SANDRO MUSSIDA, RUEBEN (Die Schachtel, Decay Music N.3, 2020)
music on three tuning systems, for electric guitar, bass clarinet and cello samples.

Rueben is the third album produced by Italian composer and cellist Sandro Mussida, to be released on Die Schachtel at the end of 2020.
Following EEEOOOSSS (Soave, 2019), Rueben makes use again of a microtonal vocabulary and a three-instrument sound palette. This time the samples are approached in a radically different way and are treated as minuscule sound atoms projected at extremely fast speed to form structures of ever changing density. In this new record, electric guitar, bass clarinet and cello harmoniously dialogue with each other, forming a multi-layered and contemplative sonic landscape. The acoustic response of the big reverberant church of St.Giusto in Volterra (Italy), where the sounds were played and recorded as they echoed in the space, gives the source material its peculiar depth adding harmonic complexity but also a sense of realness and liveness to the listening experience. 

The work has been inspired by the observation of Italian Renaissance paintings during Mussida’s composition sessions in the summer of 2018 and recalls Pavel Florenskij’s idea of ‘reverse time’, conceived by the Russian theologian when discussing his well-known theory of reverse perspective in relation to Medieval Russian icons. Reverse time refers to a particular temporal condition underlying dreams and the experience of looking at works of art: a non-linear conception of time presenting its own duration, as opposed to the empirical one unfolding in our everyday life.
Following a new established relationship between seeing and hearing, a similar temporal conception seems to emerge from the listening of the nine compositions forming Rueben, an invitation to reflect through the language of sound on the time spent absorbing an image through one’s eyes.
The work could then be listened to as the translation into sound vibrations of the experience of seeing, a trace of suspended time, even as a tangible sensation or a memory of it, the result of a process of translation between the different media of perception.

The nine tracks of Rueben will be part of a new film by video artist Rebecca Salvadori, which will be released later in Autumn 2020.

TRACKLIST

SIDE A
1.Rueben (1), 03:28
2.Rueben (2), 07:34
3.Rueben (3), 06:44
4.Rueben (4), 05:31

SIDE B
5.Rueben (5), 05:27
6.Rueben (6), 03:55
7.Rueben (7), 03:32
8.Rueben (8), 03:52
9.Rueben (9), 03:27


CREDITS

Composed and produced between June and July 2018
Acoustic response recorded in the S.Giusto Church, Volterra, Italy
by Mirco Mencacci and Luca Ciarfella on August 12, 2018

Edited and mixed in Perth, Western Australia, between March and April 2020
						
Released by Die Schachtel 
Mastering / Giuseppe Ielasi
Artwork and Type Design / Bruno Stucchi
Cover ink painting / Akihide Monna

Issued on vinyl in a one-time edition of 250 copies and pressed to 180g marble vinyl, housed in a pro-printed inner sleeve and jacket, contained in a silk-screen PVC sleeve.

contact: 
sandro.mussida@gmail.com

Rueben

Campo

Yantra, for piano four hands (2019)
pianoforte: Roberto Paruzzo, Suzanne Satz
recorded at S.A.M recording studio, Lari (Pi)
recording engineer: Andrea Ciacchini
mixing engineer: Mirco Mencacci

Yantra

Scored for prepared Electric Guitar, 2 loopers, quadriphonic audio.  Milan 2013.

Written for and performed by Alessandra Novaga
alessandranovaga.com

From the Album LA CHAMBRE DES JEUX SONORES
Alessandra Novaga: Electric guitar
Setola di Maiale, 2014

Beyond all reason and reasoning, the sound appeals to the dimension of Remembrance.

The technology, however, can only offer the service of Memory. 

Memory and Remembrance are related: one, once called, returns to the other with her proper time.

