nominees for the electroacoustic composition under the supervision of composer Martin Bédard. In addition prestigious Gaudeamus Music Award 2016 (the Netherlands). He recently won the frst prize to acousmatic music, he is particularly interested in the medium of video music, algorithmic at Destellos Prize 2017. He is the artistic director of the international electroacoustic music composition and the sociology of art. festival MA/IN – MAtera INtermedia. . He is project leader for Matera 2019 - Euro Capital of Culture. He is professor of Electroacoustic Music Composition at the Conservatory of Alessandria (Italy). [giuliocolangelo.eu] donato Corbo is a blues guitarist and electroacoustic composer, graduated in electronic music at the Conservatory of Potenza. His interest includes music, video and interaction with technological tools. He followed workshops with Esther Lamneck, Cort Lippe, Agata james o’callaghan is a composer and sound artist based in Montréal praised for Chiusano. Founder memeber of LOXOSconcept he has exposed his works in several his “mastery of materials and musical form” (Radio France). His music intersects acoustic international contests and his installation “CUT it!” at the ZKM (SoundART exhibition - 2012). and electroacoustic media, employing feld recordings, amplifed found objects, computer- In 2013 the “Trama Sottile” installation was exhibited at the Naples PAN, in the Vuotociclo assisted transcription of environmental sounds, and unique performance conditions. His IV SanktaSango event. As an electronic music performer his experimentations move in the works, spanning chamber, orchestral, live electronic and acousmatic idioms, audio direction of the interactive sound, like his live performance with Kinetics controller at the installations, and site-specifc performances, have been awarded national and international festival VIVAVERDI MULTIKULTI XVII EDITION 2013 at Casa Cava (Mt) prizes, as well as nominated for a JUNO Award (2014) the Gaudeamus Award (2016). His acousmatic music is published by empreintes DIGITALes and his acoustic music is luca Acito I’m a director, a researcher and a performer often working on cultural projects available through the Canadian Music Centre. related to cinema and new technologies. I work with several forms of new media, creating television commercials and documentaries for italian channels like Rai Sat Art, Rai Sat Show. patricia alessandrini ’s works actively engage with the concert music repertoire, My frst feature flm “The Heritage of Cain “ with Filippo Timi dates back to 2006 - www. and issues of representation, interpretation, perception and memory, often in the context of theheritageofcain.com .Since then I’ve travelled widely around Italy, collecting and telling social and political issues. These works are often multimedia, theatrical, and collaborative, stories with tha caravan of “Itinerant Cinema – Travelling memories”, a cultural heritage involving live electronics, resonating objects, and interactive video She studied composition project promoted by UNESCO - www.cinefabrica.com. In 2008 I decided to abandon and electronics at the Conservatorio di Bologna, Conservatoire de Strasbourg, and IRCAM, everything (or almost) in order to become a beggar for a Rolex in my surplus needy project, and holds two PhDs, from Princeton University and the Sonic Arts Research Centre (SARC) for which i won a GAI award from the Young Italian Artists group - www.surplusneedy. com. In 2009 I joined the collective Action30 co-producing in Bologna and Brussels and I

78 79 MA/IN 2017 matera intermedia festival directed the short flm “Grande Brasserie Cyrano”. Action30 explores new forms of fascism Lior Eytan is a composer, Born in Israel in 1986, based in Milan. After completing, in through contemporary languages. We have produced books, graphic essay, performances 2016, his bachelor degree at the Jerusalem Academy of Music and Dance, studying with using live video, live comics and . In 2011 Action30 made the project/ Prof. Yinam Leef and Prof. Ari Ben-Shabtai, he moved to Milan where he currently studying show “Constellation61” in partnership with the National Theatre of Brussels and Bxl Laique for his master