Download Macchine Virtuose a staged concert music by Luigi

Macchine Virtuose
a staged concert
music by
Luigi Ceccarelli
staged by
Gianfranco Lucchino
performers
ARS LUDI
Percussion
Oscar Pizzo - piano
Suyun Kim - piano & electronics
Manuel Zurria - flute
Luigi Ceccarelli - live electronics
Gianfranco Lucchino - stage direction and multivision
Elly Nagaoka - images realization
Renato Piselli - multivision realization
Live Electronics
- EDISON Studio – Roma
part I
Aura in Visibile
part II
Aleph con Zero
part III
Discussione del 3000
part IV
Anima di Metallo
The "Macchine Virtuose" (Virtuousic Machines) are to be considered not a physical entities but as a group of
abstractions.
Each single machine is made of several parts which include the audience, sonic and visual events and spacial
surrounding.
The machines appear spontaneously only when their elements for multiple reasons find themselves in
perfect synchrony.
Each machine is involved in achieving this synchrony without focusing on a single component.
This concert is made up of four pieces which are scored for traditional instruments together with electronic
or Midi instruments and Live Electronics.
All these works have been composed by Luigi Ceccarelli since 1990. Even though each of the pieces has a
specific musical idea, it is the author's aim to present them together in a whole performance, a single
unitary sonic event, while mantaining the poetics of each one.
The players have followed the progress from the experimental phases to the final stages in order to
improve the technical aspects of the pieces.
The electronic sound processing is concieved as an extension of the natural instrumental sound, creating
new timbral and counterpunctual possibilities thereby constructing new imaginary sonic spaces.
Gianfranco Lucchino created in the staging of each work a specific atmosphere extending the basic
musical concepts over the physical dimensions of space.
Different from the traditional concert setting where the visual, sound and space elements are seldom
considered closely related, the staging of this concert creates, for each piece, the correct ambience and,
at the same time, transforms the overall interaction of sound, movement and light into single global
event. It is not the intent to make the concert a kind of musical theatre but rather to create an ideal
situation for its perception and enjoyment.
The total duration of the concert is about 60 minutes
"Aura In Visibile" treats the piano as a sound source which is put in vibration by external mechanical
exciters. In this environment the flute's sound and the pianist's action wander in search of subtle
variations inside the resonance.The flutist and pianist are like two explorers who try to capture the most
stirring resonance of this vibrating universe and convey it to the listeners.
The vibration of the string is obtained by a mechanical system of exciters (projected by the composer) which
is controlled in real time by computer
"Aleph con Zero"
The piano is certainly the most emblematic representative of western music from the past two
centuries.This powerful association makes it difficult for today's composer to avoid becoming banal and
using cliches.
Every system of reference does not remain static but changes with time as each creative act modifies the
alphabet slightly.
In this piece, percussion and piano are used primarily for their timbral and rhythmic qualities. In order to develop these characteristics, the sounds produced live are used to trigger a computer which then sets into
motion additional sequences played by two samplers.
A system of reference during its evolution continues to grow until a certainpoint, one realizes that all
systems are a part of a large megasystem.
It is here where the most fascinating situations take place.
In "Discussione del 3000" the two percussionists produce, through their instrumental technique, an abstract
verbal discussion formed of phonetic sounds.
This piece, inspired by Futurism, is part of the score composed for the dance music "Anihccam" with choreography by Lucia Latour. The wowel sounds are extracts from "Verbalizzazione Astratta di Signora" by poet
and painter Fortunato Depero and the talking voice which is processed by computer is that of the italian
painter Achille Perilli.
In "Anima di Metallo" (Metal soul), metallic percussions and instruments from diverse cultures have been
assembled: Thai and Bali gongs, Paiste gongs, Chinese cymbals, heavy bells together with three bass drums.
The composition is a juxtaposition of simple rhythms and time events with varrying tempos and
asymmetrical accents all in the same meter creating a complex structure. The aim of this piece is to
contribute to the onging work of craftsmen and musicians who, for centuries, have searched for their inner
most manings within the vibrating metals.