Name: UPRISING for Contrabass Clarinet and Electronic (2014) Live by Alessandro Ratoci
Duration: 8 min 17 s
Description: Alessandro Ratoci and Paolo Ravaglia, Roma, Parco della Musica 2014

for Paetzold contrabass recorder in F and electronics (2007 rev. 2010)

First performance Haute École de Musique de Lausanne, Grande Salle 2007
Dario Benigno, Paetzold recorder | Alessandro Ratoci, live electronics

The word “isomorphism” applies when two complex structures can be mapped onto each other, in such a way that to each part of one structure there is a corresponding part in the other structure, where “corresponding” means that the two parts play similar roles in their respective structures.
(Hofstaedter,  Gödel, Escher, Bach, p. 49)

The full title “Fantasia Canonica – Resolutio I per Flauto Paetzold F Contrabass and Live Electronics” denounce that the work is built on an isomorphic canon, where each part can be mapped onto every other—like reading the same page in multiple directions—but it is no mere formal experiment. It’s a stark clash between precise architecture and the darkness it summons: a solitary walk through deserted suburbs or a wilderness that offers no rest. Above all, it is a thanksgiving to music that saves oneself’s life.

…in girum imus nocte et consumimur igni…

Col Favore delle Tenebre for Paetzold recorder and electronic (2007, rev. 2010)

Ensemble Novecento

Maria Cama - flute
Maria Preziosa - oboe
Sara Eliana Dellaria - clarinet
Lorenzo Drago - bassoon
Francesco Ulivi - trumpet
Antonio Rispoli - percussions
Jacopo Petrucci - piano
Roberta Lioy, Emanuele Andreatta - violins
Eleonora De Poi - viola
Federico De Zan - cello

Pasquale Corrado - conductor

Recorded on June 9th 2022, Auditorium E. Morricone - Parco della Musica, Teatro Studio Borgna, Rome

Yakuyoke (2022) - for ensemble

Vaporwave, deadly lasers and crab raves (2022), for ALESIS Wireless Vortex 2, Live Electronics (Ableton Live) and Live Video (Max/MSP—Jitter)

Written for María Domínguez Pérez

Composition, live electronics and live video: Diego Jiménez Tamame
Keytar: María Domínguez Pérez
Mix and Master: Murat Çolak
Video production: Nicolae David 

Video: https://www.youtube.com/watch?v=7eWrGPJ1Cjw

World Premiere: 08/06/2022, Xornadas de Música Contemporánea de Santiago de Compostela; CGAC, Santiago de Compostela, Spain.

Text:

Hello everyone! This is your Daily Dose of Internet!

[vocoded] In retrospect, the Vaporwave aesthetic was somewhat limited

Real world, human-to-human tactile contact

Will kill you

[vocoded] BASED

All human interaction, whether it be social, political, spiritual, sexual or interpersonal

Socieeeeety

Should be contained in the much more safe, much more real

Interior digital space

Technology is about to go crazy

The non-digital world is merely a theatrical space in which on stages and records content

for the much more real, much more vital, digital space

Feeeeel liiiiiike SHIIIIIIII [vocoded] You will live to see man-made horrors beyond your comprehension

You know? Happiness is, for me, a very conformist category

The only way forward is forwards. Nothing exists but what is in front of you. CRAWL.

Oh hi! Thanks for checking in! I’m still a piece of garbage.

And now, edgy memes for Wagner-hating teens.

[German] Ich wollte Sie nur fragen, Herr Žižek

Hey! Hey! Heeeeeeeey!

[German] Gibst es für Sie so etwas auch wie das Ideal der Gelassenheit?

N-n-n-nonononoo nooo noooooooo

Wagner Opern.

Wagner Opern?

WAGNEEEEEEEE—

W W W W W WH WH WH WHY WHY WHY WHY WHY WHY?

[vocoded] Gelassenheit ist, für mich, eine wirklich konformistische Kategorie.

When you ask me this question, this stupid question, you know? If you go to some stupid island, one piece os music that you would take there.

Arnold Schönberg, GURRELIEDER

No! No! You know what’s my tragedy? I’m an old reactionary —sixties reactionary— I think that everything that every happened in rock music, it happened between ’65 and ’75 and that it is just copies, so I’m for forty years returning to classical music.

OK BOOMER

How did this happen? [vocoded] I am cringe, but I am free

Unsere Zeit ist um… [vocoded] Es wurde Zeit

The sun is a deadly laser [vocoded] You will live to see man-made horrors beyond your comprehension

Meanwhile, good sense requires that all of us prepare for any eventuality

[vocoded] Now I am become death, the destroyer of worlds

[Ukrainian] русский корабль, иди нахуй

Today, a young man on acid, realised that all matter is merely energy condensed to a slow vibration, that we are all one consciousness experiencing itself subjectively. There is not such thing as death, life is only a dream and we are the imagination of ourselves

Here’s Tom with the Weather!

If you know, you know.