degree at the Milan Conservatory with Maestro Gabriele Manca. His works - www.action30.it / youtube/action30media. In 2010 I opened Studio Antani visual / cross were played in Israel and abroad. His piece Chamber Music, from 2015, had won the 1st media / creative company - www.studioantani.com. In 2010/11 I’ve been a guest of the prize in the Mark Kopytman competition. Paris-Villette Wip in two residencies for the documentary theatre project “Demande d’Asile / Buddha, mon pére et moi”. In 2014 - with Action30 we made the performance/show Nage Nage Petit Poisson - Dés/obéir à l’époque de la téléréalité - in partnership with the d Salvatore Sciarrino (Palermo, 1947) boasts of being born free and not in a music Bxl Laique - Festival des Libertes 2014. school. He started composing when he was twelve as a self-taught person and held his frst public concert in 1962. But Sciarrino considers all the works before 1966 as an domenicoFilitti holds a MA degree in Electronic Music at the Conservatory of Potenza developing apprenticeship because that is when his personal style began to reveal itself. with a thesis on violin augmentation techniques. He has a particular interest in programming There is something really particular that characterizes this music: it leads to a diferent way languages and algorithmic composition. His compositions are performed in events such the of listening, a global emotional realization, of reality as well as of one’s self. And after forty “Intermediart”, the “Contemporaneously”, the “Root formative paths” ; in 2013 the “Trama years, the extensive catalogue of Sciarrino’s compositions is still in a phase of surprising Sottile” installation was exhibited at the Naples PAN; in 2013 he was back in Matera witrh a creative development. After his classical studies and a few years of university in his home live performance at the festival VIVAVERDI MULTIKULTI XVII EDITION 2013 at Casa Cava . city, the Sicilian composer moved to Rome in 1969 and in 1977 to Milan. Since 1983, he has lived in Città di Castello, in Umbria. He has composed for: Teatro alla Scala, RAI, Teatro del Maggio Musicale Fiorentino, Biennale di Venezia, Teatro La Fenice di Venezia, Simone Longo Sims is a composer and performer of electronic music. He is interested Teatro Carlo Felice di Genova, Fondazione Arena di Verona, Stuttgart Opera Theatre, in creating and processing sound in the digital domain, focused on timbre exploration Brussels La Monnaie, Frankfurt Opera Theatre, Amsterdam Concertgebouw, London with diferent techniques. He obtained a master degree in electronic music at G.F.Ghedini Symphony Orchestra, Tokyo Suntory Hall. He has also composed for the following festivals: Conservatory of Cuneo. Schwetzinger Festspiele, Donaueschinger Musiktage, Witten, Salzburg, New York, Wien Modern, Wiener Festwochen, Berliner Festspiele Musik, Holland Festival, Alborough, Festival d’Automne (Paris), Ultima (Oslo). He was published by Ricordi from 1969 to 2004. Filippo Mereu Born in Sardinia, Italy. He received the “Diploma accademico di II livello” Since 2005, Rai Trade has had exclusive rights for Sciarrino’s works. Sciarrino’s discography (Master of Arts) in Electronic Music, summa cum laude, at the Music School “Pierluigi da is pretty extensive and counts over 100 CDs, published by the best international record Palestrina” of Cagliari. Co-founder and member of the improvisational electroacoustic duo labels and very often awarded and noted. Apart from being author of most of his theatre Terminale_3, with which he released the album “I-son” (TiConZero, 2014). He performed opera’s librettos, Sciarrino wrote a rich production of articles, essays and texts of various at the following events: Signal, Tempo Reale Festival, Time In Jazz, Multiversal, Music In genres some of which have been chosen and collected in Carte da suono, CIDIM – Touch, Miniere Sonore, Acusmatica in Movimento, Spazio Musica, Di_Stanze Festival ecc. Novecento, 2001. Particularly important is his interdisciplinary book about musical form: His works have been selected and performed at many international festivals. Le fgure della musica, da Beethoven a oggi, Ricordi 1998. Sciarrino taught at the Music Academies of Milan (1974–83), Perugia (1983–87) and Florence (1987– 96).He also worked as a teacher in various specialization courses and master classes among which are those Levy Oliveira (b. 1993) is a Brazilian composer. He studies composition at the Federal held in Città di Castello from 1979 to 2000. From 1978 to 1980, he was Artistic Director University of Minas Gerais (UFMG), oriented by João Pedro Oliveira. Several festivals has of Teatro Comunale di Bologna, Academic of Santa Cecilia (Roma), Academic of Fine Arts played his music, most recently, Monaco Electroacoustique 2015 (Monaco/Monaco), of Bavaria and Academic of the Arts (Berlin), Sciarrino haswon many awards, among the MUSLAB 2015 (Mexico City/Mexico), JIMEC 2015 (Amiens/France), Open Circuit 2016 most recent are: Prince Pierre de Monaco (2003) and the prestigious Feltrinelli International (Liverpool/UK), Tinta Fresca 2016 (Belo Horizonte/Brazil), Clicle Somelgrup 2016 (Valencia/ Award (Premio Internazionale Feltrinelli) (2003). He is also the frst prizewinner of the newly Spain), EMUFest 2016 (Rome/Italy)and New York City Electronic Music Festival (New York/ created Salzburg Music Prize (2006), an International Composition Price established by USA). His music Hyperesthesia received the First Prize in Eduardo Bertola Composition the Salzburg Land. In 2006 his new opera Da gelo a gelo, coproduced by Schwetzinger Competition. His orchestral piece A Leap of Faith received honorary mention in the Festival Festspiele, Opéra National de Paris and Grand Théâtre de Genève, was performed to great Tinta Fresca 2016. acclaim. In 2008 La Scala Philharmonic Orchestra performed his 4 Adagi and 12 Madrigali

80 81 MA/IN 2017 matera intermedia festival were premiered in the summer of the same year in a portrait series dedicated to him by the Fugue respectively. At the moment he is a fourth-year PhD student in acousmatic music Salzburg Festival. at the University of Manchester (NOVARS Research Centre), under the supervision of Professor David Berezan. His area of interest is: creating works of acousmatic music based on aspects of Greek culture [Religion, traditional Greek instruments, Mythology]. jacob Sudol writes intimate compositions that explore enigmatic phenomena and the inner nature of how we perceive sound. His music has been performed over one hundred times across the USA as well as in Canada, Taiwan, the United Kingdom, Germany, Adrian Moore is a composer of electroacoustic music. He mainly composes music Singapore, China, Netherlands, Thailand, Japan, and Cambodia. He was awarded a intended for ‘sound difusion’ over multiple loudspeaker systems. He directs the University Fulbright grant to teach at National Chiao Tung University in Taiwan for the Academic 2015- of Shefeld Sound Studios (USSS) where researchers and composers collaborate on new 16 Year and is also an Assistant Professor of Music Technology and Composition and the musical projects. Adrian Moore’s research interests are focused towards the development Coordinator of Music Technology area at Florida International University in Miami, Florida. of the acousmatic tradition in electroacoustic music, the performance of electroacoustic He holds a Ph.D. in composition from the University of California, San Diego where his music, signal processing, and human-computer interaction in music. His music has been mentor was the Grawemeyer Prize-winning composer Chinary Ung. In 2012, he founded commissioned by the Groupe de Recherches Musicales (GRM), the Institute International de a cello/electro-acoustic duo with distinguished cellist Jason Calloway and, since 2010 he Musique Electroacoustique de Bourges (IMEB) and the Arts Council of England. A signifcant has been in a piano/electro-acoustic duo with his wife Chen-Hui Jen. He also regularly proportion of his music is available on 4 discs, ‘Traces’, ‘Rêve de l’aube’, ‘Contrechamps’ collaborates on interdisciplinary projects with visual artist Jacek Kolasinski, architect Eric and ‘Séquences et Tropes’ on the empreintes DIGITALes label. His book ‘Sonic Art: An Goldemberg, and Cambodian dancer/choreographer Chey Chankethya. jacobsudol.com. Introduction to Electroacoustic Music Composition’ is published by Routledge.

