MA/IN 2017 - MAtera INtermedia festival

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MA/IN 2017


With the generous support of / col generoso supporto di

Under the patronage of / col patrocinio di


matera intermedia festival

_CONTENTS_ 5_ ma/in festival introduction 6_ The organizing committee 7_ Technical supervisors 8_ Selection panel 19_ MA/IN~spaziomusica commission 2017 20_ MA/IN venues 24_ festival overview 25_ awards 26_ LISTENING | visual room 35_ Sound installation 36_ live concerts 56_ shots 60_ performer BIOGRAPHIES 68_ COMPOSER BIOGRAPHIES


MA/IN 2017


matera intermedia festival

/// INTRODUCTION ||| The LOXOSconcept and KEYHOLE organizations, with the generous support of the “CARICAL” Foundation, Casa Cava Auditorium, the “E.Duni” Conservatory in Matera, the “Fondazione Sassi”, the “Spaziomusica” oganization of Cagliari and the patronage of “Matera 2019 Foundation” promotes the second edition of MA/IN [MAtera INtermedia festival]. The MA/IN festival is aimed at the production and promotion of sonic and digital arts at an international level. Its focus is to become an annual meeting point between artists and composers, within a unique and lovely background of the city of Matera. Every year A/V performances, live electronics, electroacoustic music events, sound installations, workshops and masterclasses will be organized in several evocative venues like the ancient hypogea of Casa Cava. Within the MA/IN, an annual call for artists will be announced. It involves an international jury panel consisting of famous international composers and artists in the field of electronic arts. The festival is composed by four different categories : [A] Acousmatic ~ [B] Mixed Media ~ [C] AudioVisual ~ [D] LivePerformance/SoundArt ~ With the support of SPAZIOMUSICA organization of Cagliari (Sardinia, Italy) the MA/IN has issued a special call. The aim was the creation of new works for Voice and Electronics commissioned for ELEONORA CLAPS (soprano).


MA/IN 2017

The organizing committee LOXOSconcept organization – ARTISTIC DIRECTION / ADMINISTRATION Giulio Colangelo Donato Corbo Valerio De Bonis



economic support fondazione carical (CASSA DI RISPARMIO DI CALABRIA E DI LUCANIA)

art patronage matera 2019 fondation COnservatory of mAtera comune of mAtera

SPONSORS CYCLING 74 [ max / msp ] fra i sassi residence osteria malatesta residence san pietro barisano 6

matera intermedia festival

technical supervisors FONDAZIONE SASSi ( LISTENING | VISUAL ROOM ) Giulio Colangelo Donato Corbo Valerio De Bonis valerio vitale


conservatory of matera ( auditorium Gervasio ) Giulio Colangelo Donato Corbo Valerio De Bonis davide sergio diego d’ambrosio olindo linguerri gerardo criscio


CASA CAVA AUDITORIUM Giulio Colangelo Donato Corbo domenico filitti davide sergio diego d’ambrosio olindo linguerri gerardo criscio




MA/IN 2017

# The selection panel »» Agostino

Di Scipio (Naples, Italy, 1962) composer, sound artist, scholar. Graduated in Composition and Electronic Music from the Conservatory of L’Aquila, studied Computer Music at CSC, University of Padova. Di Scipio explores original methods in the gener¬ation and transmission of sound, often featuring phenomena of emergence and chaotic dynamics, in either live electronics performance contexts, chamber music contexts or sound installation works. Many of his recent works implement “man-machine-environonment” net-works of purely sonic interactions (e.g. the Audible Ecosystemics series, and the more recent Modes of Interference series). A recent special issue of Contemporary Music Review draws on Di Scipio’s artistic achievements in this direction. His music is available on various labels (RZ Edition, Chrysopeé Electronique, Wergo, Neuma, etc.). With pianist Ciro Longobardi, Di Scipio published a full-length realization of John Cage’s Electronic Music for Piano (Venice Biennale 2012, available on Stradivarius). With saxophonist and political agitator Mario Gabola, he runs the Upset duo exploring recycled analog circuitry (Upset, Viande). His output also includes two chamber theatre works with poetry reading and electroacoustics, Tiresia and Sound & Fury. Artistin-residence of DAAD Berlin (2004-2005) and other international residency programs, Di Scipio has served as full-time professor in Electroacoustic Composition at the Conservatory of Naples (2001-2013) and today holds the same position in L’Aquila, a small medieval town in the Appennine mountains, where he lives. Edgar-Varèse-Professor at Technische Universität, Berlin (2007-2008), guest professor in various international institutions, active member of the research team Ecologies du son at University Paris 8. His writings focus on cognitive and political implications of sound and music technologies (e.g. the volume Pensare le tecnologie del suono e della musica, Naples 2013), issues that are also central in many of compositions and sound works (see the recent book + CD Polveri sonore, La Camera Verde, Roma, 2014). Guest editor of the Journal of New Music Research for a special issue on Iannis Xenakis, and editor of various volumes including Xenakis’ Universi del suono (Milan 2003), Gottfried Michael Koenig’s Genesi e forma (Rome, 1995), Michael Eldred’s Heidegger, Holderlin & John Cage (Rome 2000). adiscipi/ SiLVIA LANZALONE

(Salerno 1970), composer. Silvia Lanzalone is the Head of the Department of New Technologies and New Languages and professor of Electronic Composition at the Conservatoire ‘G.Martucci’ of Salerno, since 2009. She also collaborate, since 1997, with CRM collaborate, since 1997, with CRM – Centro Ricerche Musicali in 8

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Rome, as composer, researcher and musical assistant. She studied Flute with Enrico Renna, Annamaria Morini and Peter-Lukas Graf; Composition with Mauro Cardi and Guido Baggiani, Music Technology with Michelangelo Lupone and Giorgio Nottoli and she has achieved the Diploma of Flute at Conservatoire of Salerno, the Diploma of Composition and the Diploma of Electronic Music at Conservatoire of L’Aquila and at Conservatoire of Rome. Silvia Lanzalone’s work is oriented towards experimentation and research into new expressive and linguistic solutions, primarily using the computer technology in order to process sound in real time. Recently her interest in mainly focused on the creation of pieces characterized by improvisation and a gestural component. In these works the use of the computer is generally combined with the creation of interactive instruments and sound installations. In Silvia Lanzalone’s works, technology, rather than imposing itself on the natural sound in order to modify it trough artificial algorithms, becomes part of the whole physical-acoustic structure of a new ‘instrument’, conceived and designed in parallel with the music in order to give life, each time, to a specific and independent artwork, both plastic and sonorous. The interest towards the visual element is based on the aesthetical idea that the work of art is an intermedial experience in which several perceptual items do converge into it. Silvia Lanzalone’s most recent works have been produced with the collaboration of instrumentalists, dancers, film directors, actors and visual art performers. In 2000 Silvia Lanzalone won the “Quarant’anni nel 2000” International Prize of Composition organized by Federazione CEMAT - Centri Musicali Attrezzati, for the creation of a musical theatre work for children, called Junofirst (KHJay e Neuroboy contro i pirati del Web), that has been produced by Società Aquilana dei Concerti “B. Barattelli” and by CRM - Centro Ricerche Musicali in Rome. In 2006 she won the “Franco Evangelisti International Prize of Composition” with the work Il suono Incausato, improvise-action for suspended clarinet, clarinettist and electronics (2005). In 2009 she had a grant from the “C. M. Lerici Foundation” to make a research project on female voice in contemporary music at the KTH - Royal Institute of Technology of Stockholm, Department of Speech, Music and Hearing. In 2013 her work for digital medium Alba d’oro was selected in the call of Federazione CEMAT “6° CD Call Punti di Ascolto”, for the production of a CD of electronic works. In 2015 she created the music for Teresa d’Avila, Esclamazioni dell’anima a Dio, a two-hours drama realized with the complete text of Santa Teresa D’Avila, translated and performed by Silvia Schiavoni, whose voice was elaborated and transfigured by computer, together with the sounds of Gianni Trovalusci’s flute and other electronic sounds; this work was commissioned and broadcast by Radio Vaticana, introduced by Cardinal Gianfranco Ravasi and Monsignor Melchor Sánchez de Toca, and produced Marco Di Battista. Silvia Lanzalone did write some articles which were published on specific books and magazines (Organized Sound-International Journal of Music and Technology, Syrinx, Music@, Equipeco, Le arti del suono, UTET Università) did lectures and masterclasses on Electronic Music and New Technologies, as well as talks during several 9

MA/IN 2017 international conventions (CIM-Colloquium on Musical Informatics, EAW-Electroacoustic Winds, NIME-New Interfaces for Musical Expression, UCM-Understanding and Creating Music). Her compositions have been performed both in national and international festivals: Accademia Filarmonica Romana, Rome; Arte Scienza, Rome; Corpi del Suono, L’Aquila; Distanze, Catania, EmuFest, Rome; Festival di Musica Verticale, Rome; Festival di Nuova Consonanza, Rome; Festival Scelsi, Rome; Futura, Crest, France; Jornadas Internacionales de Música Electroacústica, Cordoba, Argentine; Les Journées Grame, Lione, France; Musica Scienza, Rome; Music out of time. A discovery Series. Electroacustic Music: The Continuing Tradition, Maryland, USA; NYCEMF - New York City Electroacoustic Music Festival, USA; Novecentomusica, Firenze; Synthèse2005, Bourges, France; Spazi aperti 5, Rome; Stagione Concertistica della Società Aquilana dei Concerti B. Barattelli, L’Aquila, Warsaw Autumn, Warsaw, Poland. Her works are published by Ars Publica, Taukay and Suvini Zerboni.

