The An Experiment with Time installation “brought to life” by an (amplified and distorted) ensemble. Can installations become live events?
An anthology whose raw material are masterpieces of past and recent history of music (from Ockegem to Grisey). Belonging, universality, authenticity: put these concepts in a composer’s hand, and they’ll immediately clash against the hermetically sealed compartment of copyrights. Eventually, all music is meta-music.
Luz, ojos, mundo. Light, eyes, world. An intimate exploration of of proximity and distance, through the words of Gustavo Adolfo Becquer.
Always keeping Mahler’s eight symphony as a distant mirror, a small fragment from un unknown Schlussszene aus Faust.
A “consertum” and a “certamen”, over a magma of underlying scores. Far away, the tip of the iceberg: Tristan.
Electronic sounds are elsewhere, in an unknown land where laws of physics get tricky, in a non-place where everything suddenly becomes possible, where sounds become symbols, and where words and ideas are mingled with the heavy burden of their possible meanings, as phantoms of a young Pessoa, in an dreamlike view.
Loop, loop, loop, loop, loop, loop. Circularity, recursion, iteration. As Flann O’ Brien’s fictional De Selby inside its hell, going round and round. But what’s the relation between looping and grooving?
A desperate cry for help, the frantic monologue of Bernard Marie Koltès in a chamber opera for an actor, two singers, ensemble and electronics.
Nietsche, Marinetti, Savinio, Bellezza, Joyce, Apollinaire: each one weaves the net for a criticism of Italian Futurist movement. Just outside the door: telephones, fireworks, megaphones. And right below the surface, between objects and shadows, the reflection of an hommage.