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TT: 69' 42". Dépaysements è un lavoro di sfioramenti, marginalità e sconfinamenti. La traccia em,ozionale che lo attraversa è una permanente condizione di deriva o naufragio di un paesaggio nelll'altro. Si gioca l'inserimento di suggestioni geografiche in un sistema centrifugo dove, scivolando semanticamente, ognuna di questa si sottrae all atrappola della definizione o non definizione di sé. L'"artificio delle temporalità" tra musica colta occidentale e il dato extraeuropeo, con la sua diversa percezione della storia, ispira l'intero ciclo per un convivere di identità stimolate al movimento non solo dalla trama delle storie del passato ma anche e soprattutto da sempre più compromettenti e politiche ipotesi di futuro. Il CD "Dépaysements" si compone di 10 tracce: 1: Maftir (2003) per viola da gamba sola, 6' 46", viola Hille Perl; 2: Mizmor (1999) per pianoforte solo, 4' 48", pianoforte Cristina Barbuti; 3- 5: Le divan oriental-occidental (2002) Quatre chansons pour voix et piano, soprano Linda Campanella, pianoforte Cristina Barbuti 3: Ad'h'â at--tanâ'i (testo di Ibn Zaydun), 7' 14"; 4: Gestern mittags (testo di R. M. Rilke), 4' 59"; 5: Gingo biloba (testo di J. W. Von Goethe), 6' 07"; 6: L'âme que l'amour ne connaît (testo di Rûmi), 4' 49"; 7: Dhil (2004) per contrabasso solo, 7' 59", contrabasso Willy Merz; 8: Pardes (2003) per percussione sola, 13' 34", percussioni Thierry Miroglio; 9 Dung (1998) per faagotto solo, 5' 33", fagotto Diego Chenna; 10: Reng (2003) per viola sola, 7' 48", viola Danilo Rossi. [post_title] => Mizmor [post_excerpt] => Willy Merz è compositore, direttore d'orchestra e contrabbassista. Diplomatosi in Contrabasso e in Composizione presso il Conservatorio di Torino e in Direzione d'Orchestra presso il Conservatorio di Milano, si è perfezionato all'Accademia Chigiana di Siena con Franco Donatoni, all'IRCAM di Parigi e con Fernand Leitner in Direzione d'Orchestra. Nel 2003 è stato preiato dal "Councours international de Composition" di Friburgo. Sue composizioni sono abitualmente eseguite in importanti Festivals europei e diffuse su France Culture, Suedwest Rundfunk e RAITRE. Nel 2003 la sua opera "Ulysses" è stata eseguita presso il Teatro Colòn di Buenos Aires. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => mizmor [to_ping] => [pinged] => [post_modified] => 2015-01-09 16:19:24 [post_modified_gmt] => 2015-01-09 15:19:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6227 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 214 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6260 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "Cécile"; T.T. 60' 18". Copyright: Kaffe Matthews 1999 Edited, mixed and mastered by km at Annette Works, Top floor, 11-29 Fashion Street, London E1 6PX. [post_title] => My love gave me a blue plastic watch (track 8) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => my-love-gave-me-a-blue-plastic-watch-track-8 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:52 [post_modified_gmt] => 2015-01-09 16:00:52 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6260 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 247 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6292 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "Bea"; T.T. 69' 19". Copyright: Kaffe Matthews 1998 Remixed and produced by km at Annette Works, 47 Margetson House, Stamford Hill, London N16 5LE. R.G.: Kaffe Matthews “CD Bea” – archivio SAM n. 123/c 26 tracce, compl. 70’26” Lavoro strutturalmente molto simile al precedente (123.a), forse ancora più “musicale” che “concreto”. Stesso giudizio. [post_title] => Subwired (track 21) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => subwired-track-21 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:55 [post_modified_gmt] => 2015-01-09 16:00:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6292 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 279 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6323 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "dd"; T.T.67' 33". Copyright: Kaffe Matthews 2000. Mixed and edited by km at Annette Works. [post_title] => The last of the violins (track 9) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-last-of-the-violins-track-9 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:58 [post_modified_gmt] => 2015-01-09 16:00:58 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6323 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 310 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6355 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Track 1 del CD "Canoni Pitagorici"; T. T.: 49' 41" [post_title] => Canone pitagorico øø [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => canone-pitagorico-oo [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:01 [post_modified_gmt] => 2015-01-09 16:01:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6355 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 344 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6387 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Italian Landscape [post_excerpt] => Il brano è il track 4 del cd: 1' 30" einsdesseig. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => italian-landscape [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:04 [post_modified_gmt] => 2015-01-09 16:01:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6387 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 376 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6056 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Radiografia dell'anima D…. [post_excerpt] => Titolo: Radiografia dell'anima - DocksDora raffaello.lazzaretto@tin.it materiale acc. :Oggetto: consenso al trattamento dei dati personali comuni e sensibili [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => radiografia-dellanima-d [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:58 [post_modified_gmt] => 2015-01-09 16:01:58 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6056 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 40 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6088 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Fragmentado [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => fragmentado [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:01 [post_modified_gmt] => 2015-01-09 16:02:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6088 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 72 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6120 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Croce e delizia [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => croce-e-delizia [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:03 [post_modified_gmt] => 2015-01-09 16:02:03 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6120 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 104 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6152 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Breath Conversation [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => breath-conversation [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:06 [post_modified_gmt] => 2015-01-09 16:02:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6152 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 137 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6227 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Dépaysements è una serie di lavori per strumento solo e per voce e pianoforte dedicati ad incontri tra la musica contemporanea e le tradizioni extra-europee. TT: 69' 42". Dépaysements è un lavoro di sfioramenti, marginalità e sconfinamenti. La traccia em,ozionale che lo attraversa è una permanente condizione di deriva o naufragio di un paesaggio nelll'altro. Si gioca l'inserimento di suggestioni geografiche in un sistema centrifugo dove, scivolando semanticamente, ognuna di questa si sottrae all atrappola della definizione o non definizione di sé. L'"artificio delle temporalità" tra musica colta occidentale e il dato extraeuropeo, con la sua diversa percezione della storia, ispira l'intero ciclo per un convivere di identità stimolate al movimento non solo dalla trama delle storie del passato ma anche e soprattutto da sempre più compromettenti e politiche ipotesi di futuro. Il CD "Dépaysements" si compone di 10 tracce: 1: Maftir (2003) per viola da gamba sola, 6' 46", viola Hille Perl; 2: Mizmor (1999) per pianoforte solo, 4' 48", pianoforte Cristina Barbuti; 3- 5: Le divan oriental-occidental (2002) Quatre chansons pour voix et piano, soprano Linda Campanella, pianoforte Cristina Barbuti 3: Ad'h'â at--tanâ'i (testo di Ibn Zaydun), 7' 14"; 4: Gestern mittags (testo di R. M. Rilke), 4' 59"; 5: Gingo biloba (testo di J. W. Von Goethe), 6' 07"; 6: L'âme que l'amour ne connaît (testo di Rûmi), 4' 49"; 7: Dhil (2004) per contrabasso solo, 7' 59", contrabasso Willy Merz; 8: Pardes (2003) per percussione sola, 13' 34", percussioni Thierry Miroglio; 9 Dung (1998) per faagotto solo, 5' 33", fagotto Diego Chenna; 10: Reng (2003) per viola sola, 7' 48", viola Danilo Rossi. [post_title] => Mizmor [post_excerpt] => Willy Merz è compositore, direttore d'orchestra e contrabbassista. Diplomatosi in Contrabasso e in Composizione presso il Conservatorio di Torino e in Direzione d'Orchestra presso il Conservatorio di Milano, si è perfezionato all'Accademia Chigiana di Siena con Franco Donatoni, all'IRCAM di Parigi e con Fernand Leitner in Direzione d'Orchestra. Nel 2003 è stato preiato dal "Councours international de Composition" di Friburgo. Sue composizioni sono abitualmente eseguite in importanti Festivals europei e diffuse su France Culture, Suedwest Rundfunk e RAITRE. Nel 2003 la sua opera "Ulysses" è stata eseguita presso il Teatro Colòn di Buenos Aires. 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