Panayiotis Kokoras (Greece, 1974) is an internationally award-winning composer and

computer music innovator. He is an Associate Professor at the University of North Texas. Born in Greece, he studied classical guitar and composition in Athens, Greece and York, England; he taught for many years at Aristotle University in Thessaloniki (among others). Kokoras’s sound compositions use timbre as the main element of form. His concept of “holophony” describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing, his music calls upon a “virtuosity of sound,” emphasizing the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece. His compositional output is also informed by musical research in Music Information Retrieval compositional strategies, Extended techniques, Tactile sound, Augmented reality, Robotics, Spatial Sound, Consciousness and Music. His compositional output consists of 62 works ranging from solo, ensemble and orchestral works to mixed media, improvisation and tape. His works have been commissioned by institutes and festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 600 concerts around the world. His compositions have been selected by juries in more than 230 international calls for scores and have received 64 distinctions and prizes in international competitions, among others KLANG! Composition Competition 2016, Franco Evangelisti Prix 2012 (Italy), Destellos Prize 2014 and 2011 (Argentina), Prix Ars Electronica 2011 (Austria), Métamorphoses 2014, 2010 & 2000 (Belgium), Giga-Hertz Music Award 2009 (Germany), Bourges 2009, 10

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2008 and 2004 (France), Gianni Bergamo 2007 (Switzerland), Musica Viva 2005 and 2002 (Portugal), Gaudeamus 2004 and 2003 (Holland), Jurgenson Competition 2003 (Russia), Takemitsu Composition Award 2002 (Japan). He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was board member and president. He is currently secretary of the Interactional Confederation of Electroacoustic Music (CIME/ICEM). He was Conference Chair for the ICMC 2015 and currently serves as the CEMI Director – Centre for Experimental Music and Intermediary at the University of North Texas.

oscar bianchi

Born in Milan, holding dual Italian-Swiss citizenships, Oscar Bianchi completed degrees in composition, choir conducting and electronic music at the Giuseppe Verdi conservatory of Milan. He pursued studies in composition taking part in master programs such as at IRCAM - Centre Pompidou and with a doctoral degree at Columbia University in New York. Vitality, pulsing rhythms, and virtuosity are the hallmarks of the music created by Bianchi, who reveals a sensible interest in new phrasings and new ornamentations, something to be expected from someone whose ears are finely attuned to the music from all corners of the globe. A vocal quality, even in his instrumental work, can strike us as a prominent feature of his music. Exuberant and intelligent, this vocal dimension plays with a refined art of accentuations in all its intermediate degrees. We know him now increasingly interested in cantata and opera: at its core, Bianchi’s music continues to be guided by the challenge of dramaturgical and formal issues. The unexpected contrasts between voluble virtuosity and contemplative stasis are the driving force of his flair for dramatic gesture. His music is joyfully violent in breath and in song but may suddenly come to rest in prayer, via a specific harmony, as though struck by the noonday light. Commissioned by the Aix-en-Provence Festival and Théâtre & Musique, his first opera, Thanks to My Eyes, libretto and direction by Joël Pommerat, received critical acclaim by audiences and critics alike (A masterly portrait of Melancholy, Le Monde, July 7, 2011). His music has been performed by outstanding ensembles and orchestras such as Gewandhaus Leipzig, Orchestre Philharmonique de Radio France, Deutsche Symphonie Orchester, Ensemble Modern, Klangforum Wien, JACK quartet, Les Percussions de Strasbourg, Ictus, Quatuor Diotima, Ensemble Remix, Nieuw Ensemble, Ensemble l’Itineraire, Ensemble Contrechamps, International Contemporary Ensemble, Alarm Will Sound, David Grimal, Kammerensemble für neue Musik Berlin, Phoenix Ensemble, Collegium Novum Zürich, Drumming Grupo de Percussão from Porto, Ensemble Laboratorium, Osterreichiches Ensemble für neue Musik, Sound’arte. Upcoming projects include new works for the Symphonieorchester des Bayerischen Rundfunks, Orchestra della Svizzera Italiana, Ensemble Modern, Jack, Remix ensemble, London 11

MA/IN 2017 Symphonietta, Asko-Schoenberg and Collegium Novum Zürich. Oscar Bianchi was a guest of the DAAD Kunstlerprogramm Berlin, Pro-Helvetia in Warsaw and Johannesburg and the Atlantic Center for the Arts in Florida. He has been awarded numerous prizes, such as the Gaudeamus first Prize, the Grand Prix de la SACEM, the Dussurget Prize, the Asm-Stv Prize, the Aargauer Kuratorium fellowship and the Ictus fellowship. «Partendo», for countertenor and ensemble, has been awarded with the 2016 IMC International Rostrum of composer’s prize. His CD Portrait won in 2013 the German Record Critics’ Award. The works of Oscar Bianchi have been performed throughout Europe, Asia and the Americas in prestigious venues such as Philarmonie Berlin, Alice Tully Hall (Lincoln Center, New York); Luzern Festival; Festival d’Aix-en-Provence, La Monnaie, Moscow Philharmonic, Muziekgebouw, Amsterdam; Herkules Saal Munich, Venice Biennale; Musica Festival Strasbourg; Autumn Festival Warsaw; Casa da Musica Porto, Cairo Opera, Ultrashall Berlin; Eclat Stuttgart; Gasteig Munich; Ars Musica, Bozar, Brussels; Archipel, Geneva; Tages für Neue Musik, Zürich; IRCAM Centre-Pompidou, Paris; Abbaye du Royaumont; DRS; RSR; RSI; RAI; France Culture; RFI; TFI; France Inter; RTBF; ORT; SWR; Deutschland Kultur, RBB, Tchaikovsky Conservatory, Moscow; the University of Witwatersrand, Johannesburg; Kulturhuset, Stockholm; Sonora Festival, Cologne; OggiMusica, Lugano; Musica è Realtà, Milan; Nuove sincronie, Milan; Milan Conservatory; Teatro Comunale di Bologna, Nuova Consonanza, Rome; CEMAT, Rome. [Jean-Luc Plouvier]

Christina Kubisch

was born in Bremen in 1948. She studied painting, music and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Performances, concerts and works with video in the seventies, subsequently sound installations, sound sculptures and work with ultraviolet light. Her compositions are mostly electroacoustic, but she has written for ensembles as well. Since 2003 she works again as a perfomer and collaborates with various musicians and dancers. Numerous grants and awards, such as the Award of the German Industrial Association (BDI) 1998, composition grant of the city of Berlin 2000, Carl Djerassi Honorary Fellowship, USA 2000, artist-in-residence IASPIS, Stockholm 2002, Honorary prize of the German Sound Art Prize 2008, City sound artist Bonn, 2013. Since 1974 solo exhibitions in Europe, USA, Australia, Japan and South America. Numerous participations in international festivals and group exhibitions such as: Pro Musica Nova, Bremen 1976 and 1980, Für Augen und Ohren, Berlin 1980, Biennale of Venice 1980 and 1982, documenta 8, Kassel 1987, Ars Electronica, Linz 1987 and 2010, Steirischer Herbst, Graz 1987, Biennale of Sydney 1990, Biennale of Nagoya 1991, Donaueschinger Musiktage 1993 and 1997, Sonambiente, Berlin 1996 and 2006, Klangkunstforum Parkkolonnaden, Berlin 1999, Sonic Boom, London 2000, Visual Sound, Pittsburgh 2001, Singuhr Hörgalerie, 12

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Berlin 2002, Activating the Medium, San Francisco 2003, sounding spaces, Tokyo 2003, Resonances - The Electromagnetic Bodies Project, ZKM, Karlsruhe 2005, Her Noise, London 2005, B!AS International Sound Art Exhibition, Taipei 2005, Stockholm New Music 2006, Invisible Geographies: Sound Art from Germany, New York 2006, Sharjah Biennial 2007, Huddersfield Contemporary Music Festival 2007, Soni(c)loud, Mexico City 2008, RUHR2010, European Capital of Culture project, Ruhr area 2010, Salon Urbain de Douala, Cameroon 2010, gateways, Art and Networked Culture, Tallinn 2011, White Walls Have Ears, Hong Kong 2012, Sound Art. Klang als Medium der Kunst, ZKM, Karlsruhe 2012, bonnhoeren, Beethovenstiftung Bonn, 2013, festival NOW, Essen 2014, blurred edges festival, Hamburg, 2015. Her music has been released with various labels such as Cramps Records, Edition RZ, ampersand, semishigure, Die Schachtel, Olof Bright, AA Records. Christina Kubisch has been a visiting professor in Maastricht, Paris and Berlin. She has been a professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany, from 1994 to 2013. She is a member of the Akademie der Künste Berlin since 1997.

Pierre JODLOWSKI is a composer, performer and multimedia artist. His music, often marked

by a high density, is at the crossroads of acoustic and electric sound and is characterized by dramatic and political anchor. His work as a composer led him to perform in France and abroad in most places dedicated to contemporary music aswell as others artistic fields, dance, theater, visual arts, electronic music. His work unfolds today in many areas : films, interactive installations, staging. He is defining his music as an “active process” on the physicall level [musical gestures, energy and space] and on the psychological level [relation to memory and visual dimension of sound]. In parallel to his compositions, he also performs on various scenes (experimental, jazz, electronic), solo or with other artists. Since 1998 he is co-artistic director of éOle (research and production studios based in Odyssud - Cultural center in Blagnac) and Novelum festival in Toulouse (from 1998 to 2014). He has been collaborating with various ensembles such as : Intercontemporain (Paris), Ictus (Belgium), KNM (Berlin), the Ensemble Orchestral Contemporain (France), the new Ensemble Moderne (Montreal), Ars Nova (Sweden), Proxima Centauri (France), Court-circuit (France), Ensemble Les Éléments (France), the Berg Orchestra (Prague), Soundinitiative (Europe) and various soloist from the international contemporary music scene. He also conducts collaborations with musicians such as preferred Jean Geoffroy - percussion, Cedric Jullion - flute, Wilhelm Latchoumia - piano, for works and research on the new instruments capacities. He performed in a trio with Roland Auzet (percussion) and Michel Portal (sax & clarinet), a duo with drummer Alex Babel and different projects with musicians from improvised music scene in Europe. His work led him to develop collaborations with visual artists, in particular, David Coste for 13

MA/IN 2017 specific projects with video. He also works as a stage designer on several projects at the intersection of theater, installation, concert or oratorio. He has received commissions from IRCAM, Ensemble Intercontemporain, the French Ministry of Culture, Akademie der Künste (Berlin), CIRM, GRM, the Donaueschingen Festival, Radio France, the Piano Competition in Orleans, GMEM, GRAME , Siemens Foundation, the Opera of Toulouse, the European project INTEGRA, the studio EMS - Stockholm, the Royaumont Foundation, Cabaret contemporain, Venice Biennale music festival, Polish Ministry of Culture… Winner of several international competitions, he won the Prix Claude Arrieu SACEM in 2002, the Prix Hervé Dugardin SACEM in 2012, and was in residence at the Academy of the Arts of Berlin in 2003 and 2004. In 2013 he won a Prize awarded by “Academie Charles Cros” for one of his CD. In 2015 he is the winner of The Great Lyceum Prize in France for his piece “Time & Money”. His works are performed in key places devoted to contemporary sound arts in France, Europe, Canada, China, Corea, Japan and Taiwan and the United States. His works are partly published by Editions Jobert and are the subject of several CD and video recordings on the labels éOle Records, Radio France and Kaïros. He is living in France and Poland.