Joao Pedro Oliveira completed a PhD in Music at the University of New York at CArlos De Castellarnau Born in Catalonia, Carlos de Castellarnau has studied with Stony Brook. His music includes one chamber opera, several orchestral compositions, Ramon Humet and Agustí Charles in Barcelona, with Stefano Gervasoni in the CNSMDP a Requiem, 3 string quartets, chamber music, solo instrumental music, electroacoustic in Paris and he has participated in the Cursus I and II in the IRCAM. His works have music and experimental video. He has received over 50 international prizes and awards been awarded in several competitions as the Joan Guinjoan Composition Competition for his works, including three Prizes at Bourges Electroacoustic Music Competition, the in Barcelona or the JukeBoxx NewMusic in Munich. His recent works are very infuenced prestigious Magisterium Prize in the same competition, the Giga-Hertz Special Award, 1st by the informalist painters and their praxis researches. Fascinated by the grotesque as a Prize in Metamorphoses competition, 1st Prize in Yamaha-Visiones Sonoras Competition, poetical source and the quality of expression of the matter, Castellarnau works combine 1st Prize in Musica Nova competition, etc.. He is Professor at Federal University of Minas sound refnement and timbre complexity. Gerais (Brazil) and Aveiro University (Portugal). He published several articles in journals, and has written a book about analysis and 20th century music theory. Erik Nystrom ’s output includes live computer music, electroacoustic works, and sound installations. His current work explores synthesis, space, and human-computer Gabriele Paolozzi / Diego Capocitti N/A performance. He is currently a Leverhulme Research Fellow at Birmingham Electroacoustic Sound Theatre, University of Birmingham, working on a project which develops an aesthetic and technological model for multi-channel music based entirely on live spatial Francesco Pellegrino is a composer, musician and multimedia artist whose work texture synthesis processes and algorithms. He studied electroacoustic composition covers live electroacoustic performances, compositions and installations. with Denis Smalley at City University, London (MA, PhD), and computer music at CCMIX, Paris, France. Nyström performs frequently worldwide and his music has been released by empreintes DIGITALes on the disc Morphogenèse. Epameinondas Fasianos is originating from Athens, Greece. He has attended both the University of York (MA in Music Technology) and the University of Sussex (MA in Composition for Media and Film and MPhil in Musical Composition). His BA in Greece was in Informatics Bret Battey (b. 1967) creates electronic, acoustic, and audio-visual concert works and Computer Technology. He has also obtained his Piano Diploma in 2003 with Professor and installations, with a focus on generative techniques. He has been a Fulbright Fellow Dimitris Toufexis. In parallel, he has obtained the Diplomas in Harmony, Counterpoint and to India and a MacDowell Colony Fellow, and he has received recognitions and prizes from Austria’s Prix Ars Electronica, France’s Bourges Concours International de Musique

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Electroacoustique, Spain’s Punto y Raya Festival and MuVi4, Abstracta Cinema of Rome, and in 2007 at the composition competition. In 2009 Carmine Emanuele Amsterdam Film eXperience the Texas Fresh Minds Festival, and the Red Stick International Cella has been selected by the SWR orchestra of Stuttgart, while in 2011 he has been Animation Festival for his sound and image compositions. He pursues research in areas fnalist at the international Isang Yun music prize in South Korea. In 2007 he received the related to algorithmic music, haptics, and image and sound relationships. He completed his E. Contestabile grant from Accademia Chigiana and the G. Guarino grant from Accademia masters and doctoral studies in Music Composition at the University of Washington and his di S. Cecilia in Roma, while in 2008 he won the prestigious Petrassi prize for composition, Bachelors of Music in Electronic and Computer Music at Oberlin Conservatory. His primary from the President of the Italian Republic Giorgio Napolitano. From 2007 to 2008 he had composition and technology teachers have been Conrad Cummings, Richard Karpen, and a job position as researcher at IRCAM in Paris in the Analysis/Synthesis team working Gary Nelson. He also served as a Research on audio indexing and he is currently composer in residence in the same institute that commissioned him several works for orchestra and electronics (the latest has been played in Paris – Salle Pleyel under the conduction of Jukka-Pekka Saraste). Steve Wanna is a multi-disciplinary sound and visual artist whose work includes music, He is currently member of Academie de France à Madrid for 2013-2014 at Casa de sound design for dance collaborations, sculpture, installation, photography, and works for Velazquez. mixed media. Born and raised in Lebanon, he immigrated to the United States with his family at the age of 15, receiving a doctorate in Music Composition from the University of Maryland in 2004. His chief research and creative interest is the phenomenon of emergence. Fabio Monni Born in 1976 in Sardinia, Fabio Monni studied