Convergences .I is the first piece in a series of studies that focuses on the use of converging processes on diverse parameters as a technique to improve the perception of cadential structures within a composition. The piece has been composed for the acousmation The Acousmatic Project of Thomas Gorbach, and capitalized on the natural reverberation of the concert hall.

The work has been premiered during the Sounds Around Me festival (September 2019) organized by the The Acousmatic Project in Wien. Performers: Sylvie Lacroix (flute) and Michael Moser (cello).

Convergenze .I

Mixed-music piece for singer, speaker and electronics.
Made with SuperCollider.

Composer: Luca Danieli
Text: Marco Bragolusi
Voice: Namritha Nori

Silenzi (2013)

This is an installation conceived for library. It is a standalone SuperCollider application for 6 loudspeakers and subwoofers. The installation can last forever and it is created to help students focus, covering the everyday noise around . Try to relax and read with this electronic soundscape in background.

Astrazione per 6 Grilli (alto-)parlanti

Musical piece composed for the residency Prospettive Sonore, held in Udine within the seasonal program Nei Suoni Dei Luoghi (Udine, 2021). The musical piece reports sound excerpts of the Friuli-Venezia Giulia soundscape recorded during the residency.

Luca Danieli, composer & live electronics
Giovanni Mancuso, conductor
Luisa Valeria Carpignano, piano
Valentina Danelon, violino
Davide Martiello, moog guitar
Cristina Scapol, clarinetto
Gaia Sessa, arpa
Alessio Ghezzi, percussioni

Tra Ercole e Caco

Studio Secondo (2011) - preview

Acousmatic work for 43 channels, developed at the Centre for Art and Media, Karlsruhe, Germany.

Hybrid radio drama that presents a computed narrative voice in a quasi-variation suite of 5 sequences. The work has been inspired by the works of Luigi Nono, Nicola Bernardini and Theodore Lotis. 

By reinterpreting Nono's piece La Fabbrica Illuminata, the theme of the work is settled here in the contemporary scenario dominated on one side by the large consumerist economies and on the other by the overwhelming growth of computer technologies.


Text translation:

Hello, my code number is two-zero-six.

I work in a corporate network,
without any available remote connection.
I have been toiling for long
and I am now old enough to have become obsolescent.
I am working in the background, concealed,
and machine codes by youngsters are given to me;
still, the better part of the job is left to me.
Men get older while machines don't.
I have no vital force left.
Yet, I risk losing my contract every day, every hour
if I am not able to eat up miles, if I am not able to run.
If only workers had the price footballers have
I would be handled more carefully.

One day they call you and choose you,
as you are young and performing,
and then leave you to process a routine.
And when time has worn you out
they keep you there, to work, as always,
as you have always done well
and you were never taught anything more.
I have the impression that inefficiency
is affecting the network.
The interest is in the money,
not in the improvement of resource management.
My iron-made muscles begin to feel like paper.

In creating the network, without much regard
they judge us all alike;
they give us tasks according to the system we run;
tasks that seem to be executable by anyone.
And you are humiliated as you start to break down,
as if shutting down was your only objective,
and when there is nothing left to say,
force comes to play.
What is missing is good sense:
there is a lack of awareness of what stands
before you and the qualities he holds.

Sometimes they choose you to porn-surf.
Not always successfully, due to the network blockers,
but when they do, they save that code number
and upgrade that machine in compensation.
All that is needed is effective service maintenance.

My code number is two-zero-six.
I operate within a broadcast network
and machine codes are fed to me by a router.
I tried to trace the source
but I just got lost in an iron network.
I have the feeling my connection is slowing down,
as the processing power is always more
focused in the final nodes,
and what governs is porn

La tabula rasa (2015) (stereo reduction)

Guernica is a political sound poem in 4 languages. The work is a denunciation of four international illicit activities: Arms trafficking, Mafia, Organ Trafficking and Human/Sex Trafficking. The work is a contemporary reinterpretation of the medieval isorhythmic motet, in which multiple sacred texts are presented and sung simultaneously. The superimposing languages determine the counterpoint of the piece by pairing the similar phonemes of different voices among them, which creates the effect of different voices appearing and disappearing into one another. Through this, the complex yet invisible connections among the illicit networks and their victims are dramatised. The work's contribution lies in reinterpreting a disused ancient musical form through a contemporary style. It aims to encourage deeper reflection on a dark chapter in our modern age. For this reason, it is titled Guernica, directly referencing Pablo Picasso's political comment on the horrors of war.

Guernica (Stereo Version)

Quartetto d'Archi, "Le leggi" (preview)

NYE improv

Luca Danieli was born in 1988 in Arzignano (VI), Italy, and studied Sound Engineering & New Technologies with Nicola Bernardini, Alvise Vidolin and Massimo Marchi at the Conservatory “C. Pollini” of Padova. He studied Music Theory and Contemporary Art History with Stefano Lanza and Alessandra Possamai and has studied Instrumental and Electronic Music Composition, VideoArt and Human-Computer Interfaces with Iannis Zannos, Theodore Lotis, Marianne Strapatsakis and Andreas Mniestris and Dimitra Trypani at the Ionian University (Greece). Also, he studied Mathematics at the University of Padova, with Martino Bardi. 

LucaDanieli

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