Vaporwave, deadly lasers and crab raves (2022)

Alessandro Ratoci and Paolo Ravaglia, Roma, Parco della Musica 2014

UPRISING for Contrabass Clarinet and Electronic (2014) Live

Concrète [Lab] Ensemble

Teresa Costa - flute
Tiago Mourato - clarinet
Pedro Rolo - trombone
Gonçalo Flores - percussions
Rui C. Antunes - violin
Pedro do Carmo - cello
Raquel Leite - double bass

João Quinteiro - conductor

Live recorded on July 31st 2024, Miso Music Portugal, O'culto da Ajuda, Lisbon (PT) 

Mining waste (macchina inutile n.5) (2024) - for ensemble

Maurizio Azzan
Wasteland_beyond (2022)
for twelve musicians
© Casa Ricordi srl, Milano – all rights reserved

Johannes Kalitzke, conductor

KlangforumWien 

A recording by the Austrian Broadcasting Corporation (Radio Österreich 1).
http://oe1.orf.at/
Recording Producer: Franz Josef Kerstinger (ORF)
Recording engineer: Sebastian Gartner (ORF)

Wasteland_beyond

Wasteland_beyond (2022) [use headphones!]

Binaural version from Dolby Atmosfere version

Study for a Practice of Ecstasy was born from the research of how sound is revealing of human spirituality in a totally secular sense, beyond any religion. It is also the search for primordial sound, for the uncontaminated possibility of communicating beyond conventions and genres.

Gregorian chant and Tibetan chant are the starting point of the music. The original chants have been reworked in the form of a new electroacoustic composition that uses new technologies for the reworking of sound, overcoming the limits of vocal and instrumental performance. Even if the nature of singing always remains recognizable, and indeed is amplified in the reverberations and digital treatment.

The possibility of artificially modifying the parameters of the sound (reverberation, dynamics, temporal durations) has allowed us to make the two musical universes coexist in the same acoustic environment, something otherwise impossible. They are joined, as the only live presence, by the voice of John De Leo whose extraordinary expressive and technical skills are integrated and at the same time emphasized in the overall organism, also through elaborations and spatializations.

We have created a unique and changing virtual space capable of welcoming sounds, visions, performers and audience in an environment conceived ad hoc. The fascinating spatiality of the voices creates an abstract sound and visual dimension in this installation, in favor of an omnisensory perception. The sound spread at 360 degrees completely immerses the audience in the acoustic flow. Light is a fundamental and active presence, a sign that comes from the outside, clear and essential».

Studio per una Pratica dell'Estasi - Part II

VISPROINTIAMO No. 7 for piano, composed and performed by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

VISPROINTIAMO No. 7 for piano

What the Blind See for five players and live electronics, Ensemble L’Instant Donné, commissioned by IRCAM / Centre Pompidou for the Festival Agora, CentQuatre, Paris, 2009.

What the blind see [complete]

"...and they've got us in their cage, ruined of grace and senses...", for Bass Clarinet and Violoncello (2016-17)

BCN 216 Ensemble.
B. Clarinet: Xavi Castillo
Violoncello: Erica Wise

World Premiere.

Live recording. Dress rehearsal for the final concert of the Institut Français — Barcelona Modern Project International Workshop for Young Composers 2016-17.
May 13th, 2017. Institut Français (Carrer de Moià 8), Barcelona, Spain.

"...and they've got us in their cage, ruined of grace and senses..." — BCN216

"Thin Film Interference", for Fl. (Picc., B. Fl.), Cl. (B. Cl.), Sax. (Sop., Bar.), Pno. (Kbrd.), Percussion, Electric Guitar, Vl., Vc. and D.B. with Live electronics in 8 Channel (Max/MSP, Ableton Live)

Geschrieben für das Ensemble Schallfeld mit Unterstützung der SKE Kompositionsförderung

Live recording, premiere concert 20/10/2020
Theater Im Palais — Graz, Österreich.

Conductor: Leonhard Garms

Flute(s): Elisa Azzarà
Clarinet(s): Szilárd Benes
Saxophone(s): Diego García-Pliego García-Muñoz
Piano and Keyboard: Maria Flavia Cerrato
Percussion: Manuel Alcaraz Clemente
Electric Guitar: Alejandro Tentor Viñas
Violin: Lorenzo Derinni
Violoncello: Myriam García Fidalgo
Double Bass: Margarethe Maierhofer-Lischka

Program notes: The optical phenomenon known as Thin Film Interference describes the refractory behavior of light on overlapped thin layers of material. Visual phenomena such as the iridescence of oil on water, nacre from the inside of an oyster, the scales on the wings of moths and butterflies, etc. are explained in this way. This metaphoric artifact works as a model for almost the totality of the dimensions of the piece: construction of harmonic processes, transformation and evolution of timbre, textural operations on density and polyphony, rhythmical structures, to name a few. A second key aspect of the project is the use of real-time electronics (processed with MAX/MSP on a 8 channel circular display around the audience). The system works as a polyphonic granular synthesizer that samples the instruments in real time and processes the sound through complex granulation patterns, generating a shifting, warped perception of the physical space through spatial encoding. Thin film interference is my last attempt to articulate a musical discourse based on relationships o hybridization, both as source of material and as a backbone element of the writing.

"[...] If cosmic horror should have a sound, that one should be [...] It's like a glowing, melting scream" — Claudio Panariello about this piece

Video by nbewegtbild: https://youtu.be/3TxmW7aKhJs

UPRISING for Contrabass Clarinet and Electronic (2014) Live

Alessandro Ratoci

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