Alessandro Bosetti – Didone

LP on Kohlhaas Records [KHS 018] out April 2021, preorder at http://www.kohlhaas.it/project/alessandro-bosetti-didone/

Giulia Zaniboni, voice
Dan Kinzelman, tenor saxophone, flute
Luca Perciballi, electric and acoustic guitar
Glauco Salvo, electric guitar, banjo
Simone Sferruzza, drums
Andrea Grillini, drums

Music and concept by Alessandro Bosetti.

In September 2019 Alessandro Bosetti was invited by fellow composer and curator Riccardo La Foresta to create a new work for a newly created ensemble as part of a residency program hosted by Centro Musica in Modena, Italy.
The very first encounter took place on Skype – kind of a prediction of the forthcoming physically distanced pandemic times. The first, straight-to-the-point question Bosetti posed to each musician was to tell him the history of their life.
The materials collected in the interviews subsequently underwent a process of anonymization, selection and cut-up in order to create the imaginary autobiography of Didone, a genderless character on whom Bosetti composed a combinatory poem in 84 aphorisms, six of which have been translated into music.
The ensemble consists of extremely different musical profiles: the contemporary soprano Giulia Zaniboni, minimalist banjo and acoustic guitar player Glauco Salvo, and four musicians with a jazz background such as guitarist Luca Perciballi, drummers Andrea Grillini and Simone Sferruzza, and saxophonist Dan Kinzelman (also part of Hobby Horse trio and long-time collaborator of Enrico Rava). Some of the stylistic features of Bosetti’s project Trophies (along with Kenta Nagai and Tony Buck) can be detected here and there. Persistent repetitions, mesmerizing sonic masses and extended, oblique melodic lines are here led by the clear and precise voice of soprano Giulia Zaniboni.
The voice is at the heart of this work: the textual fragments of the autobiographies are filtered through Zaniboni’s contemporary vocality, while informing the instrumental writing as well. Themes and textures unveil traces of words or sentences; fragments of biographies are embedded in the intricate instrumental dialogue between the two drummers.
A final layer was added by Ettore Tripodi, a unique and out-of-time visual artist who imagined Didone in a series of illustrations accompanying the poem.
Didone is a work about the reconfiguration and recombination of identities, where every specific sense of belonging melts into an indistinct swarming of possibilities.

Didone is released by Kohlhaas as a black vinyl 12” LP edition of 300 copies with cover artwork and booklet featuring illustrations by Ettore Tripodi.

Recorded at Centro Musica, Modena between 18th and 22nd September 2019, under the residency program Autobiografie strumentali hosted by Centro Musica – Comune di Modena and funded by Legge 2/18 Regione Emilia-Romagna – Progetto Sonda.

Mixed by Alessandro Bosetti.
Mastered by Giuseppe Ielasi.
Cover and illustrations by Ettore Tripodi.
Layout by Campomarzio.

Thanks to Riccardo La Foresta.

Didone

Didone A13 (Cos'è un suono bello)

Untitled XI
Study for Doepfer Analogue Modular Synthesizer & UHER Tape Recorders
Recorded 2013 - 2014

Untitled XI

The work is in two movements - Fraying and Prolonged. The first presents a sonic object that gradually disintegrates. The second reframes this object and slows it down, so that the process of decay is frozen, and the object appears almost immortal. The work grew out of reflections on 1 Corinthians 15 and Jiang Zhi's Love Letters (2014). In Jiang Zhi's photographs, flowers are on fire, but are not harmed by the flames.

Alto Flute - Isobel Doughty
Oboe - Caitlin Heathcote
Clarinet in B flat 1 - Heather Ryall
Clarinet in B flat 2 - Julia Raga Pascual
Horn in F - Karen Starkman
Trumpet in B flat 1 - Catherine Pollit
Trumpet in B flat 2 - Thomas Thornton
Tenor trombone 1 - Samuel Dye
Tenor trombone 2 - Jake Jones
Harp - Teresa Raff
Piano - Ábel Misha Gille Esbenshade
Violin 1 - Kanon Miyashita, Tilman Fleig, Yuriko Matsuda, Zora Orfgen
Violin 2 - Camille Saïd, Anastasia Egorova Wise, Zoe Hodi
Viola - Michaela Bartošová, Jeremy Tonelli-Sippel
Violoncello - Lucy Neil, Pieter-Jan De Smet
Double bass - Jess Martin, Cole Morrison
Conductor - James Hoyle

Recorded in October 2018.

Reframe (2017)

Antanáklasi I [2019] | pour flûte et électronique

Pip is a duo playing improvised and composed pieces of music, consisting of Torstein Lavik Larsen on trumpet and Fredrik Rasten on guitar. 
Long lasting, blending sounds with a basis in chord structures and harmony is an ever returning element in their music. 
Pip's music also emphasizes small variations in tonal colour, often applying just intonation, extended playing techniques and repeating musical patterns.
Sometimes they include electronic sounds, without leaving behind the core sound of guitar and trumpet as a point of departure.

The duo has existed since 2006, and since then explored many different musical approaches. 
A recuring theme of their exploration has been expansions of the duo instrumentarium, including 
electronics, multiple guitars and different electronic and acoustic keyboard instruments.

Pip released their first official release on the Portuguese label Creative Sources in 2016,
and they have toured in countries as Germany, Czech Republic, England and the Scandinavian countries.

