Nu (2019) for alto saxophone and live electronics
performer: Mateusz Wrzosek

Nu (2019) for alto saxophone and live electronics

Finesterrae (2016) 
for five voices, viola (also electric viola and viola d'amore)
and live-electronics
The title is a neologism (the ends of lands/earth)and is based on text fragments by Tommaso Campanella (1568 – 1639). This work is conceived to precede a work for 32 voices (Anteterrae, composed in 2005 also on texts by Campanella).
In this work for five voices and viola (one performer playing also electronic viola and viola d'amore), moments with live-electronics and/or amplification are alternated to acoustic sections, giving an impression of a constant change of space, of perspectives (sound-sources closer or far, moving or not moving).
Two main parts in form of short movement succession (FINIS I and II, consisting of very different sounds and gestures), are followed by a section where voices produce noises, ideally like single words stretched in time. Within this part, three acoustic sections featuring viola d'amore and countertenor project drastically the atmosphere into an unreal world, made of archaic timbres and voices.
The very last part of the work (LUMINA) opens to an ephemeral, suspended world, where tiny vocal sounds (imitating nature noises like wind or water) are flowing parallel to the resonances of the last viola ricochet.

07 Finesterrae - LUMINA

06 Finesterrae - FINIS II - Oratio II

05 Finesterrae - FINIS II - Abyssus II

04 Finesterrae - FINIS I - Planctus II

03 Finesterrae - FINIS I - Abyssus I - Mors I

02 Finesterrae - FINIS I - Terrae I

01 Finesterrae - Antelogos

We live in a world that influences us through the sense organs. ELICA is a research project that uses an original improvisational technique to allow each musician to generate sounds by carefully listening to the world around him, not only using the hearing organ, but also all his sense organs.

SMELL.

SIGHT

The works of the composer and conductor, Valerio Sannicandro, are the product of different cultural influences and of his own reflections about the parameter 'space' that he researches consequently, first as compositeur associé at IRCAM (Paris), then at the Technische Universität (Berlin) where he got a Ph.D. in Musicology and at Experimentalstudio (Freiburg). Compositions like Strali (2002), Fibrae (2005), Ius Lucis (2006/2007) and Forces Motrices (2010) are the most outstanding examples of his interest in large orchestral instrumentations, as well as of his concern with the role and the aesthetic of (live) electronics. He is currently working at Experimentalstudio of SWR (Freiburg) on Finesterrae, a new work for voices, viola and live-electronics. He has been awarded among others the Claudio-Abbado Prize from the Academy of Berlin Philharmonics in 2014, the Musica Viva Composition Prize, München in 2002 and 2010, the Giga-Hertz production Prize as well as the Kranichsteiner Musikpreis (2000). His works have been recorded on CD for Wergo and Telos Music Records. He has been invited at the Villa Kujoyama (Kyoto) and is new music advisor at the Philharmonisches Orchester Cottbus (Germany). His works are published by Edizioni Suvini-Zerboni (Milan).

#liveelectronics