Marta Gentilucci

studied Vocal Arts as soprano at Conservatory “F. Morlacchi” in Perugia; there she also obtained her Master of Arts in English and German Literature cum laude. She began studying composition at the Conservatory “L. Cherubini” in Florence. In 2004 she moved to the University of Music in Stuttgart, where she attended the composition course with Marco Stroppa, and in 2007 she obtained her diploma. In 2008 she attended the post-graduate course in composition with Chaya Czernowin in Vienna and the Master in Composition-Computer-Music with Marco Stroppa and Oliver Schneller in Stuttgart (2008-2010). In 2009/10, she was selected for the Cursus1 at Ircam; in 2011/12, she participated at Cursus2 with a project for Voices, ensemble and live electronics. She is currently finishing the Ph.D Program in composition at Harvard University under the guidance of Chaya Czernowin and Hans Tutschku. She obtained several scholarships and prizes, including: the scholarship of the Festival Junge Künstler Bayreuth 2004, Scholarship-prize of the “44. Internationalen Ferienkurs Darmstadt” 2006, scholarship of the Centre Acanthes 2007, Markel Stiftung 2006-09, scholarship of the Kuststiftung Baden-Württemberg 2008, residency at the Electronic Studio Akademie der Kunst Berlin (ADK) 2010, scholarship of the Experimentalstudio des SWR Freiburg for Matrix09/10/11/12. In 2011 she obtained the Stroebelstiftung Arbeitstipendium. Her music has been performed in Italy, France, Germany, Korea and Japan, USA and UK by ensembles as Wind Quintet from the Orchestra Nazionale RAI, Ensemble Surplus, Interzone Percettible, Ensemble Ascolta, 14

matera intermedia festival ensemble, Neue Vocalsolisten Stuttgart, Ensemble Intercontemporaine, Jack Quartet, Chiara Quartet, Ensemble L’Arsenale, Ensemble Hand Werk, Nikel Ensemble, Elision Ensemble, Promenade Sauvage, Ensemble Dal Niente, Ensemble Contrechamps, Orchestra and Choir of the Staatstheater Darmstadt (DE). Her electronic music has been selected for the International Computer Music Conference in Huddersfield, UK (ICMC 2011), Seoul International Computer Music Festival (SICMF 2012), New York City Electroacoustic Music Festival (nycemf 2013 and nycemf 2015, New York City); International Computer Music Conference in Perth, Australia (ICMC 2013); Athens, Greece (ICMC 2014); Denton, Texas (ICMC 2015). In 2017, she will be composer in residence at IRCAM with a research project on voice and voice extended techniques.

Valerio Murat (1976, Italy) is an intermedia artist. After his studies in Composition with

Antonio Poce and Electronic Music with Alessandro Cipriani he carried on his exploration between arts working with music and video. His works have been awarded in different international competitions: I° prize Giga-Hertz-Awards, ZKM, Karlsruhe, Germany. I° prize Concours International de Musique et d’Art Sonore Electoacoustiques, Bourges, France. I° prize “eading Panel IRCAM, Ensemble Intercontemporain, Paris, France I° prize Gaudeamus Composition Prize, Amsterdam, Netherlands. International Computer Music Conference (2005/2006/2012) Honorable mention Concours International de Musique et d’Art Sonore Electoacoustiques”, Bourges France (2005/2008). EXiS International Competition Experimental Film and Video, Seoul, Korea (2005/2007) Prix de la Création Vidéo, Videoformes, Clermont Ferrand, France (2012/2013) Roma Poetry Film Festival - Special awards 2013 His works have been performed and screened in different places all over the world, among others: Paris, France, IRCAM Agorà Festival; Amsterdam, Netherlands, Concertgebouw; Paris, France, Radio France Festival Presence; Amsterdam, Netherlands, Gaudeamus Muziek Week; Venezia, Italy, Biennale di Venezia; Karlsruhe, Germany, ZKM Center for Art and Mediatechnology; New York, USA, Electronic Music Foundation; Barcelona, Spain, L’Auditori; Amsterdam, Netherlands, Stedelijk Museum; Amsterdam, Netherlands, Theater Felix Meretis; Apeldoorn, Netherlands, Gigant Theater; Berlin Germany, International Sound Art Festival; Morelia, Mexico, CMMAS Centro Mexicano para la Musica y las Artes Sonoras; Boston, USA, Institute of Contemporary Art; Chicago, USA, Columbia College; New Orleans, USA, Dixon Hall; New York, USA, Living Theatre; New York, USA, Stony Brook University; Roma, Italy. Auditorium Parco della Musica; Clermont-Ferrand, France. Hamburg, Germany, International Sommerfestival Kampnagel; Videoformes; London, England, Barbican Centre; Los Angeles, USA. The Vine Theatre; Lyon, France, Conservatoire National Supérieur Musique et Danse de Lyon; Eindhoven, Routebeschrijving Witte Dame; 15

MA/IN 2017 Cologne, Germany, 10th Cologne International Videoart Festival; Marseilles, France, Fe.V.E. Festival de Vidéo Expérimentale; Marseilles, France, Instants Video; Marseilles, France, Les Instants Video Numériques et Poétiques; Berlin, Germany, Zebra Poetry Award; Minneapolis, USA, MacPhail Center for Music; Osnabrueck, Germany, European Media Art Festival; Rotterdam, Netherlands, Theater Lantaren-Venster; San Francisco, USA, The Victoria Theatre; Stuttgart, Germany, Filmwinter; Tokyo, Japan, Seco Lounge, The Ball Room; Toulouse, France, Traverse Video; Umeå, Sweden, Verkligheten “Borders”; Utrecht, Netherlands, Impakt Festival; Utrecht, Netherlands. Theaterkikker; Athens, Greek, Athens Video Art Festival; Beirut, Lebanon, New Moving Images; Washington, USA. Western Washington University; Wellington, New Zealand. Victoria University Campus; Ankara, Turkey. Metu Video Festival; Miami, USA, New Music Miami ISCM Festival; Seul, South Korea, EXiS, Experimental Film Festival. His music is broadcasted by the BBC3 England; Radio France, France; SWR2, Germany; VPRO Radio 4, Netherlands. Currently he is professor of Multimedia at the Conservatorio di Musica Licinio Refice, in Frosinone, Italy.

Du Yun,

born and raised in Shanghai, China, currently based in New York, is a composer, multiinstrumentalists, performance artist, curator, working at the intersection of orchestral, opera, chamber music, theatre, cabaret, pop music, oral tradition, visual arts, electronics and noise. Hailed by the New York Times as a leading figure in China’s new generation of composers and often cited as a key activist in New York’s “new movement in new music,” she was selected by the National Public Radio (US) as 100 composers under 40. Known as chameleonic in her protean artistic outputs, her music is championed by some of today’s finest performing artists, ensembles, orchestras and organizations. In addition, Du Yun has also made works in the art world, including the 4th Guangzhou Art Triennial, Sharjah Biennial (UAE), Auckland Triennial, and Istanbul Biennial. Du Yun is on the composition faculty at SUNY-Purchase. She was a founding member of the International Contemporary Ensemble (ICE), and currently she serves as the Artistic Director of MATA, a pioneering organization dedicated to commissioning and championing young composers from around the world.


His work as a composer is mainly devoted to acousmatic music, although he composed some mixed works. More specifically, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. More recently he composed a cycle of works of immersive multiphonic music for dome of loudspeakers. Along with concert music he has composed, for a period of twenty years, incidental music especially 16

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for the theatre. He also worked as artistic director for over twenty years, especially for the concert series Clair de terre (Association pour la création et la recherche électroacoustiques du Québec (ACREQ)) from 1989 to ’93 at the Planétarium de Montréal, and Rien à voir and Akousma (Réseaux) from 1997 to 2006. He is Professor in electroacoustic music composition at Université de Montréal since 1999. after completing the first PhDMus in Electroacoustic Composition (1992), under Marcelle Deschênes and Francis Dhomont. He leads the Groupe de recherche immersion spatiale (Spatial Immersion Research Group, GRIS), which produces sound spatialisation software. He received three Prix Opus from the Conseil québécois de la musique (CQM): two in 1999 — “Composer of the Year” and “Record of the Year — Contemporary Music” for Figures (IMED 0944) — and one in 2013 — “Record of the Year — Contemporary Music” for Palimpseste (IMED 12116). The Académie québécoise du théâtre (AQT) has given him two Masque Awards (“Best Music for Theatre”): one in 2002 for the play Malina and the second in 2005 for the play La cloche de verre, both directed by stage director Brigitte Haentjens. Robert Normandeau is an award winner of numerous international competitions, including Ars Electronica, Linz (Austria, 1993, Golden Nica in 1996), Bourges (France, 1986, ’88, ’93), Fribourg (Switzerland, 2002), Luigi Russolo, Varese (Italy, 1989, ’90), Métamorphoses, Brussels (Belgium, 2002, 04), Musica Nova, Prague (Czech Republic, 1994, ’95, ’98, 2012, ’13), Noroit-Léonce Petitot, Arras (France, 1991, ’93), Phonurgia Nova, Arles (France, 1987, ’88), and Stockholm (Sweden, 1992) and Giga-Hertz (Karlsruhe, 2010). He received commissions from The Banff Centre for the Arts, BBC, CKUT-FM, Codes d’accès / Musiques & Recherches, Jacques Drouin, Les événements du neuf, Groupe de recherches musicales (GRM), Groupe de musique expérimentale de Marseille (GMEM), Terri Hron, Claire Marchand, Musée d’art contemporain de Montréal, Open Space Gallery, Orchestre symphonique de Montréal (OSM) / Société de transport de Montréal (STM), Arturo Parra, Société Radio-Canada, Réseaux, Sonorities Festival, Vancouver New Music Society, and Zentrum für Kunst und Medientechnologie (ZKM). He was composer in residence in Banff (Canada, 1989, ’92, ’93, 2012), Bangor (Wales, UK, 2008), Belfast (Northern Ireland, RU, 1997), Bourges (France, 1988, ’99, 2005), Huddersfield (England, RU, 2015), Karlsruhe (Germany, 2004, ’05, ’10, ’11), Mons (Belgium, 1996), Morelia (Mexico, 2013), Ohain (Belgium, 1987, 2007), Oslo (Norway, 2015), Paris (France, 1990, 94), and Santiago (Chile, 2013).

