Due frammenti tratti da "La Libellula" di Amelia Rosselli.
Voce: Elena Bucci

Il Delirio E Il Contadino

Electroacoustic improvisation

Nicola Cappelletti - amplified violin and electronics
Ferdinando Romano - amplified doublebass

Halt and Catch Fire #00 (Nicola Cappelletti, Ferdinando Romano) [Live Excerpt]

Evolution 221 is an electroacoustic piece that investigates the relationship between man and nature from an acoustic point of view, investigating the ecological and sustainability aspects of that relation. 

Written in connection with the sound and visual context of the Pharo Park of the city of Marseille, for the Viberation #4 headphone concert in 2022. 

The piece presents an electroacoustic processing of discarded and recycled sound materials, deliberately elaborated to find an ideal acoustic imprint of all the passages and crossings that this place has seen over the centuries: the city, the sea, the port, the view of the horizon lines, the park and the human relationship with nature, make up an ideal sound time lapse through space and time, imposing a reflection on the kind of evolution we are participating in.

Evolution 221  [Binaural]

b_k_n () [2023] - electroacoustic sound composition - quadriphonic fixed media

The piece is inspired by the the sculpture "The Broken Circle” by Beverly Pepper, an element of land art in the city of Brufa, in Umbria (Italy). 
b_k_n( ) intends to restore the representation of a generating force, of an explosive event that produces the beginning of life and of the world, in a timbrical and structural dimension where the contrast between stillness and dynamism creates a formal balance poised between possibility and impossibility. The overall circular trend, from which sound structures emerge that offer as many interrupted paths of ascent and descent, interprets the materiality of the original work and its conflictual contrast with the landscape, reading  it from different distances and according to different angles. The timbrical research aims to recall the materials used for sculpture (mainly steel and concrete), with the preparation of traditional instruments as violin and an electric bass guitar, to generate sound materials to feed many electronic synthesis processes (granular synthesis, re-synthesis and physical modeling) used to build the piece. 
The result is a work that associates the materiality of sound and the use of residual timbres as citation s of the associated collective ancestral memory to the universal shape of the circle.

b_k_n () [stereo]

Colophony is the "Greek pitch", used to increase the friction of the bow on the strings of a violin, the instrument from which all the sounds that make up the piece are generated. The piece is an audiovisual dramaturgy that develops around the dialectic between contrasting elements (different sound / visual objects, harmony and inharmonicity, friction and resonance). Colophonia is a path in which the tension towards a fragile balance is continually contradicted and discouraged, until a final catharsis denied.
On a visual level, the composition reacts to musical texture by adapting to changes, glitches, polyrhythmias, repetitions and decays, looking for a new form but remaining in perpetual evolution.

Video version: https://www.youtube.com/watch?v=4ppn6MZbLd4

Video by Andrea Staiano (http://hellosavants.com/)

Colophonia

Per voce ed elettronica. 
Su testo liberamente tratto da "Macello" di Ivano Ferrari (Einaudi, 2004)
Voce: Fabrizio Cruciani
2017, Nicola Cappelletti

Macello

(Dal silenzio mosso)
Per Flicorno in Sib e Live Electronics.
Anno: 2018
Autore: Nicola Cappelletti

L’interpretazione numerica della serie di Fibonacci funziona da pretesto strutturale a questo brano, costituito da un costante dialogo tra Flicorno ed elettronica. I due strumenti inscenano una narrazione che parte dalle extended techniques del flicorno e termina in un paesaggio disegnato dall’elaborazione elettroacustica degli estremi raggiungibili dello stesso. Al centro, una vorticosa accelerazione, un inseguimento in cui lo strumento disegna percorsi che l’elaborazione elettronica segue, metabolizza e restituisce in forma continuamente cangiante.

11235855

La traduzione in parametri musicali degli elementi fisiologici delle fasi del sonno,  e la lettura di un ipnogramma come struttura. L’ipnogramma utilizzato come guida, come partitura, e la descrizioni degli elementi propri dell’attività elettrica dell’encefalo fornisce, per ogni fase, un set di altrettanti elementi elettroacustici e modificatori di suono, allo stesso tempo suggerendo la natura e la tipologia del materiale sonoro di partenza.

HypnogramFor #1

Monades+
Author: Nicola Cappelletti
Year: 2019
Duration: 6:52
Format: Acousmatic multichannel

Program notes:
Monades + is the musical transposition of a philosophical investigation, the attempt to separate an initial unity with a process that leads to a final recomposition in another form. after a journey of contamination and processing. The piece originates from a multiphonic clarinet cluster, that after various sound processing, developed following a rigorous (although hidden) polyrhythmic structure. Further sound elements are then inserted in the resulting openings, causing the rhythmic dissolution and spectral mutation of the early material. After an inevitable rupture at the peak of the accumulation process, an inverse process begins, leading to a new monad, a sort of aesthetic and sound memory of all the mutations that occurred which no longer has anything in common with the initial cluster. A melt down final synthesis, a painful witness of a process that does not have the power to recreate what it has destroyed.

Monad+

Monades+

Flute: Giovanni Petrini

Le Jour et la Nuit is a sequence of 176 short pieces for flute, tape and live electronics, composed with many algorithmic composition procedures in relation to 176 aphorisms written by the French cubist painter Georges Braque, collected in the book Le jour et la nuit. Cahiers: 1917-1952 (Gallimard, Paris 1952). There are 8 different notations, that are associated to each piece in relation to a linguistic density parameter. All the musical parameters, as well as the electronics ones, are related to linguistic, formal and / or structural aspects of the related aphorism. The different notations also represent different degrees of opening of the pieces, which lend themselves to being completed by the interpreter during the performance, in the same way the overall form of the performance has to be composed by choosing wich pieces to perform.
Le Jour et la Nuit shows itself as a free choice of the number and order of pieces to be performed. As well as a book of aphorisms, this work is meant to be a collection from wich to extract the desired pieces: the criteria of this choice are left to the performers, and under no circumstances a progressive order performance should be encouraged. A performance of only A notazion pieces is not allowed; at least one piece with D notation must be performed.

Le Jour et la Nuit - #003, #172, #085, #033, #030, #053, #118, #103

Andando e Stando / Bava di Lumaca
Adattamento per radiodramma e audiolibro tratto da "Ordine e Mutilazione", di Elena Zuccaccia (Pietrevive Editore, 2016).
Musiche di Nicola Cappelletti
Voce Recitante: Elena Zuccaccia.

Ordine e Mutilazione [Excerpt] - Andando e stando / Bava di Lumaca

Nicola Cappelletti (1978, ITA/FRA) was born in Todi, Italy. After the junior studies of violin and a master degree in communication, that leaded him to work in the in the field of design, semiotics and visual communication, he attended the bachelor degree in Electronic Music and New Technologies at the F. Morlacchi Conservatory of Perugia. He attended workshops and master classes with Curtis Roads, John Chowning, Bjarni Gunnarsson, Alberto Novello, Carmine Emanuele Cella, Nicolas Bernier, Marco Momi, Nicholas Isherwood, Marko Ciciliani among others.
Both composer and performer, his electroacoustic musical research also deals with audiovisual, theatre and poetry. As a composer, his works have been featured in many national and international festivals. As a performer, he performs live sets and and radical improvisations, in solo or ensemble, for prepared violin and live electronics. He’s part of the Ensembles A23 (electroacoustic research kitchen) and Opificio Sonoro.

Nicola Cappelletti

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