In Memoria

Cat No: REL1 
Release date: 15 January 2015 
Label: Object Relations 
Genre: ELECTRONIC

https://boomkat.com/products/object-relations-1

Object Relations 7inch_SideB_Excerpt

released July 21, 2017

flute: clarinet enrico gabrielli
violin: yoko morimyo
piano: suzanne satz
electric guitar: alessandra novaga
triangles, celesta, tam tam: giulio patara
triangles, glockenspiel, chinese gongs: sebastiano de gennaro
winds live looping: giuseppe isgrò
director, violin live looping: sandro mussida

recorded by giuseppe salvadori at officine meccaniche recording studios, milan
mixed by mirco mencacci at s.a.m recording studios, lari (pi)
mastered by doug henderson at micro moose, berlin

commissioned and produced by alfredo scotti for metrica
(2017)

Ventuno Costellazioni Invisibili

Ventuno Costellazioni Invisibili_SideB_excerpt

SANDRO MUSSIDA, RUEBEN (Die Schachtel, Decay Music N.3, 2020)
music on three tuning systems, for electric guitar, bass clarinet and cello samples.

Rueben is the third album produced by Italian composer and cellist Sandro Mussida, to be released on Die Schachtel at the end of 2020.
Following EEEOOOSSS (Soave, 2019), Rueben makes use again of a microtonal vocabulary and a three-instrument sound palette. This time the samples are approached in a radically different way and are treated as minuscule sound atoms projected at extremely fast speed to form structures of ever changing density. In this new record, electric guitar, bass clarinet and cello harmoniously dialogue with each other, forming a multi-layered and contemplative sonic landscape. The acoustic response of the big reverberant church of St.Giusto in Volterra (Italy), where the sounds were played and recorded as they echoed in the space, gives the source material its peculiar depth adding harmonic complexity but also a sense of realness and liveness to the listening experience. 

The work has been inspired by the observation of Italian Renaissance paintings during Mussida’s composition sessions in the summer of 2018 and recalls Pavel Florenskij’s idea of ‘reverse time’, conceived by the Russian theologian when discussing his well-known theory of reverse perspective in relation to Medieval Russian icons. Reverse time refers to a particular temporal condition underlying dreams and the experience of looking at works of art: a non-linear conception of time presenting its own duration, as opposed to the empirical one unfolding in our everyday life.
Following a new established relationship between seeing and hearing, a similar temporal conception seems to emerge from the listening of the nine compositions forming Rueben, an invitation to reflect through the language of sound on the time spent absorbing an image through one’s eyes.
The work could then be listened to as the translation into sound vibrations of the experience of seeing, a trace of suspended time, even as a tangible sensation or a memory of it, the result of a process of translation between the different media of perception.

The nine tracks of Rueben will be part of a new film by video artist Rebecca Salvadori, which will be released later in Autumn 2020.

TRACKLIST

SIDE A
1.Rueben (1), 03:28
2.Rueben (2), 07:34
3.Rueben (3), 06:44
4.Rueben (4), 05:31

SIDE B
5.Rueben (5), 05:27
6.Rueben (6), 03:55
7.Rueben (7), 03:32
8.Rueben (8), 03:52
9.Rueben (9), 03:27


CREDITS

Composed and produced between June and July 2018
Acoustic response recorded in the S.Giusto Church, Volterra, Italy
by Mirco Mencacci and Luca Ciarfella on August 12, 2018

Edited and mixed in Perth, Western Australia, between March and April 2020
						
Released by Die Schachtel 
Mastering / Giuseppe Ielasi
Artwork and Type Design / Bruno Stucchi
Cover ink painting / Akihide Monna

Issued on vinyl in a one-time edition of 250 copies and pressed to 180g marble vinyl, housed in a pro-printed inner sleeve and jacket, contained in a silk-screen PVC sleeve.


contact: 
sandro.mussida@gmail.com

Ruenben09

Ruenben08

Ruenben07

Ruenben06

Ruenben05

Ruenben04

Ruenben03

Ruenben02

Ruenben01

for 2 pianos one-quarter tone apart and percussions, 2017
pianos: Ciro Longobardi
percussions: Simone Beneventi

a Tutto Questo Sentire commission

sesta onda | 0.04

His work investigates the relationships between tradition and innovation in music, investigating active listening, the identity of musical languages and rites. his latest works involve historical, nonequal-tempered tuning systems questioning its perception by the western, standardized ear. On the intersection between acoustical/classical, electric and electronic fields, he writes for orchestra, chamber and solo instruments, electronics. His work is published by Sony Classical, Boomkat, Tapeworms, Blume Editions, Metrica, Soave Records, Curl, Die Schachtel.

sandro mussida

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