The duo has also worked with artists from other disciplines. They collaborated with choreographer and contemporary dancer Marie Bergby Handeland on the piece Lyden av besluttsomhet, jeg tåler den ikke, which were premiered at the CODA festival in Oslo in 2013, and they have also worked together and performed with the Copenhagen-based live visuals duo of Freya Sif Hestnes and My Lambertsen, called Manuals.

Torstein and Fredrik also play together in the band Oker, with drummer Jan Martin Gismervik and bass player Adrian Fiskum Myhr, and in the quartet Volumes with Magda Mayas on prepared piano and Isak Hedtjärn on clarinet.

Release date: 27. September 2019

Pip: Possible Worlds (excerpt)

Participation in the "Disquiet Junto" project led by Marc Weidenbaum:
Seamless Bridge. The Assignment: Create a 20-second piece of music to connect two preexisting 20-second pieces of music.
https://disquiet.com/0448/

A bridge between Sevenism - 777minus1 - 06 Fake choir hidden
https://20x20project.bandcamp.com/track/fake-choir-hidden
and haLF unusuaL - semI autO biO graphicaL - 04 Semi 4
https://20x20project.bandcamp.com/track/semi-4

The material of the bridge comes entirely from the 2 original sources.
Editing with Audacity.

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Participation au projet "Disquiet Junto" de Marc Weidenbaum.
Créez une musique de 20 secondes reliant deux musiques préexistantes de 20 secondes.
https://disquiet.com/0448/

Le matériau provient entièrement des 2 sources originales:
 - Sevenism - 777minus1 - 06 Fake choir hidden
https://20x20project.bandcamp.com/track/fake-choir-hidden
 - haLF unusuaL - semI autO biO graphicaL - 04 Semi 4
https://20x20project.bandcamp.com/track/semi-4

Montage avec Audacity.

-----------------------------------------------------------------------------------------

Major thanks to 20×20’s Neil Stringfellow for proposing this project. More on 20×20 at:
https://20x20project.bandcamp.com/

More on the Disquiet Junto at:
https://disquiet.com/junto/

Subscribe to project announcements here:
https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0448-seamless-bridge/

ABridge - Disquiet0448

Another experiment with electric guitar loops. The main difference between today's and yesterday's (https://soundcloud.com/disquiet/passing-waves) is that yesterday's was recorded serial, so anything coming from the first loop also appeared in the second loop. That gave it a certain density, but, well, it also gave it a certain density. This was recorded in parallel, meaning whichever looper was recording at a given moment was only recording what was being played by the guitar, not what happened to be coming out of the other looper. This means the density took quite a while longer to achieve, but also that the individual segments are much more distinct, even after density has accrued. Also, the loops are quite a bit longer. Recorded from stereo speakers into a phone (yesterday was from a mono amp), though I'm not sure if the separation is particularly apparent. Major noise reduction in Adobe Audition, and a tiny amount of reverb.

Parallel Normal

Disquiet Junto Project 0469: [Missing in Caption]. The Assignment: Make music that pushes the constraints of descriptive television captions.

In one scene of this old war movie, the man is saying goodbye to go to another well-founded, short and successful war, and his wife is deeply worried.

The bells call to battle, the wife struggles to find parting words, and even the worn-out VHS tape is deeply moved.

Whispering provided by these two CC0 samples:
https://freesound.org/people/geoneo0/sounds/193818/
https://freesound.org/people/LadyImperatrix/sounds/503270/ <- the heartbreaking words!

Image based on David Monies: The Farewell
https://commons.wikimedia.org/wiki/File:Monies-Farewell.jpg

More on this 469th weekly Disquiet Junto project:
https://disquiet.com/0469/
Project discussion:
https://llllllll.co/t/disquiet-junto-project-0469-missing-in-caption/

CC BY-NC-ND 3.0
https://creativecommons.org/licenses/by-nc-nd/3.0/

[overly heartbreaking farewell music] ____ [disquiet0469]

L’œuvre a été commandée par Radio France pour l’émission « Création Mondiale » (ex Alla Breve) le 9 février 2020 et a été réalisée dans le studio du Groupe de Recherches Musicales (GRM) à Paris France. La pièce a eu sa création publique le 14 février 2020 au Festival Présences 2020 à la Maison de la Radio (Paris)

Portrait de la compositrice : France Musique 
https://www.francemusique.fr/emissions/creation-mondiale-l-integrale/okno-de-rocio-cano-valino-diffusion-integrale-et-portrait-de-la-compositrice-80441

- MUSICWORKS 2020 | First prize in Electronic Music [Canada]
- Marcelle Deschênes Prize 2020 [Canada]
- PRIX KLANG! 2021 | Second prize [France]

(Excerpt) Okno [2020]

Impulsive Habitat, 2014.

The material of this work is based on a static recording: I installed a microphone under the roof of my father's house in a small village in Alsace (France) for one year. Each day, I recorded one minute of sound on the hour at four different intervals: midnight, morning, noon and evening. I subsequently selected one recording per week for each of the intervals.
These (untreated) recordings were then sewn together in four different tracks, one for each time of day, spanning the course of a year. This results in a cyclical movement consisting of four different time-lapse sequences that trace the entirety of a year in one place.

Untitled XI

Matthias_Urban