Cat Hope

is a composer, researcher, performer, songwriter and noise artist. She is a flautist and experimental bassist who plays as a soloist and as part of other groups. She is the director of and performer 17

MA/IN 2017 in Decibel: a group focused on Australian repertoire, the nexus of electronic and acoustic instruments and graphic score realisations. In 2011 and 2014 Cat won the APRA|AMC Award for Excellence in Experimental Music, and for 2014 she was resident at the Peggy Glanville Hicks composers house, and a Civitella Ranieri and Churchill Fellow. She is coauthor of Digital Art – An Introduction to New Media (Bloomsbury) and is a Professor of Music at Monash University, where she is currently head of the Sir Zelman Cowen School of Music.

Fabrizio Casti is an italian experimental music composer that operates also in acustic

and electroacoustic improvisation. He teaches Elements of Music Composition and analysis at the State Music Conservatory of Cagliari. He took his degree in Experimental Composition with Franco Oppo in Cagliari and in Electronic Music with Alvise Vidolin in Venice and at CSC, University of Padova. His works have been performed in different places all over the world, among others: Teatro alla Scala (Milano), Musica XXI Accademia di Francia (Roma), L’Home Armé (Firenze) Teatro Lirico di Cagliari Fondazione (Cagliari), Festival Musica Verticale (Roma), I Teatri (Reggio Emilia), Computer Art Festival (Padova), Musiche in Mostra (Torino), Festival di Nuova Consonanza (Roma) e internazionali quali Ici L’onde (Dijon), Festival Internacional Cervantino (Guanajuato), Konstacademy, Samtida Musik Festival (Stockholm), University of Cincinnati (USA), St Cut’s: Edinburgh Fringe Festival (Edinburgo), 46° International Festival of Contemporany Music (Warsavia) Festival Dal Niente, City University of London” (Londra), Art + Mècènat L’Italie Source Vive (Ginevra), Festival internacional de Musica Contemporanea (Argentina), Secondo Incontro Tra Due Culture (Tokio), The Days of New Music (Chisinau), Settimana Internazionale di Musica Nuova (Bucarest), Internazionale Ferienkurse fur neue műsik (Darmstadt), Festival de la Habana, Festival de Luxembourg, Musica del Siglo XX (Bilbao), Encuentros (Buenos Aires), Perspectivas (Madrid), Sibelius Academy (Helsinky), XXIV Foro Internacional De Musica Nueva (Città del Messico), Muziekcentrum De Ijsbreker (Amsterdam), Synthèse (Bourges), Sonorities Festival of Contemporary (Belfast); Digital Stilnovo BizArt Art Center (Shanghai). He is Artistic Director of Spaziomusica and is on the Board of SpaziomusicaRicerca, Cagliari (Italy). Both associations aim at the music research, oriented towards the music composition, and the promotion of contemporary and experimental music also in relation to contemporary performing arts. His works are published by RaiTrade, Ricordi and Ut Orpheus and recorded by ECM, die Schachtel, Stradivarius, LIMEN, Ricordi-Nuova Fonit Cetra, Warsaw Automn e Spaziomusica.


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MA/IN ~ SPAZIOMUSICA COMMISSION 2017 With the support of “Spaziomusica” organization of Cagliari (Sardinia, Italy) the il MA/IN promotes the creation of new works for Voice and Electronics/ Multimedia. The best three projects has been selected and the works performed twice: the world premiere at the 36th Festival Spaziomusica (Cagliari, October 2017), the second performance during the MA/IN 2017 (Matera, December 2017). The selected works are:

Fabio Monni (ITA) – Del buio e altri luoghi Daniel Fawcett (USA) – Radiant Cry Gerardo De Pasquale (ITA) – Del dolore e altre passioni - lamento I

eleonora claps

Born in Basilicata, she studied opera singing at the Conservatory of Music “G. Martucci” of Salerno, where she graduated under the guidance of Elisabetta Scatarzi. Her repertoire ranges in different vocal areas; primarily concerned with the figure of the interpreter singer/actress, she is assiduously engaged in the Twentieth-Century and contemporary, acoustic and electroacoustic, music. She perfected her studies under the guidance of Alda Caiello, attended the “Corso di specializzazione in canto lirico per l’opera contemporanea” at the Verona Opera Academy and the Postgraduate Summer Courses at the Internationales Musikinstitute of Darmstadt (with Michelle Donatienne-Dansac), during which she performed as a vocal interpreter in official concert IMD2016 (M. Ciciliani’s Workshop “Music in the Expanded Field”). She regularly participates in courses, masters and seminars aimed at the study and deepening of the contemporary musical language (S. Gervasoni, A. Solbiati, M. Di Bari, T. Murail, P . Aralla, F . Dillon, F . Filidei, J. Dashow etc..), collaborates with emerging composers, specialized Ensemble, CRM (Centre of Musical Research) in Rome and performs regular concerts. She has performed in numerous concert halls including the “Teatro Studio Gianni Borgna” at the Auditorium of Rome, as a finalist in the “Premio Bucchi Interpretazione – Parco della Musica 2015”. She is interpreter of world premieres presented by the Association “Alessandro Scarlatti – Ente Morale” of Naples in the “ScarlattiLab/Electronics” since its first edition in May 2012 (Art Director: G. Turaccio, A. Di Scipio), in International Festival and Composition Competitions, often live on RadioCEMAT. Her repertoire includes works of the most important authors of the Twentieth-Century Classical Music like “Laborintus II” (L. Berio), “Sequenza III” (L. Berio), “Aria” for voice and magnetic tape (J. Cage), “József -Attila Töredékek Op. 20” for solo voice (G. Kurtág), etc.. as well as numerous world premieres. 19

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_ MA/IN VENUES >> Matera is a suggestive city in the region of Basilicata, in Southern Italy.

Matera is well known for being one of the oldest inhabited cities in the w “Sassi�, ancient cave-dwellings, has been inscribed as World Heritage S for 2019.

Casa cava is a rock-cut auditorium. Can be considered the only undergr then abandoned and used as a waste dump, now restored and transfo evolution and cultural rebirth of Matera.


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world; the town lies in a small canyon carved out by the Gravina. Site, and the city was declared Italian host of European Capital of Culture

round Cultural Center in the world! Firstly carved as a quarry of stones, ormed into a Center for Youth Creativity. It is a symbol of the historical


MA/IN 2017

fondazione sassi

Š LOXOSconcept

casa cava auditorium


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conservatory of matera

Š LOXOSconcept

Š michele morelli


MA/IN 2017

ÂŤ festival overview ///


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+ awards + Category [A] – Acousmatic ~ - Honorarble Mention -

John Wiggins [String II] Reuben De Lautour [Transcoding]


Alessio Rossato [Veglia]

- Honorarble Mention -

Lior Eytan [Mitgardim] Jacob Sudol [Vanished Into The Clouds ]

Category [c] – audiovisual ~ of DISTINCTION + AWARD of DISTINCTION + [ex aequo] Tristan Berger [Recognizer] Joao Pedro Oliveira [Neshamah]

- Honorarble Mention -

Samuel Béland [Naica]

Category [d] – LIVEPERFORMANCE/SOUNDART ~ of DISTINCTION - Honorarble Mention -

Roberta Platania [Midnight Sun ] Miloš Cathals [Ode 2] 25

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fondazione sassi

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The idea behind Rami came during a study about beats phenomenon: an acoustic interference, produced by two or more sine waves with slightly different frequency, which results in a periodic amplitude modulation. Looking at a naked tree I imagined it as a score where a set of frequency moving near and away, crossing each others, following the branch’s shape and creating complex beats patterns. In Rami the sound is created by a sonification process of shape and movements of the tree showed in the video component.




The video of Atlas of Uncertainty is based on the representation of 4 Classical elements, that typically refer to the concepts in Ancient Greece, of earth, water, fire, and aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances.The music try to create a sonic continuum ranging from unaltered natural sounds to entirely new sounds - or, more poetically -- from the real world to the realm of the imagination. “Atlas of Uncertainty” is an electronic music video in which a microcosm of sounds, explored through some csound interfaces, becomes the hyletic universe of the work.




Ventriloquy centers on the vococentrism of aural perception and how the presence of voice, in its natural and digitally mediated states, structures the sonic space it lies in. The physical characteristics of the human voice, in terms of its register, spectrum, and prosody, form a reference point from which all other sounds are comprehended, often bending the boundaries of what is voice and what is not.




Off the coast of Tanzania, on the small island of Zanzibar I happened upon a bazaar in Stonetown with all manner of beautiful African instruments. I found myself drawn to a small, hand made mbira. This humble instrument buzzed and creaked and was far from perfect, yet striking a tine was instantly so musically agreeable. Kibuyu in Swahili translates to ‘Calabash’ and is the box resonator used in the construction of the instrument. I wanted to use the term as a metaphor similar to the phenomenon of 27

MA/IN 2017 seashell resonance, except in this instance, as one holds the mbira against their ear they don’t hear sound redolent of the ocean, but rather a more dynamic abstraction of sonic imagery resounding well beyond the instrument itself and deep into the island of Zanzibar and the many evocative soundscapes it contains. All the material within the composition comes from the striking of three tines of the mbira, with no additional sonic material employed within the piece. Zanzibar is a UNESCO World Heritage Site.




War of the Currents is an acousmatic eight channel work inspired on the actual war of the same name that took place in the late 1880s, where George Westinghouse and Thomas Edison became adversaries due to Edison’s promotion of direct current (DC) for electric power distribution against alternating current (AC), invented by Nikola Testa. This work turns around the idea of the encounter of two of the probably most attractive geniuses of all times: Thomas Edison and Nikola Tesla. The work is structured in four movements I.Tesla II.Edison III.Westinghousing IV.Chicago




Tâches (2016) is an electroacoustic work that wants to represent the routine of a person who performs different types of manual tasks. For this reason, most of the recorded material come from electrics tools such as: drills, saws and sanders. At the beginning of Tâches, granulated and saturated materials with complex and contrapuntistic gestures are perceived. Opposite to this, sounds like water and tea kettle are used to portray the moments of lower tension which represents the time when the person rests. These materials are continuous with homogenous sonority. At the end, samples are saturated remarkably and the texture is even more complex than the beginning.




The work displays light sources acting in a sort of nocturnal forest; the light shakes the branches and fragments of a sculpture laid on the ground. To achieve it, I began from a static shot, slowly going towards a fragmentation of the the image itself through the light’s game. My main interest is on the latency created by the movement of the light, the moments ruled by shadow, when everything is invisible. Music: Maria Lindström 28

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6 A.M.


6 A.M. explores the world of microsound and represents at the same time a personal investigation into compositional constraints and self-imposed routines in order to increase creativity. This approach involved limitations and restrictions on sound material, compositional techniques, sound processing, deadlines, working hours and even personal habits, just to name a few. The title itself refers to one of these restrictions, which was that the entire piece should be composed during work sessions beginning at 6 AM in the morning.