at the “G.P. da Palestrina” His works often incorporate electronics and interactive software to create pieces that exist Conservatory in Cagliari, where he graduated in Piano, Organ and Composition. In June in a state of becoming rather than being. In contexts both visual and sonic, the artist often 2013 he completed the master II in composition at Lund University with Luca Francesconi. relinquishes total control to become a contributing agent in a larger ecosystem that gives His interest around how sound and space relate with each other brought him to compose rise to the work. He has been teaching Sound Recording and Music Technology at the several pieces as well as sound-installations that investigate how the space is experienced college level for the past decade. by listeners through specifc sonic stimulation. He is particularly interested in spaces which are not normally devoted to music performances (museums, public buildings etc.) and whom architectures could be functionally implemented in the music composition. Marco Molteni (Italy – 1962) studied composition with L.Chailly and G.Giuliano at the In 2016 his radio-opera What’s That? (with the support of SwedishArtsCouncil) premiered in Conservatory of Music of Milan; electronic music with R.Sinigaglia. He attended several Malmö (SE) during Transistor II festival. In the same year he also created a sound installation perfectioning courses like : Accademia Chigiana / MC2 Musique Contemporaine (F.Donatoni); for one actress and electronics that was presented at InterArtsCenter in Malmö (SWE). Atelier de Recherche Instrumental IRCAM - Paris; Darmstadt Ferienkurse. His music has The text, based on Karen Blixen’s Babettes Gœstebud, was written and performed live been rewarded and recognized in important international concourses (Gaudeamus Music by Danish actress Liv Kaastrup-Vesterskov. During 2017 he will compose the music for week - Concorso Internazionale “Casella” Siena – Conc. Internazionale G. d’Arezzo ecc.) a new dramatic production by Teater Mutation (Sweden). The project, titled Konvergens, and played in several places like IRCAM, Chigiana Novità Siena, Festival Antidogma Torino, was funded by Kulturrådet, Kulturskåne and Författarfonden. He is organist in S.t Thomas Ferienkurse fur Neue Musik Darmstadt, Gaudeamus Musik Week Amsterdam, Internat. church in Lund (SWE). Review of Composers Belgrade ecc. His music has been broadcasted by Radio France, RAI, ABC Sidney, CBC and it has been published by BMG Ricordi, Arspublica. Gerardo De Pasquale composer, researcher, sound designer, visual designer; studied music specializing in violin with Georg Mönch and composition with Edoardo Ogando in Carmine Emanuele Cella is a composer and a researcher in the relations between Rome. Since 1995 works on an aesthetic language of composition concrete- spectral, mathematics and music. He studied at Conservatory of Music G. Rossini in Italy getting and sound quality and visual synesthetic. He wrote computer music, electroacoustic and degrees in piano, computer music and composition and he got a master in musical acousmatic music as well as audio-visual and multimedia works. Its audio-visual and composition at the Accademia di S. Cecilia in Rome, with M° Azio Corghi. He also studied multimedia projects for famous international brands, have received awards, as well as in philosophy and mathematics and got a PhD in mathematical logic at the University of Italy, in France, Germany, Holland, Austria, Great Britain, USA, Canada, China, Japan, etc. Bologna working on symbolic representations of music. As a composer, he won many Some of his compositions and performances are documented in important exhibitions, prizes, including: 1st prize at the G. Rossini composition competition (1998), 1st prize at museums and festival including: Bauhaus-Archiv Berlin, Städtische Galerie im Lenbachhaus the Egidio Carella competition (2010), 2nd prize at the ICOMS composition competition of Monaco, the Museo Cantonale d’Arte in Lugano, Exposition Internationale d’Art (2010). In 2006 he has been semifnalist at the Queen Elisabeth composition competition Contemporain – Jeune Création, Grande Halle de la Villette in Paris, Archives DOCVA Milan,

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MAXXI in Rome, Expo Milano 2015, Galleria Milano in Milan, Galleria Il Ponte in Florence, Tristan Berger was born in Datteln/Germany and grew up in North-Rhein-Westfalia. Musinfo Opus-centrum in Bourges, MUSLAB International Festival of Electroacoustic Music Since 2010 he studies music and composition at diferent schools with a focus on in Mexico City, L’arsenale // Nuova Musica a Treviso, OUA Electroacoustic Music Festival in flmmusic and music-production. Since 2012 he studies at the Institut für Computermusik Osaka. The last recording project “Mosconi-Wagner” for the label Alga Marghen, produced und Elektronische Medien (ICEM) of the Folkwang University of Arts in Essen/NRW with his with Gabriele Bonomo, making composition, technical implementation, sound engineering main focus on electroacoustic music and visual art. Besides his individual works, he creates and graphics, is entered from a-Musik in Köln (Germany) has classifed the disc the frst top music and sounddesign for flms and videogames. 25 titles of its archives 2015.

