"My only effort then—an effort which was at that time constant—consisted in systematically condemning and suppressing everything which I believed I owed to my past education and early moral beliefs. Deliberately disdainful of my learning, and in scorn of my scholar's tastes, I refused to visit Agrigentum, and a few days later, on the road to Naples, I passed by the beautiful temple of Paestum, in which Greece still breathes, and where, two years later, I went to worship some God or other —I no longer know which."  --- The immoralist written by André Gide


The original version was composed in 2012 for eight channels. 

L'immoral - stereo version

Gravação de concerto. ENCON - Londrina 2014

Responsorio do Vento, violoncelo Fábio Presgrave

Kairos II: resposta a Chronos IX (2014)
for 6 violoncellos and 2 percussions
XXI Bienal brasileira de música contemporânea, 2015
Ensemble UdiCello

Kairos II: resposta a Chronos IX (2014)

Segunda execução da peça "Anteprólogo #1", para piano e tape, realizada no Auditório Oliver Toni (ECA-USP) no dia 28 de Setembro de 2016, em recital produzido e realizado por Alexandre Zamith, Eduardo Monteiro e Luciana Sayure.

Piano: Marianne Dahmen
Produção eletroacústica: Danilo Rosseti

Anteprólogo #1

musica acusmática
realizada no Laboratório de Linguagens Sonoras PUCSP, 1998

El Reloj del viento, 1998

Geometrie Dynamique 000

SHIFTING MIRRORS (ESPEJOS MUTANTES, ESPELHOS MUTANTES)
For alto sax and electronics
Shifting Mirrors (2016) is a multi-track electronic piece using exclusively fragments of sampled saxophone sounds, which were worked out with various digital techniques. The composition was realized in CCMAS-Morelia Studios, Mexico, thanks to a residence program supported by Ibermúsicas Foundation.
There is not a conventional score here, but a digital audio file containing 32 channels showing separate waveforms. This document was realized directly with a sound edition application. In the case of a version with a live saxophone, this digital document serves as a guide for the instrumentalist, who must follow it strictly and adapt his intervention to the composed sound structures.
The reason behind this unusual procedure is to develop a musical situation where the work becomes a possible example of a “participative performance”, according to the expression of the interpreter to whom the mixed piece is dedicated, saxophonist Pedro Bittencourt.

The title of the piece comes from the idea that sustains it: the electronic part was made exclusively from saxophone sounds (in general very short), constituting a mirror network that reflects and answers in time and space. This network is structured in a way that rhythmic and space relationships won’t be heard as a mechanism of delay, but as a “prismatic” elaboration, carefully composed. The instrumentalist must go inside this composed network and follow its development. One of the required actions, throughout the assimilation phase of the piece, consists in listening to the separate 32 channels, to be aware of sounds involved, and choose the ones he wishes to reproduce as a “mirror”. The electronic part, determined in detail, can enrich itself with shifting mirrors from the live part.
Each sound file inscribed in the digital support has a name, sometimes indicating the instrumental cause: the playing modes on the saxophone (i.g.: coppio di lingua, coppio di lingua quasi slap, fluted, harmonics, multiphonics, etc.), at other times indicating more complex sounds being part of the composition (these files constituting more radical transformations of the instrumental sound realized with digital techniques as granulation, convolution, phase-vocoding).
Indications of how to play a given object having a clear instrumental causality are considered as priorities for the instrumentalist. The indications that doest not have clear instrumental causality are optional – they can however be parts of the instrumentalist’s reading trajectory, who can “jump” from one line to another (this being one of the “degrees of freedom” which he can use, but always respecting the metric and sonic features inscribed in the digital support.
New specific trajectories can be signalized (notated) by the instrumentalist, adding new signs (lines, arrows, words) to the support, and eventually indications of pitch; duration and dynamics; these additions can act as memory cues. However, the parameters must always to refer closely to the sound of the electronic part. The pitches, for example, have always to be tuned with the ones that are already fixed in the digital support, and in no case different ones can be added (because there is an explicit harmonic plan stated in the piece). The same occurs with durations, metrics and intensities: the interpreter must follow without exceptions what is sounding in the digital support – the interpretation must be precise in all these aspects.

A Distensão dos Grãos

danilorossetti

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