This piece is inspired by urban life and pollution. Exhaust fumes and waste modify the appearance of a city to such an extent that traces of the past remain only in one’s memory. The image of what the physical world was like before overlaps with what it is today - polluted and therefore altered. Memory filters out the “additions”, and acts as a sort of virtual “garbage disposal” that restores the environment to its original value. The question is: what would a contemporary glance pass on? Are the younger generations able to disapprove as strongly and to feel the same discomfort as those who have historical memory?




Commissioned by INA-GRM. France. This piece is a small tribute to the Buddhist monk Roan (1758–1831) and the impression it left on me after reading some of his poems. The starting point of L’ermitage au toit de chaume is the poetic image of five tanka (Japanese poem without rhyme, 31 syllables in five lines) written by Ryokan in different periods of his life.




“Untitled” is a sound based video installation by Andrea Familari. In his research, it represents the natural evolution from a live perspective to a more contemplative point of view , carrying the fleeting moment of creation into a deeper analysis of what has been created. Driven by an original audio track composed by Andrea Taeggi, Familari has portrayed and analysed the geometry provided by the natural structure of the leaves translating them into circles and spheres in order to express the complexity of 29

MA/IN 2017 the plant’s growing process.“Untitled” is a seed that discloses, sprouts and blooms in front of our eyes. On planet Earth, flowers has been here since the very beginning of times. Blooming has always boosted life and beauty: thousand of colours in billions of kind, everyone with the unique goal to attract someone or something that could help them to close in itself and create something else. “Untitled” tries to describe this kind of magic and more: the birth of a seed, a journey through its life, its transformation into flower, its attractive blooming and the metamorphosis back to reborn as seed, again and again. A neverending loop creating and reshuffling linear forms and holy colours, spheres mutating in an hypnotic vortex made by petals, that magnetize and show all their story and world. Our World.




SAMOA is an acousmatic piece constructed using sound materials from bells, bowls, gongs and scratch of cello. This work is based on different types of impulse responses, resonance transformations, counterpoint between granular materials, reliefs within dense sound atmospheres, loaded with hidden gestures that are developed and recycled throughout the work.




Phonation 2 - Memoires (2016), was written as part of my doctoral project in composition. It is an electroacoustic piece exploring the meaning of voice and vocal in my music. The majority of the work is made of cut-ups of my own voice, overdubbed, and recomposed. It contains the fragments of my vocal past, some of the most significant pieces of music, songs, and stories from my childhood. They are all read and sung, sampled and processed in tender, yet somewhat ironical memoire.




Cercles et Surfaces (2013) Acousmatic Music – Octophonic Commissioned by French State and GRM “Circles and surfaces” responds to the principle of musical gestures in space, creating a flow of seemingly chaotic sound patterns that approach each other and meet in arborescence creating a new order. The multitrack discourse contributes to creating a polyphonic texture that accompanies the gestural movements in the space 30

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...lilac shrieks and scarlet bellowings... (2010) is a nine minute visual and sonic interpretation of six related texts of E. E. Cummings that focus on themes of nature and the cycle of life. The film is in six linked sections, each focusing on one of Cummings’ texts enhanced with images by Jean Dethuex and electroacoustic music by Mikel Kuehn. The sonic material is derived from manipulated environmental sounds and the recitation of Cummings texts by soprano Deborah Norin-Kuehn. The images were created first by Detheux (in 2008) and were then set to music by Kuehn in 2009-10. The visual idea behind the work was to create a life in multiple parts, followed by a “recollection” of that life, as if at the moment of death.

The Secret World of Bookends (2005) is an electroacoustic fantasy based entirely on recorded sounds made by two generic metal bookends. I found the inexpensive bookends in the basement of my new house and was intrigued by the sound that they made when I accidentally dropped one. The resulting piece not only explores their sonic attributes but also the boundless imaginary world that exists in the myriad of thoughts and information between a functioning set of bookends. The sounds that the bookends make are gradually exposed and transformed over the course of the work. Most of the sounds in the piece were produced by striking, bowing, or grating the metal bookends.




Cosmos is an audiovisual collaborative work of composer Anthony Lyons and animator Paul Fletcher. It draws on self-similarity and data tree structures in the making of, and relationship between sound and vision. The work explores interconnections between the worlds of the micro and the macro such that one is simultaneously viewing a macro cosmos of planetary systems that are forming, growing, dissolving, AND a complex micro system of interacting biological cells. The sound world was inspired by the similarities between big data flows of digital information and the organic complexities present in the life of trees. The audio was composed solely from numerous field recordings of trees using hand-held recorders and contact microphones. These sounds were then manipulated via a number of granular and spectral processes - exploring sound patterns, shifting textural densities and timbres that come from magnifying tiny grains of sound. The two systems of sound and vision were composed separately before being fused together yet share similar creative processes drawing on organic, digital, intuitive and generative techniques. The resulting work Cosmos superimposes sound 31

MA/IN 2017 and vision in the form of an infinite data tree structure with continually evolving shapes and sounds like branches fanning out of a tree. Cosmos tries to capture a small sense of the vastness, flow, beauty and self-similarity between micro and macro systems.




There are periods in life when the real world turns into a nightmare from which escaping and the vision of a distant future becomes the only existential push. In this phase the time is suspended and the days, always the same, alternating moments of struggle to other of stasis in the need to continue the journey. The work was born from this experience and is based on the use of piano samples and physical modeling synthesis and convolution techniques. It was realized in 2016 with Csound through assisted composition techniques of Mathematica.




In 1925 Eugenio Montale published its most famous collection of poems, Ossi di seppia. The title means “Cuttlefish bones” and has always been strongly evocative for me: the inner essence of things, of reality itself, is presented here as a residual, a relic which survives the sea and arrives to the beach in the form of a white, levigated cuttlefish bone. This image is a powerful sum of existential reflections and sensorial recalls, which came back to me during the walks by the North Sea near my new hometown, The Hague, such a different-but-similar sea compared to the Italian one, which I knew since I was a child. Montale’s poems are full of sounds, like the “snakes rustle“, the “blackbirds catcall“, the “cicadas’ wavering screaks“ ... a whole soundscape is presented to our ears through concrete, onomatopoeic words. In 2016 I was commissioned by an Italian clarinetist, Francesco Massaro, to compose a piece for bass clarinet and tape. For the electronic part, I decided to start from this poetic idea – Ossi di Seppia – and to work on pre-recorded material of bass clarinet sounds, processing them through spectral decomposition techniques, in order to extract the bones, the residuals, the relics of the original sounds. Starting from this concrete material, the piece has been developed into six sections, each inspired by a sonic image taken from Montale’s poems. I then decided to realize an 8-channel fixed-media version of the piece, which is presented here.




An exploration of sounds derived from a piano, Flux Hammer employs sounds of 32

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physically altered piano strings. Source samples were prepared acoustically and manipulated through various processes, such as convolution, resonance filtering, and granular synthesis.




it is missing time. you are watching us from the sky. you walk through the night. you walk through the air. the air makes you what you are. you are watching your are missing us. you are missing the time that you thought you’d had.




Hyperscape is an electro-acoustic audiovisual composition in which we see and hear elements of natural matrix and sound elements that evoke the world of communication and the technological day, or the evolved reality in which we currently live. The work described here is an attempt to communicate two landscapes - the natural acoustic and the electroacoustic - through the use of an imaginary and virtual visual bridge. Hyperscape is a counterpoint to the natural sound landscape with acoustic marks belonging to the world of contemporary technology. Slowly moving images of nature offer a visual carpet on which electronic sounds travel, which cause a disturbance from which we no longer feel threatened but integrate within the sound and visual landscape by creating a dialogue between sounds of natural reality and Sounds characteristic of liquid modernity. Hyperscape has been attempting to create an “immersive” audiovisual composition in which the spectator finds himself intertwined by this dialogue of sounds that we have “memorized” and that, if proposed in different situations, may seem pleasant or assume meaning Different from the one commonly associated in our daily life.




“Percorsi” is an audiovisual work realized on the occasion of the Fairy tale Festival in Castro Dei Volsci. Sounds and images merge into a bond which aims to recreate the emphasis of Italo Calvino’s thought about fairy tales and their funcion. All of this has been done according to the interpretation and style of the authors. Audio/video : Luca Rautti e Walter Corneli / Voice: Martina Corneli / Text from: Italo Calvino “Fiabe italiane”. 33

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Va(a)utour(s) was comissioned by Groupe de Recherches Musicales in 2016 and was premiered in 2017 in Paris. When I began to work on the piece I was very interested to explore the possibilites given by the octophonic setup of the studio and specially to work with very fast (apparent) rotations using triggering of very short percussive sounds in different channels (not panning). At the same time in my country, the right wing government of Argentina succeeded to approve a humiliating law that established an extremely bad agreement with ¨vulture¨funds that harmed the economy for at least three generations. One day during the residency I linked the two domains. Vautour in french is ¨vulture´ but can be also be interpreted as ¨Va au tour¨ , that´s to say ¨turning around ¨. The stereo reduction does not give a good idea about what is going on in the work and is sent only to accomplish the rules of the contest.




Public Gardens was composed with recordings from a trip in Europe, where one can discover public spaces like airports, train stations, malls and parks. I was inspired by the inexhaustible energy of those objects and locations, in stark contrast to the twenty World War 2 museums and memorials that I’ve visited.




The Astronomer is an abstract musical interpretation of the painting by Johannes Vermeer of the same title, where a process of successively re-working recorded sounds to create greater dynamic contrast and complexity is inspired by Vermeer’s painting techniques. All sounds in the piece were derived from electronic and acoustic instruments recorded by the author in 2010. Instrumental phrases that were originally composed as discrete microtonal melodic phrases were manually edited, combined, distorted and coloured with spectral editing tools. Finally, the completed phrases and textures resulting from this process were resampled and remixed live with Reaktor to create this version of the work.




Scree is a multi-channel electroacoustic piece referencing the various forms of weathering that, together with the forces of gravity, lead to the amassing of loose rocks 34

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and talus on the side of a mountain or cliff. The sounds used in the piece are the sounds of rocks colliding, rolling, and crumbling. A control file spreads or fractures parts of one file against the features of another file, adaptively conforming the one to the N-dimensional geometrical space of the other. Multiple time scales are invoked to create a network of micro-time forms in which parallel movements are realized in multidimensional space. With the application of eruptive events and dissipative processes, singular gestures are set in relation to a complex unfolding of textural streams.




