Mirjana Nardelli, Francesco Altilio, Giovanni Tancredi.

Set per il concerto tenutosi il 7 agosto  2013

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<a rel="license" href="http://creativecommons.org/licenses/by-nc/3.0/deed.it"><img alt="Licenza Creative Commons" style="border-width:0" src="http://i.creativecommons.org/l/by-nc/3.0/88x31.png" /></a><br /><span xmlns:dct="http://purl.org/dc/terms/" href="http://purl.org/dc/dcmitype/Sound" property="dct:title" rel="dct:type">e-cor 3.1</span> di<a xmlns:cc="http://creativecommons.org/ns#" href="https://soundcloud.com/e-cor-ensemble/e-cor-3-1" property="cc:attributionName" rel="cc:attributionURL">e-cor ensemble</a> Ë distribuito con Licenza <a rel="license" href="http://creativecommons.org/licenses/by-nc/3.0/deed.it">Creative Commons Attribuzione - Non commerciale 3.0 Unported</a>.

Sound has the power of conveying energy; requiring such a small amount of energy itself, compared to other physical phenomena, it may seem not logical that it could possibly describe infinite masses colliding, entire stellar systems collapsing, or even just the most intense passions of an insignificant human being. 
Aaktr is nothing but another of the numberless attempts to gather the maximum possible amount of energy in one single sonic statement; luckily mankind has, through the years, forged a series of musical languages that allows it to do this, and to make it sure that the result is comprehensible to anyone who can speak that same language.


This piece has been selected for the festival of electronic music: NYCEMF 2015 New York City Electroacoustic Music Festival

Aaktr

Charms è un brano ispirato dal libro Casi di Daniil Charms, composto da brevi storie, trame incongrue, racconti di pochi instanti, è in grado di catturare lo spirito del tempo attraverso un perverso rigore metafisico. Daniil Charms, infatti è maestro nel vanificare qualsiasi realtà gli accada di raccontare.
Charms è una composizione formata da diverse parti che vengono circoscritte attraverso verticalizzazioni, colpi rapidi o brevi intersecazioni, questi elementi introducono paesaggi sonori che hanno lo scopo di far riecheggiare le brevi storie del libro e soprattutto di delineare la micro e macro forma. 
Il brano è stato composto partendo da un'improvvisazione pre-disegnata, fa parte del primo disco del progetto dell'ensemble, ed ospita uno dei più grandi contrabbassisti improvvisatori della scena contemporanea: Roberto Bellatalla.

Charms is a piece inspired by a book Incidences by Daniil Charms, Incidences is made up incongruous stories, short stories of a few instants, a book that capture the spirit of the time through a perverse rigor metaphysical, in fact, Daniil Charms is a master at nullify any actually him happen to tell.
Charms is a composition formed of several parts delineated by verticalizations, rapid shots or sound intersections, elements that introduce soundscapes that are meant to evoke the short stories of the book and especially to outline the micro and macro form.
The piece it was composed by an improvisation pre-designed; Charms is the first piece of the album of the e-cor ensemble, and hosts one of the greatest improvisers  bass players on the contemporary scene: Roberto Bellatalla.

Charms set-up:
Contrabbasso
Chitarra espansa 
Laptop ensemble

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Charms (with Roberto Bellatalla)

SUPERSILENCE 1.3 

GMCF0236       
produced by AMARCord studio plane B     
recorded by Martin Ljungberg      
mixed by Frederich Hass         
selection by e-cor ensemble      
2015 AMARcord digital as       
supported by fund for performing artists and fond for rnt and peena      

recorded at MBeB culture centre 20.22.03.15 26/98     
mixed at AMARcord studio plane B 21.23.03.15 26/98      
mastered by Lars Schlegel 25.03.15    
 
Set recorded March 25, 2015  
set of radical improvisation
no editing | no overdub


http://www.ecorensemble.com/
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e-cor@outlook.com


