Radio Frammenti racconta il MusaMadre festival giunto alla seconda edizione con la direzione artistica di Valeria Orani. 
Radio Frammenti è un progetto ideato e curato da Maria Genovese.
In questa intervista incontriamo il musicista Claudio Sanna che ci racconta del suo percorso musicale e del concerto Between silence and city

Between silence and city
musiche di Luciano Chessa
eseguite da Claudio Sanna e Paolo Pastorino
È un progetto di ricerca che indaga suoni/immagini delle città. Le città viste da dentro come un mistero (Quadri da una città fantasma), le città viste dall’alto attraverso un’immagine che appare e scompare (Inkless), le città che soccombono alla natura (Rebirth).

Città intese come mondi interiori e quindi riflessioni sulla natura dell’essere umano (Il velo, Tomboy suite)

Claudio Sanna 

Ha collaborato in qualità di pianista da camera con le prime parti di Berliner Philharmoniker, Wiener Symphoniker, Teatro alla Scala, Arena di Verona, Orchestra del Teatro Olimpico di Vicenza, con musicisti quali Franco Maggio Ormezowsky, Enzo Caroli, Michel Bellavance, Elisabeth Möst, Marco Zoni, Cristhoph Hartmann, Luca Vignali, Mario Marzi, Daniele Agiman, Antonio Amenduni, Alessandro Moccia, Marco Scano, Gabriele Croci, Alex Elia, Vadim Brodski, Patrick De Ritis, esibendosi in varie sedi prestigiose.

Nel 2015 pubblica per la casa discografica svizzera Hat Hut Records Basel il suo primo disco solistico dal titolo “Ammentos” costituito interamente di musiche originali ottenendo ottime recensioni da parte di prestigiose riviste (Jazz da Gama, 4 stelle da All About Jazz)

Del 2021 il disco “French connection” (Linea occultae, Cagliari) un lavoro dedicato ai più rappresentativi lavori cameristici del novecento per flauto e pianoforte con la collaborazione del flautista Tony Chessa.

Tra i suoi ultimi progetti troviamo “Compositori Sardi Contemporanei”, un’istantanea del mondo musicale contemporaneo Sardo, e “Pietre di una esposizione”, lavoro che indaga le opere di Pinuccio Sciola attraverso la sensibilità di alcuni tra i più rappresentanti compositori viventi (prima esecuzione festival Sant’Arte, Giardino sonoro di San Sperate)

Ha conseguito il diploma accademico presso il Conservatorio “L. Canepa” di Sassari (pianoforte) il Conservatorio di “A. Boito” di Parma ed il Conservatorio

“L. Marenzio”di Brescia (composizione) ed in seguito si è perfezionato con Andrea Lucchesini, Pietro De Maria ed Enrico Stellini presso l’Accademia di Musica di Pinerolo per il pianoforte e presso l’Accademia Nazionale di Santa Cecilia nella classe di Carlo Fabiano per la musica da camera.

MusaMadre 2022 - Between silence and city - Claudio Sanna

Gliding Slowly into the Body of Origin is an interactive work  for live voice improvisation, prerecorded soundfiles, software environment created in MAX, the SOMO controller, narrated text and spatlization.  It was commissioned by New Adventures in Sound Art (NAISA) through the Ontario Arts Council, and was performed on August 22, 2015 as part of NAISA's Sound Travels concert.  Through the performance process, the piece becomes a rewilding of self as a response to the patriarchal agenda of socializing the body out of its own knowledge of itself. 

Performers include:  Wendalyn Bartley (improvised vocalizations and digital processing on the SOMO controller); Ruth Danziger (spoken texts); Ian Jarvis (Max interactive environment; Darren Copeland (live spatialization).  

The spoken texts juxtapose two sources, with editorial assistance from Ruth Danziger:  Gliding Slowly phrases written and compiled  by Wendalyn Bartley; excerpts from the journals of Annie Raison Parry (1928-29).  Annie is Wendalyn's great grandmother.   

SPOKEN TEXTS: 

Gliding Slowly to the Body of Origin

Gliding Slowly 1:

And she began to move
To move in a new way
Gliding slowly
Slowly gliding
Listening to her flesh, the pulse within, her cells, her breath, her lips, her tongue, her mouth, her throat

Annie Journals 1:

Weather hot and sultry
Canned 5 quart peas.
Stan finished drawing in wheat - started cutting more oats
Fine harvest weather
Dorothy started vocal lessons again. $1.00 per lesson
Went to Dee's and spent the afternoon listening over the radio
Pa died this morning about 6 o'clock
Poured down rain most all day
Picked what apples there was and a tree of pears
Cliff Eichenburg brought up a Westinghouse radio and set it up on trial
Weather cold as greenland sharp high wind
We worked at quilts today - too cold to wash
Grand winter day 

Gliding Slowly 2:

Listening and gliding
Listening to the pulse within the terrain of her body.
Memories returning
Voices rising
Gliding wild and free
Dreaming of distant grandmothers
Listening gliding
Slowly
Slowly gliding

Gliding Slowly 3a:

Watery sirens calling 
Calling her into form
She becomes the pulse
The bone, blood, sinew, cells, skin, new being

Annie Journals 2:

Roads are terrible. Cars getting stuck in mud holes all day.
Dorothy drove Topsy to town and got the Radio Battery
Pretty good sap day. Linus is tapping this week.
Stanley sowed the first piece of oats this afternoon
Weather seems more settled and fair for seeding
Elsie finished working her quilt blocks today
Our batteries are running down can't get much music tonight
Dorothy went to choir practice at the church
Cora's Birthday 34 years old
Stanley and Dorothy milked the cows alone
Fine, clear and moonlight 

Gliding Slowly 3b:

Dark serpent Lilith rising
Returned from exile
She opens her mouth and draws them in
Fiery tongues and slippery tails
Bringing her back to her body of birth
Body of origin, Body of voice

Annie Journals 3:

Very hot day rains going around
Radio on the blink again
Cora has a fat baby girl born around 1 o'clock this morning.
The girls done another wash and they dried lovely
Labour Day holiday - first trip for the new baby girl, coming to Grandma's.
Hot dry and dusty
Myrt fixed up our Radio so it's working fine.
Stanley got the milk cheque
We heard Howard Ferguson, the Ontarios Prime Minister speak over the radio tonight 
Stan dug the rest of the potatoes and got them in after milking
The black sow had 13 pigs this morning
Thunderstorms

Gliding Slowly 4:

Listening
Sounding cellular intelligence within
Skin, cells...
Gliding slowly she comes back
To her body of birth
Body of origin
Back to the one who is Laden with Voice

Slowly gliding
A pulse beneath her feet
Gliding slowly
Back to her body
Her body of origin
Magna Mater, Prima Materia,
MA

Gliding Slowly into the Body of Origin

First prize Grand prix Russolo 2017
First prize Fundation Destellos 2018
Laureats GRM Multiphonies, 2017
First prize Competition international citta di udine 2018
First prize  Fondo nacional de las artes  2017
Prix Exhibitronic à Strasbourg 2017

La obra pone en manifiesto el periplo de una maquina incógnita concebida como un multi-objeto. Lo curioso es que el viaje de esta maquina sucede atraves de diferentes capas pertenecientes a una estratigrafía imaginaria, es decir que va perforando y explorando los recovecos ocultos de la imaginación. La maquina funciona como un leitmotiv que articula las distintas secciones . La estructura de la obra esta sujeta al periplo anteriormente mencionado. Desde el comienzo hasta el minuto 5  ́ 25  ́ ́ se transita por cuatro estratos, y es a partir de aquí , que emerge el quinto y ultimo estadio, como un ensueño al que se le reserva la mayor profundidad en el espacio interno de toda la obra, en analogía a la zona de mayor profundidad de nuestra imaginación. Luego de esta sección, un rallentando anuncia el retorno a la realidad. El motor de la maquina se detiene en el final de la obra.

La machinerie d'un imaginaire

Project about memory and reimagining London tube stations (Edgware Rd).

Edgware Road Tube Station

"Mechanistic" is the conception that reduces reality to only two factors: matter (bodies) and theirs movement (including the laws that govern it).
In the modern age the universe is described as one "Machine" composed of bodies that are subject to an incessant movement, a continuous interaction, regulated by the necessary causality, that is, by a rigid concatenation of causes and effects, mathematically determinable.
"Mécaniste", like most of my compositions, is a work that comes from the concept of causality, which is the relationship that links the cause with the effect. Therefore it's causality that drives me mainly in the organization of the sound material. In any case, the compositional intent is always to maintain a clear dichotomy between the real sound and what derives from its elaboration.
With Mécaniste, I have tried to recreate an environment where chaos and causality cohexist; these two aspects could be in contrast one with the other so from this contrast the unpredictability of the mechanistic system derives.

Mécaniste

This movement is a short, dense piece that explores the relationship between natural and unnatural sounds. Sounds have been carefully shaped and sculpted to grow organically from one and other, creating a natural flow and evolution to the piece that slowly increases in density through the layering of spectral space. #SoundSculptures

Image Credit: On loan to the University from the Trustees of the Hepworth Estate, Reproduced by kind permission of Research and Cultural Collections, University of Birmingham

Ancestor I - 002 Torso (Full Length)

This opening movement considers the abstracted forms of landscape, colour and texture. The resonant sounds emanate its hollow, cave-like form with sounds of the sea and water referencing the blue-green paint found in its cavities, evoking sea-filling pools and caves along the Cornish coast. #SoundSculptures

Image Credit: On loan to the University from the Trustees of the Hepworth Estate, Reproduced by kind permission of Research and Cultural Collections, University of Birmingham

Ancestor I - 001 Head (Full Length)

... coins 
... foil 
... metal pan 
... cellophane 
... bubblewrap 
... noise

A collection of found sound objects originally explored in an hands-on creative workshop exploring sound, object and mark making. This workshop was a collaboration between sound artist Emma Margetson, The Barber Collective and The Barber Institute of Fine Arts Learning and Engagement Team. The recorded found sound objects from this workshop were repurposed for this eight-channel composition, Abstracted Objects.

Abstracted Objects [Binaural Version] [Excerpt]

This piece is based on two samples and their distortions. Trying to expand the imaginary space behind the acoustic sound and describe a healed state of mind.

食愈（Harmony In Kitchen）

Chain

Vertiginoso Septiembre Táctil

Paolo Pastorino (1983) is an acousmatic composer.
He studied and graduated in computer music and sound technologies at the Conservatory of Sassari and he is specialized in new music technologies at the Conservatory of Cagliari.
His compositions have been presented in several contemporary and electroacoustic music festivals in different countries of the world.

Mécaniste

Paolo Pastorino

Related tracks