The title suggests the small problems we consider on a daily basis, waiting as they build within us. ‘Waiting’ is explored in several ways throughout, and uses the medium to augment these daily dramas until we will allow ourselves to view them center-stage. After being introduced to the teakettle in which we’ll be experiencing the storm, the noise of rain and wind quickly begin to fill the sonic space. Soft rains and distant thunder churn over one another in a tempest, finally giving way to cautious harmonies fashioned from the wail of a storm siren. Through these elements, we explore the sense of obsession that comes from being kept constantly on alert. We wait for the storm, wait for it to pass, and are waiting for what comes next. Just as soon, the sirens fade, and a full kettle has come to boil while we were preoccupied.As the sonic manipulations alter and extend the soundscape of the piece, the unease of waiting blurs the sense of scale between the tempest and the teakettle.


casa cava

| 4th - 6TH DECEMBER |

roberta platania




Midnight Sun is an intermedia work in the form of audiovisual installation.An organized room to explore our perception through the relationships between sounds, shapes and the space. A vision that materializes in the darkness on a multilayered surface with the consistence we may experience in dreams or mind images to unveil a concrete boundary between the inner visions and the whole outside. Elusive yet material, Midnight Sun is a space where time loses its clock and becomes an intimate dimension, with its own peculiar dynamic, and the imaginary, far from naturalism, turns to the links join matter and spirit. 35

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« live concerts »


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[acousmatic] ITALIAN PREMIERE | 11’00”

Starboard (the fourth work in my Nautical Cycle, following Buoy, Moorings and Lightvessels) develops sonic materials within themes of navigation, current, resistance and transmission into a musical language that touches on ambient, noise, electronica and melodic traditions.Starboard (the fourth work in my Nautical Cycle, following Buoy, Moorings and Lightvessels) develops sonic materials within themes of navigation, current, resistance and transmission into a musical language that touches on ambient, noise, electronica and melodic traditions. Starboard was composed in the studios at the University of Manchester (UK) and was a Finalist in the 2015 Music Nova competition (Prague).

Francesco Altieri

Momenti Di Respiro “Breathing moments”

Francis Dhomont

Phœnix XXI

[acousmatic] 10’22”

[acousmatic] 14’58”

To Inés Wickmann An archetypal symbol of rebirth and continuity, what is this musical Phoenix? A trace / confirmation of the acousmatic vitality at the beginning of the XXIst century, of course.But, for me, it is also a new life given to ancient musical ashes, very old recordings and reanimated but transvestites extracts of instrumental works. A kind of eternal return, the present - so prominent today - being finally only the past of the future.Phoenix XXI was commissioned by the INA-GRM. The work comprises three movements in chains and was composed in the author’s personal studio in Avignon. World premiere on October 8th 2016 in Paris (MPAA Saint Germain), concert INA-GRM.


MA/IN 2017

Fabrizio Casti

Abstract Song

[mixedmedia] For flute | 6’00” flute : enrico di felice

(With oscillating movements, vibrating, violent). Musical polyphonic ideas simulate from the velocity of performance, that approaches the musical events (well reveal, in the time or fluctuating) performed in succession until almost to give the impression of hear them at the same time (around individuals sounds and to agglomerations of sounds), and with the use, to the inside of the different voices (with manifold noises, puffs, breaths), of heights and melodic structures always similar, (but not identical, that remembers voices of the nature, always different, never rigid, with continuous changes, with extreme fluidity, also casual).

Daniel Fawcett

Radiant Cry

MA/IN ~ SPAZIOMUSICA COMMISSION [mixedmedia] for voice + ELECTRONICS | 6’.00” soprano : eleonora claps electronics : giulio colangelo

Radiant Cry, is part of a series of pieces exploring the writings of the Victorian Robert Fuller Murray (1863-1894), as well as exploring the unique relations between the human body, light and sound. The vocal part utilizes the words of Murray’s poem “Moon Dark World”. As part of this piece, the performer wears a custom made light suit that is reactive to sound and becomes a living sound sculpture embodying the words and emotions in the poetry. “The trees are forming hands to cloak the sky with pillow whispers, until the soft equilibrium behind laughing eyes departs down the Moon Dark World.”

marco marinoni

yo no naka ya

MA/IN ~ SPAZIOMUSICA COMMISSION [mixedmedia] for voice + ELECTRONICS | 6’.00” soprano : eleonora claps electronics : giulio colangelo

The piece uses as a text the haiku of Kobayashi Issa: “yo no naka ya / choo no kurashi mo / isogashiki” (transl. “in this world / frenzy even in life / of butterfly”) and is all about minimal dynamics, on long notes held unstable and changing through the transition between different modes of emission (regular and irregular vibration, closed or half-sealed mouth, emission of breath together with 38

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the pitched sound, etc.). The organization of the pitches is quarter-tone. The materials in the tape are derived from the voice, electro-acoustically treated (it pursues the idea of distant, subtle, delicate, silky sound wires on magmatic, organic materials) and from a recording of monarch butterflies (Danaus Plexippus) that suddenly rise in flight during their annual migration to the Michoacán region, Mexico.

Paolo Geminiani

Gesture Without Motion

[mixedmedia] For violin + electronics | 10’30” violin : alessandro cazzato electronics : p. geminiani

The piece is composed of three main parts characterized by various contrasting musical situations, emphasized and delineated by insertion of the audio tracks. While in the first and last sections are performed in ensemble with the violin, the two middle tracks constitute real solo interludes, thus dividing the whole piece into three parts. The central part is largest, with a solo like a “cadenza” of various sections. One of which is a twopart polyphony based on the low pedal tones, and then this is afterwards alternated with harmonics to the bridge in “tremolo”.

Roberto Zanata

Meccanica I

[mixedmedia] world PREMIERE | 6’00” For bass flute + live electronics flute : enrico di felice live electronics : roberto zanata + davide wang

“Meccanica I” is the first of a series of studies aimed at investigating possible compositional strategies that involve the use of musical instruments belonging to the woodwind family combined with the implementation of live electronics executive environments which provide articulated motion mechanisms of sound in space. The composition “Meccanica I” is dedicated to flautist Enrico Di Felice

Cesare Saldicco

Shadow Puppet Sketch

[audiovisual] 3’.40”

Shadow Puppet Sketch is an experimental audiovisual study, where animation, 39

MA/IN 2017 acousmatic and sound design are on the same level. The animation – made with the rotoscope technique on a 1.218 frames fragment – was drawn frame by frame, in negative, to further dramatize the sequence through the use of black and white, and then composed, segmented and re-composed in a extremely rhythmic editing. A sleeping woman, is reached by the shadow of a hand, the disturbing presence of the shadow reveals a growing fragility that lends itself to multiple readings: it could be the metaphor of a morbid story, or a son who is tormenting his own mother, or the representation of a certain female condition: the puppet-woman, as the personification of the object and subject, the machine and the body, a slave icon of a still strongly male culture, and the shadow, as an alter ego of man, an almost persecutory projection, which trains its power only with armless persons.

Sebastiano Trombatore

Jupiter “A man whose dream literally led to unexpected demise”. (Electroacoustic sound on 1909’s silent movie “Voyage sur Jupiter”)

[audiovisual] 10’.58”



La Machinerie d´un Imaginaire

[acousmatic] 8’.58”

The theme of the work is based on the ideas of Luigi Russolo and his vision about the machines .The work reveals the voyage of an unknown machinery conceived as a multiobject. The curious thing is that the trip of this machine happens through different layers belonging to an imaginary stratigraphy, that is to say that it perforates and exploring the hidden recesses of the imagination. The machine works as a leitmotiv that articulates the different sections. The structure of the work is subject to the voyage mentioned before. From the beginning of the work to the minute 5 ‘25’ is transited by four stratums, and it is from here, that emerges the fifth and last stage, as a dream to which is reserved the bigest depth in the internal space of the entire work in analogy to the area of more profundity of our imagination. After this section, a rallentando announces the return to reality. The motor of the machine stops at the end of the work , so the “silence“ of the concert hall is the reality . 40

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Reuben De Lautour



[acousmatic] world PREMIERE | 9’45”

The sonic textures in Transcoding are all derived from a single data segment excerpted from the file header of a digital image showing the area around Byblos Citadel in Lebanon. Depending on the sample rate used to convert the data to audio, the segment sounds alternately like a series of impulsive clicks with a changing spectral residue, or a kind of noisy comb filter. The sonic characteristics of the audio are highly unusual for this type of material, which is normally characterised by dense broad spectrum noise. The image is now lost, and the composition is an attempt by the composer to try to hear through this one remaining data segment some of the same vivid textures and colours as seen in the original image.

Robert Normandeau

Jeu de langues

[acousmatic] ITALIAN PREMIERE | 11’52”

The title is a play on words in French. Jeu is a word that can be translated into English by both the words “game” and “play.” Langues means “tongue” but also “language” at the same time. The first meaning belongs to the nature of the instrument used in the work, while the second is related to the context of the production:three players coming from different countries and a premiere that would take place in a festival where five different languages were used.This piece uses recordings of flutes, baritone saxophone and recorders. All the pitch material was removed from the recordings so as to keep only the sounds of whispers and breaths as well as the mechanical noises of the instruments. I cleaned these very soft sounds and amplified them such that they became audible, while normally they are not. In addition, I kept the natural rhythm of the performers’ breathing intact and the musical events appear according to it. Finally, there are sounds of glasses superimposed on the wind instruments’ sounds.The idea for the piece sprang to my mind during a conversation I had in Lisbon (Portugal) in 2008 with the Música Viva festival organizers about the fact that music, unlike other contemporary art forms — literature, painting, cinema — has hardly dealt with eroticism as a genre. This is my contribution to the genre.

giulio colangelo


[dialogue for percussive amplified guitars]

[mixedmedia] for percussion/guitars + ELECTRONICS | 9’.20” percussion : fabio macchia 41

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movement I – forgiante / movement II – sospeso every knowledge comes from [wonder] [thauma] is amazement and strength; tension pressure and force desire and attraction; rage. [thauma] is to bite restlessy; a sense found. [ to peoples of Greece ]

percussion : giulio cintoni electronics : Giulio Colangelo

james o’callaghan

For Or From

[mixedmedia] italian PREMIERE | 7’00” For flute + voice+ live electronics flute : enrico di felice soprano : eleonora claps live electronics : james o’callaghan

For or from draws from sounds from the environment, especially non-human animal vocalisations, and interpolates these sounds with instrumental and vocal imitations. Composing the work was an attempt to transform recordings specific to a time and a place into abstract notation, realisable by performers in a new specific context. Sometimes these transformations are heard ‘in real time’ in the performance, as the live sounds of the musicians morph into the field recordings and vice versa. In this way, the work is a meditation on memory, temporality, and individual embodiment of sound - sounds from the past, from experiences outside of the concert hall, are preserved and transported through the transcription process, reshaped for interpretation and reflection by the musicians, whose present experiences and individual sound qualities embody the external sounds as their own. For or from was commissioned by Sarah Albu and Jeff Stonehouse and won 2nd prize in the Destellos Competition in the mixed media category in 2016.

patricia alessandrini

Menus Morceaux Par Un Autre Moi Réunis [mixedmedia]

italian PREMIERE | 8’30” For nylon guitar + live electronics guitar : michele perrone live electronics : patricia alessandrini

Menus morceaux par un autre moi réunis is a work for guitar and electronics employing real-time physical modelling, using models creating in the Ircam environment Modalys 42

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and its implementation in Max, as well as PhiSM models from the Percolate library (created by Perry Cook and Luke DuBois). It uses extended techniques - such as scrubbing on the string of the instrument, using objects to make the strings sound, and playing on both sides of a stopped note - in combination with real-time interactive electronics piloted by timbral and fundamental analysis to create an electronically ‘augmented’ instrument.