Supersilence 1.3

ITA
"Collage!" è un brano composto a  partire da una sessione di improvvisazione radicale vincolata da un'unica regola:
- Utilizzare brani o materiali già esistenti e lanciarli soltanto attraverso determinate piattaforme: Youtube, Soundcloud e Spotify. 
L'impiego delle sole piattaforme online ha comportato l'esclusione di qualsiasi software audio e soprattutto di qualsiasi tipo di controller, strumento, sequencer, dispositivo elettroacustico ecc.... Una perfomance interamente governata dalla scelta dei brani, dalla velocità di reazione del performer e dal controllo del volume.
L'idea era quella di relazionare i brani scelti, creando delle trame e delle forme quanto più complesse e logiche possibili.
Uno degli obiettivi è stato quello di non veicolare la costruzione del set in base alla tonalità o al ritmo dei brani, ma costruirlo e comporlo partendo dalla ricchezza timbrica e dal tipo di timbro del brano, dal suo comportamento sonoro e dalla funzionalità che avrebbe dovuto avere all'interno del set. In sostanza i criteri di scelta del brano venivano suggeriti dall'andamento del set, conoscere l'attimo esatto di come e dove inserirlo e soprattutto  conoscere il risultato acustico prima, anticipando o deviando lo sviluppo compositivo,  è stato fondamentale per la costruzione di una composizione estemporanea, una forma tutt'altro che prevedibile ma comunque ben delineata e organizzata.
Per diverse ragioni logistiche ed estetiche, "Collage!" è diventata poi una composizione di dimensioni ridotte, come se fosse un riassunto di tutto il set. Inoltre la scelta è stata motivata anche da ragioni legali, sarebbe stato abbastanza rischioso inserire brani riconoscibili e legati a dei diritti commerciali. Il problema è stato ovviato grazie ad un editing cut piuttosto massiccio, che impedisce l'identificazione del brano. 
Ci teniamo a precisare che la composizione è stata soltanto mixata ed editata non c'è stata alcuna sovraincisione  o manipolazione in post-produzione.

ENG
"Collage" is a piece composed starting from a radical improvisation session, conveyed by a single rule:

- Use only pieces or material pre-existing and launch them only by a certain platforms: Youtube, Spotify and Soundcloud.

The use of only online platforms has resulted the exclusion of any audio software and especially of any kind of controller, instruments, sequencer or electroacoustic devices...A performance entirely governed by the choice of the pieces, from the performer's reaction velocity and from the volume control.
The idea was to relate the chosen pieces, creating textures and forms the more complex and logical possible.
One of the goals was don't vehicular the construction of the set from the tonality or by the rhythm of the pieces, but build and compose the set from the kind of timbre of the piece, from sound character and from functionality that should have had within the set.

Basically the choice and the criteria of the pieces were suggested by the mood and from trend of the set, know the exact moment of how and where to add the piece, and above all know the acoustic results before, anticipating or diverting the development of composition, has been fundamental for the costruction of a extemporaneous composition, a form far from that predictable but well defined and organized. 

For various logistic and aesthetics  reasons, "Collage!"  it became a composition of small size, like a summary of all the set. The resizing was motivated by legal reasons, it would have been quite risky play recognizable pieces linked to the commercial rights.  The problem has been solved thanks to a editing - cut rather massive, that prevents the identification of the pieces.

We would like to clarify that the composition was mixed and edited only there was no overdubbing or manipulation in post-production.





http://www.ecorensemble.com/
https://www.facebook.com/ecorensemble/


Collage!

Terre Deserte 
New sound spaces explored, investigated and covered, but along the way, it will come to a revelation that as key it will open the doors to objet sonore. “Like a perception proper for listening to her self” The listening does not refer to perceived sounds but only to perception. Sound mass composed by the overlapping of elements, that feel like separate from each other. The sounds slowly evolves, becoming macro object. An evolution, until to arriving to key point, characterized by few elements, capable to wake up the listener from a oneiric dimension. The silence has decisive impact, it is the awareness. The imperceptible dynamics arrive to strong dynamics, in which the objet sonore undresses of each elegance and it remains a raw and poor materials. These elements have short duration, like a mirage in the desert. It has the perception, but not perceived object. The composition will include a meditation moment, distended and reflective, versus to the verticality, i.e. the anxiety.


www.ecorensemble.com/
www.facebook.com/ecorensemble/

Terre Deserte

"Meccanica analogica" is a piece characterized by the use of homemade analog instruments, every instrument (in the piece) has inner characteristics with a strong mechanical and electromagnetic component.
The piece develops and structure in a musical discourse characterized by: interferences intercepted through the use of particular microphones, sound levels created by the use of spring reverb (homemade), percussive phases that exploits the peculiarity of piezoelectric connected  on surfaces suitable for the purpose, motors with different sizes capable of building musical textures varying in height and timbre, heads mounted on sliding mechanical system and processed to create complex gestures and counterpoint.
A work based on the self-building process that is meant to explore the dialectics and musical possibilities of the instruments above mentioned, but also analyze what the interpreter's hand may lead the musicality of the entire system.
The piece has neither been reconstructed or over etched.