Milos Cathals is an improvisational quartet dedicated to the concepts of feedback, Michele Abolaffio Michele Abolafo is a live electronics performer, sound engineer synergy and self- organisation. It consists of four interconnected systems, each bringing and interface developer. He holds a BA degree in Music and New Technologies from the a diferent scope of live electronics to the table; bio-sensors, modular synthesisers and Conservatory of Firenze “L. Cherubini” and a Master of Music degree in “Instruments & generative stochastic algorithms are being integrated into a larger system. Every agent’s Interfaces” at the Institute of Sonology in The Hague, in collaboration with the STEIM Institute choices lead to changes that shift and shake the behaviour of the system, challenging in Amsterdam. He is currently working in the STEIM Institute on hardware and software the others to alter or adapt to the conditions. The project was initiated in 2015 as a side- prototyping under supervision of Frank Baldé. His artistic and technological research research platform where the diferent ideas and approaches of each member would be focuses on the development of biophysical musical instruments for live performance. exchanged, explored and exploited in a collaborative environment.

Alessio Rossato Graduated in Percussion, Electronic Music with A. Vidolin at the Diego Ratto was born the 14th of January 1988. He graduated with a Bachelor’s Music Conservatory of Venice. In the same city he is graduated in Composition with R. Degree in Electroacoustic Composition (under the guide of Gustavo Delgado) at the Music Vaglini. Within the Erasmus Exchange Program, he attends the composition course with Conservatory “A.Vivaldi” of Alessandria (IT) in 2017. In the past he studied Jazz Guitar M. Stroppa at the Hochschule für Musik und Darstellende Kunst in Stuttgart. He attended and Music Therapy (both Bachelor’s Degree). Currently he is studying Electroacoustic several courses: 43° International Summer Courses in Darmstadt (2006); electronic music Composition (Master Program) at the KMH - Royal College of Music (Stockholm). He workshop with A. Richard, De Musica (Associazione Nuova Consonanza) in Rome with S. also studied with: Matteo Franceschini, Cesare Saldicco, Riccardo Piacentini and Antonio Sciarrino and P. Manoury etc... His works were performed in several places and festivals: Galanti. 29° Cantiere Internazionale d’Arte di Montepulciano, Teatro La Fenice and Biennale Musica (Venice), Stagione Rondò (Milan), EMUFest and Musica Verticale (Rome), UNAM and FIMNME (Mexico City), The BEAMS Festival (Boston), Festival de Radio France MaterElettrica Music Design and Sound Design are MaterElettrica core business. (France), FZML Leipzig (Germany),Théâtre des Louvrais à Pontoise (France), Sound New Moreover Materelettrica, a team born in Electronic Music School of Matera Conservatory, is (Canterbury). Hi played percussion with ensemble lʼArsenale and he has partecipated strongly active in diferent research felds, as programming for DAW enviroment, automation for music installation and remote control, applications for mobile devices. Following the entire process from composing to post production editing, since last three years MaterElettrica Brian Topp is Vancouver, Canada based composer, sound designer and programmer. produced soundtracks for movies, documentaries, jingles and clips. MaterElettrica brought His main interests lie in electronic and electoacoustic music; developing interactive systems forth live performances (concerts and theater shows) and special projects for sonorization. for realtime audio processing and creation, and developing new ways to create and interact The team collaborates regularly with: D.E.R. (Documentaristi dell’Emilia Romagna), Saul with music and technology. Currently, Brian is pursuing a doctorate in Music Composition Saguatti, MUSMA Museo della Scultura Contemporanea di Matera, Associazione Minerva at the University of British Columbia with Dr. Keith Hamel, including the development of live Scienza, VisitMatera, CDM (Centro di Musica Contemporanea, Milano). MaterElettrica took performance softwares at the Institute for Computing, Information and Cognitive Systems part to the following festivals: SpazioMusica 2013 Cagliari, Rupextre 2013, L’altro suono (ICICS). (Teatro Comunale di Modena), Lugo Opera Festival (Lugo).

John Wiggins John Wiggins is an award winning sound designer and mixer, living in New York.

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