Samuel Béland



[audiovisual] euro PREMIERE | 7’40”

Naïca simultaneously shows islands of matter disconnected by the darkness where the void between objects serves as a spatial buffer zone. It is a mineral microcosm, a pre-anthropological universe out of the human scale: the primordial soup buried in the belly of the Earth.

donato Corbo / domenicoFilitti / luca Acito


[liveperformance] 10’.00” composition + el. guitar : Donato Corbo keyboards + electronics : Domenico Filitti live video : Luca Acito

Immagiscenza is an interactive audiovisual composition. Images and conscience; the sound driven by the meaningful voice explores several fluid soundscapes.

Simone Longo


[liveperformance] 15’.00” live multimedia : simone longo

Neutro is an audio-video multichannel live performance aimed to investigate the concept of nothingness through sound geometries which evolve in time and space. The audiovisual work is divided in 4 sections, each part uses a different video technique. The audio is based on multi level iteration of sounds samples organized in a minimal structure; the result is a polyrhythmic texture that changes through the space. The work is live performed with Ableton and MaxMSP, composed during an artist residence at ZKM (IMA Institute for music and acoustics).


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Social Machine

[acousmatic] world PREMIERE | 7’48”

Social Machine alludes to a vision of a postmodern reality where our vital flow is flooded with a constant proliferation and hoarding of “data” from the system surrounding us, which significantly affect our mental frameworks – cultural heritage of the industrial era - and our way of living. The resulting product is a mechanic relationship system which tends to exasperate the operating logic of machines. An anti-human ‘modus operandi’ that identifies the frenzied logics of life in today’s society with the productive and efficient industriousness of machines. The effort that each individual puts into himself is therefore frustrated by the intricate net of “sensory distortion” by now established in today’s society. A net that nullifies the natural/primordial feelings of man, driving his mind towards a productive capitalistic/consumerist machine by dictating its limits and its standards.

Levy Oliveira


[acousmatic] italian PREMIERE | 6’18”

Hyperesthesia is a condition that involves an abnormal increase in sensitivity to stimuli of the sense. Therefore, such as in a hyperesthesia crisis, all stimuli in the music (even the smallest) changes the general atmosphere or triggers larger gestures.

Lior Eytan



[mixedmedia] world PREMIERE | 15’00” cello : Nicola Baroni live electronics : Valerio De Bonis

My main intention in the piece has been to realize and describe two archetypes, which I believe to be fundamental to music in general and which serve as primary elements in my own music: the static and the mobile. I have tried to portray the beauty that I 44

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find in each of these conditions but, no less, to describe the pent-up energy that exists between the two. Since neither the purely static nor the purely mobile exist in the real world, I have sought to show the paradox of the static existing in the mobile and the mobile in the static. I have tried to show the effervescence is in the static and the stagnation that is in the mobile. Zooming in on the static, its microscopic movement becomes apparent; zooming out on the mobile, one discovers its fixity. I want the two conditions, the static and the mobile, which at the beginning are much divided and separate, to become more and more connected and similar. Two pieces become one when the very artificial definitions of the two seemingly opposites disintegrate in the face of the complex simplicity of things.

Salvatore Sciarrino

Studio n. 1

[mixedmedia] 5’.00” cello : Nicola Baroni


jacob Sudol

Vanished Into The Clouds (雲隠)

HONORAble MENTION [mixedmedia] 10’.30” cello : Nicola Baroni live electronics : Valerio De Bonis

Vanished into the Clouds takes its title from a chapter in the ancient Japanese novel The Tale of Genji. This chapter is significant because it has no content. There are two theories about this chapter. The first theory is that the chapter is lost. The second theory, and the one that I prefer, is that the chapter was left intentionally blank so as to express the narrator’s sorrow about the death of Genji which occurs between the end of the preceding chapter and the following chapter. Unlike the aforementioned chapter, this work for cello and live electronics is not left blank. This said, many conventions of music such as melodic or motivic development, clear phrase structure, and rhythmic motion are regularly obscured and ignored. The resulting work instead focuses on exploring the inner sonic regions of the cello’s open and muted C string, sudden ruptures in motion, and the gradual degradation of material. The goal of this approach is to create a sort of new musica povera that reflects on both a narrators’ or authors’ difficulty of writing as well as the sort of inequalities of wealth that pervade our world. The work was written for and premiered by cellist Jason Calloway and is dedicated to him. 45

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Joao Pedro Oliveira



[audiovisual] italian PREMIERE | 11’00”

This work is part of a cycle of four works related to representations of the four elements in the Old Testament. Neshamah means “breath” and is related to the following passage: “then the Lord God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature” (Genesis 2:7). This piece was commissioned by the Ibermúsicas Project and was composed at the Centro Mexicano para la Música y las Artes Sonoras and at the Centro de Pesquisa em Música Eletroacústica of Federal University of Minas Gerais. It received an honorable mention at the Concours International de Composition Electroacoustique de Monaco 2016 and at the Destellos Competition 2016.

Gabriele Paolozzi / Diego Capocitti

Il Vaso Di Pandora

[audiovisual] 8’.03”

“Il Vaso di Pandora” is an audiovisual work inspired by the myth of Pandora’s box. The work is built on altering the state of purity, or evils-free, and exploits the interconnection between the recorded performance of the “pre-textual” poet Gianni Fontana, the original music of Gabriele Paolozzi, and the original triptych video of Diego Capoccitti.

Francesco Pellegrino


[liveperformance] 10’.00” singing bowl+ clarinet + electronics : Francesco Pellegrino

Rituale, for tibetan bowl, clarinet and live electronics.The composition is based on the idea of “ritual”, the possibility to create a shared time and space, a condition for contemplation. A ritual is a moment where a men try to go above the men itself.


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[acousmatic] italian PREMIERE | 7’15”

“Chromatocosmos” is an electroacoustic piece which is based on Baghlamas original recordings. Baghlamas is a traditional Greek instrument which has its roots to an Ancient Greek instrument called Pandoura. Thanks to its touchette, it provided great potential to the instrumentalist to perform phonetic and organic passages which accompanied single pitches, which led to the creation of plural melismata and legatti, a technique which was impossible to be implemented in Ancient Greek chordophones such as the lyre, where only one single string was used in relation to each pitch. In my work I made an attempt to explore the characteristics of the instrument and its relation to history and Hellenic Culture via acousmatic music. The work has references to melodic lines widely used by Baghlamas performers but is mainly an attempt to recreate a new sonic world. I also aimed to use the instrument in innovative ways, from the recording process (use of sounds emerging from the chording of the instrument) to the development process (application of a wide range of transformations which would lead the sound in new boundaries). The addition of background cinematic-style sounds emerging from the Baghlamas through various transformations, creates a constant dialogue with the foreground sounds. The various sonic colours observed as the piece evolves justify its title.

Adrian Moore


[acousmatic] italian PREMIERE | 11’15”

Metricity is a concert piece that marries an investigation into pulse and repetition (meter and rhythm at times) – Metric, with a fascination for creating sonic environments (that are often busy, bustling and energetic) – City. Rhythms were found within manipulated soundfiles and constructed, using samplers playing very small sounds. This purposeful investigation took in a wide range of musical influences (Åke Parmerud from the electroacoustic repertoire and numerous commercial artists from EDM to Dubstep). It also incorporated a number of techniques not normally used in electroacoustic music (sidechain compression, use of snap to grid, bass drops and filter sweeps). These 47

MA/IN 2017 techniques led to my discovery of sound ‘icons’ - sounds (and techniques) that define a genre but defy cliché. Metricity led to questions concerning the accumulation and repetition of small sounds, sonic density within a multi-channel space, and the nature of embodiment within a sonic environment.

CArlos De Castellarnau

Natura Morta

[mixedmedia] italian PREMIERE | 8’30” accordion : Ghenadie Rotari live electronics : Valerio De Bonis

The possibility of transforming the accordion sound and obtaining the result in a inmediate audition has allowed me to work in a new way, an empirical approach which has made me feel near to the peinters work. The form of the piece emerge directly since the materials generated by the computer using the accordion sounds transformed. From these materials I sought the highest integration between the instrumental and the digital sound. Thus, the structure of the piece has been the fruit of a constant questioning without previous planifications. The instrumental part is characterized by a lack musical developpement in contrast with the organic and complex nature of the electronic sound. These almost inert musical elements has made me think about the passive objects in still-life paintings.