"Meccanica analogica" è un brano caratterizzato dall'uso di strumenti analogici auto costruiti,  ogni strumento ha delle caratteristiche intrinseche accomunate da una forte componente meccanica e elettromagnetica.
Il brano si sviluppa e si struttura in un discorso musicale caratterizzato da: interferenze intercettate mediante l'utilizzo di particolari microfoni, piani sonori creati attraverso l'utilizzo di reverberi a molla (autocostruiti), fasi percussive che sfruttano le peculiarità di piezoelettrici collegati su superfici adatte allo scopo, motorini di diverse dimensioni capaci di costruire tessiture variabili in altezza e timbro, testine montate su sistemi meccanici di scorrimento processate per creare gestualità complesse e contrappuntistiche.
Un lavoro basato sul processo di autocostruzione che ha si lo scopo di esplorare le possibilità dialettiche e musicali degli strumenti sopra nominati, ma anche analizzare quanto la mano dell'interprete possa condurre la musicalità dell'intero sistema.
Il brano in questione non è stato né ricomposto né sovra inciso.


e-cor ensemble are:
Francesco Altilio, Cristian Maddalena, Mirjana Nardelli.

e-cor@outlook.com

https://www.facebook.com/ecorensemble

https://soundcloud.com/e-cor-ensemble

meccanica analogica

e-cor ensemble are:
Francesco Altilio, Cristian Maddalena, Mirjana Nardelli.

e-cor@outlook.com

https://www.facebook.com/ecorensemble

https://soundcloud.com/e-cor-ensemble

http://www.ecorensemble.com

Wazicu

Search Of Silence_Francesco Altilio and Maryana Klochko

Presentazione del M°Paolo Rotili seguita da un breve estratto di una conduction e-cor nell'ambito del programma "Conservatori in concerto", trasmesso il 04/06/2013.

@RadioVaticana

Biography
e-cor ensemble is an electroacoustic music project founded in 2013, consisting of Mirjana Nardelli and Francesco Altilio. Their production is based on the cultivation and aesthetics of sound which, explored and investigated through various artistic forms, become the focus of the ensemble, the common element in all their works. The key element is represented by dialectic interaction and multimedia. Only through dialogue can the e-cor ensemble achieve and express investigation. The sound is to be understood as the element of union of all the art forms under consideration. Influenced by acousmatic art, their activity focuses on applied music, sound design, improvisation and video art. Improvisation is one of the more consolidated practices of the ensemble. In 2016, e-cor ensemble wrote and performed their first theatrical work, The Tell-Tale Heart”, inspired by Edgar Allan Poe, for which they wrote the music, stage direction and lyrics.  With Luigi Ceccarelli they composed the music for the theatre play Inferno (winner of the 2017 “Premio Ubu” prize) for the theatre company “Teatro delle albe” and the Ravenna Festival. In 2019 they released their first album, Lipstick on a Pig on the label Folderol Records. The main themes of the album are multimedia, sharing and improvising. 
Their music was performed and played in: Gallery of Modern Art in Rome, NYCEMF in New York, Conservatory Santa Cecilia - Rome, Conservatory San Pietro a Majella - Naples, Conservatory O. Respighi - Latina, Conservatory G.B. Martini - Bologna, Conservatory L. Cherubini Florence, RomaEuropa Festival Digital Life - Rome, 14th SMC - Aalto University - Espoo (Finland), Forum Wallis Ars Electronica - Leuk (Switzerland), Acousmonium Istituto San Fedele - Milan, Tempo Reale - Florence, University of Greenwich -  London, University of the arts of Essen (Germany), MUSLAB-2016 Universidad Nacional Autónoma de México- México City, ICMC 43rd The Daegu Art Factory, Daegu (Korea), Festival Exhibitronic, LABUT - Stimultania, Strasbourg, Festival Mixtur 2018 – Barcelona, MACRO - Museo d’Arte Contemporanea Roma, MAXXI Open Museum Open City 14 – Rome, – CRR de Paris, Musiques à Réactions Paris, Sapienza University - Maker Faire 2014 – Rome, Zebrastraat - Het Maandagavondcomplot - Gent (Belgium), Goethe Institute for Di_stanze 13 Palermo, Solvay Center with SME - Akademii Muzycznej Krakòw. 
 
Contact: 
e-mail: e-cor@outlook.com

e-cor ensemble

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