Marta Gentilucci

Exercise de stratigraphie

[mixedmedia] 6’.18” accordion : Ghenadie Rotari live electronics : Giulio Colangelo

Stratigraphy is a branch of geology that studies sedimentary and volcanic rocks layering (stratifications). In the past years, the discovery of this captivating world, with its slow and powerful mechanic of rocks’ transformations, has been a vital source of inspiration. Exercice de Stratigraphie is the first piece of a triptych, that has the accordion and the stratigraphy as central elements. The second work of the series is a piece for accordion and guitar (discordanza angolare, 2014), and the third one will be for accordion solo and ensemble. Here, the accordion explores the musical seeds, the ‘rocks’ and the movements, that are provoking collisions and frictions. Something that might have happened in million of years, that it is compressed in the telluric grumbling of the bellow or a sharp sequence of chords. The electronic creates a vaster space around the accordion and the public, magnifying the inner force of these changes. 48

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Pierre Jodlowsky

Something out of Apocalypse

[mixedmedia] italian PREMIERE | 18’.14” accordion : Ghenadie Rotari live electronics : Giulio Colangelo

This composition refers of course to Coppola’s masterpiece, Apocalypse Now, which I discovered in a rather unusual way : I didn’t actually see the film when it was originally released, but a few years later. I first listened to the soundtrack, on an old L.P(vinyl) which was quite damaged, spoilt with scratches to the extent that the voices of Willard and Colonel Kurtz were scarcely heard. Some time after, I read Heart of Darkness by Joseph Conrad which Coppola adapted for his film and it was only a few years later that I saw the film in a poor suburban cinema. What can I remember from this “Apocalypse” ? A very efficient but completely out of control movement of the mind.., the feeling it was unbearable to listen to Kurtz’s recorded voice at the beginning of the film... images of the hostile jungle and of the river, of man being lost… an impression of irrational power and a great emotion. It was a realistic and powerful lesson on war and its absurdity. As I was beginning to work on this project, I came across that old vinyl and after listening to it, I felt it would be interesting to use that imperfect music full of scratches, so typical of old records. Then, I started to make some links between the Apocalypse I was listening to, and this strange instrument, the accordion, an instrument which belongs to a bygone era, and which we still hear, as a French symbol in foreign films although the world it refers to is gone forever. And, in this way doesn’t this instrument sound apocalyptic ? Therefore, this piece is structured around two main themes: a rather nostalgic atmosphere created by extracts from accordion popular dance music and in the same time, a weird and uncontrolled energy in which one can still hear machine guns, screams and distorted guitar sounds. This piece is dedicated to Pascal Contet.

Bret Battey

Estuaries 2 N/A

[audiovisual] 5’.45”

valerio Murat

Al Signore delle Ombre

[audiovisual] italian PREMIERE | 12’.00”

“All I know is that while I’m asleep, I’m never afraid, and I have no hopes, no struggles, no glories and bless the man who invented sleep, a cloak over all human thought, food 49

MA/IN 2017 that drives away hunger, water that banishes thirst, fire that heats up cold, chill that moderates passion, and, finally, universal currency with which all things can be bought, weight and balance that brings the shepherd and the king, the fool and the wise, to the same level. There’s only one bad thing about sleep, as far as I’ve ever heard, and that is that it resembles death, since there’s very little difference between a sleeping man and a corpse” ― Miguel de Cervantes Saavedra, Don Quijote de La Mancha

Erik Nystrom


[liveperformance] italian PREMIERE | 10’00” live electronics : Erik Nystrom

Spheroid was composed in 2016-17, and is a live computer music work which uses improvised performance and algorithmic processes to synthesise a textured spatial environment. The spine of the work is a snowballing irregular loop which sequences, deforms and attracts material as it revolves in interaction with performance. Developing the piece I was compelled by the idea of a synthetic ecology where unnamed organisms elasticate and reposition categorical conceptions of species, nature, and technology in a speculative morphogenesis. The work was created as part of a Leverhulme Early Career Fellowship at BEAST, University of Birmingham, researching synthesis of spatial texture.


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Steve Wanna

Edge Of Sound

[mixedmedia] euro PREMIERE | 8’00” viola : Rosalba Potenza live electronics : Giulio Colangelo

Edge of Sound explores the boundaries between audible and inaudible or imagined sounds. The piece is inspired in part by the phenomenon of a slowly decaying sound, like that of a bell or gong, that fades so gradually it becomes difficult to discern the exact point at which the sound has completely stopped. 50

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Agostino Di Scipio


[mixedmedia] 13‘.00” sax : Gianpaolo Antongirolami live electronics : Nicola Casetta

The title (καιρóς), in ancient Greek, meant “the right time” or “the occasioning of appropriate circumstances”. It stood in contrast to κρòνος, time measured, quantized, spatialised. The soprano sax is used mostly with very thin and breathy emissions of sound, just below the threshold when the breathing noise turns into the normal pitched sound (note). For the saxophonist, that requires a very fine control of the reed (the reed is seen as a very sensitive and non‐ linear mechanical device), and only occasionally yields into the normal sax tone. For the computer‐synthesized sounds, instead, the departure point is a very high pitched and prolonged tone, whose development creates more or less rough sonic dusts and turbolent textures (e.g. at the end). The score and the sound track were composed between 1991 and 1992. The synthetic sounds were realized with a particular form of (non‐real‐time) granular synthesis I had myself implemented in standalone programs on a personal computer. For minor details, I also utilized the venerable MUSIC‐V audio programming language (a version developed at Laboratoire Musique et Acoustique, University of Marseille) and custom programs for digital mixing developed by Roberto Doati and Giovanni Cospito. The real‐time processing transformations (and the relative adaptations in the score) were added in 2006, during a residency at ZKM (Karlsruhe), with the collaboration of Giampaolo Antongirolami.

Marco Molteni

Effimere Emergenze, Eremi, Eclissi

[acousmatic] 6‘.48”

The piece EFFEMERE EMERGENZE, EREMI, ECLISSI (ePWsM 1-3) is part of a series of short or medium lengths that use the patchwork technique … new or past recordings of my previous work (acoustic or electronic) are mounted with extreme care of detail. In a second phase, two or more pieces in the “ePWsM” series can be further processed and mixed to create a new piece. It is the case of “Effimere Emergenze …” which is the result of the assembly of parts of the first three pieces of the series.

Silvia Lanzalone

Ombre, Penombre, Bagliori N/A

[audiovisual] 14‘.00” 51

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Carmine Emanuele Cella

Improvviso Statico

[mixedmedia] 8’.00” sax : Gianpaolo Antongirolami live electronics : Nicola Casetta

Improvviso statico designs a narrative space made of “sonic” islands floating in a foggy sea. Without apparent reasons an isle gets closer or further, disappears and reappears transformed, in an unreal space in which distances are internals and relationships imaginary. Each isle represents a Moebius strip going from inside to outside continuously; in each isle the saxophone and live electronics create a fused sonic image, without hierarchies, priorities or time.

Fabio Monni

Del Buio e di altri luoghi MA/IN ~ SPAZIOM

MA/IN ~ SPAZIOMUSICA cOMmission [mixedmedia] | 7‘.00” soprano : Eleonora Claps electronics : fabio monni

A nocturnal visitor finds herself into a dark and unknown villa. This villa is different form other villas, its walls and furniture reacts to sound stimuli and answers back. The visitor tries to interact with the resonating space while finding her way through the house. The risk is to turn into the resonating space itself… In the darkness of the wide rooms the sonic space substitutes the visual one. Del buio is divided in two parts. In the second one the singer wears a mouthspeaker and becomes part of the electronic. The mouth is used as a sounding box for external sounds, it filters the soundscape of the room.

Gerardo De Pasquale

Del Dolore e altre passioni (Lamento I)

MA/IN ~ SPAZIOMUSICA cOMmission [mixedmedia] | 6‘.00” soprano : Eleonora Claps electronics : Gerardo de pasquale

Lament I, from the cycle of compositions “About pain and other passions”, inspired by a recording belonging to the sound collection of the first Lucan ethnographic expedition, made by Ernesto de Martino in 1952 on the traces of the ancient, Mediterranean and pre-Christian crying. The recording, made in Ferrandina – Matera province, is a funeral lamentation performed by a young peasant woman from the area who accepted to “interpret” it only after exhausting negotiations. The most disconcerting datum that 52

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this document gives us, in addition to the inexpressible and boundless love for her brother, is the tremendous beauty transpiring of pure modesty that every time stops the lament before it rises to complete song; thus the piece that constantly builds a phōnē, an intimate and suspended dialogue of osmotic fusion between the electronic and the soprano’s timbre. It is a continuous consummation and stretch at the most a genesis of sound when the tension of expectation is unexpectedly beaten and torn of inescapable.

Michele Abolaffio


[liveperformance] 10‘.00”

Synaesthesia is a live electronics solo performance involving biophysical sensors and active lighting. Synaesthesia aims to explore the musical and corporeal performance practice built upon the active stimulation of the senses of sight, hearing and the perception of the muscles. The performance is based on a synesthetic system composed of wearable sensors that respond both to bio-signals and dynamically controlled lighting. The qualities of small movements and actions done by the performer are put in the foreground of the audience’s perception, amplifying them and extending the perception of the performer’s body over the audience space.


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| 6TH DECEMBER - 9.30 PM |

Alessio Rossato



[mixedmedia] 12’00” viola d’amore : Luca Sanzò live electronics : Alessio Rossato

Veglia, wakefulness, is a state of transition; a condition of being, in the which perceptive activities are similar to a state of dreaming and/or hallucination. The viola d’ amore becomes a guide leading through an archaic, perhaps visionary world, and an invitation to the experience of listening. The piece has a cyclical structure, the electronics propose modified elements arraying them in time without consequentiality. In this work 53

MA/IN 2017 I have tried to create/unearth a primordial acoustic fossil, like in a state of dreaming or halluncination in a dialogue with the outside world, brought back to life in thew present

Brian Topp


[mixedmedia] euro PREMIERE | 8’00” sax : Justin Massey live electronics : Brian Topp

Ljós was originally based on a set of poems ‘Light’ by Souvankham Thammavongsa. The poems themselves focus on various interpretations of ‘light’ and while often very short they convey quite vivid and often fragmented imagery. There isn’t really a direct connection between the poems and the resultant music, but I often found myself reading them during the composing of this piece, and finding inspiration when doing so. Much of the material for the electronics came from an extended vocal improvisation with vocalist-composer Katerina Gimon. These recordings were cut into various gestures, which the saxophone often imitates and much of the piece is built around them.

John Wiggins

string II


[acousmatic] 5‘.54”

STRING II was made with “real” sounds – sounds that I recorded both in my studio and in the field. I isolated and used the most complex bits of these recordings to represent, hopefully, something else. It seems everyone hears it differently because the sounds are familiar but out of context. All I’m looking for the bit of unheard sound or isolated fragment that’s is the music of nature. After four months of recording and combining, I layer, edit, mix and string the final composition together. My process is very much like filmmaking and I’ve adopted musique concrete techniques into my TV and film sound design work as well.

Tristan Berger



[audiovisual] italian PREMIERE | 6’07”

Objects of mostly organic origin were digitalized via 3D-scanningsoftware and put into new perspective. The absence of color enables the visibility of geometrical details and creates new landscapes and surfaces out of the seemingly familiar. 54

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Milos Cathals

Ode 2


[liveperformance] italian PREMIERE | 14’00” live electronics : Kyriakos Charalampides live electronics : Chris Loupis live electronics : Michele Abolaffio live electronics : Giuliano Anzani

Miloš Cathals was an important figure in the official state-band of the USSR, later to be erased from the archives due to suspicions about his dedication to the party. This performance is an homage to his legacy, which is none.

Diego Ratto


[acousmatic] 8‘.16”

The piece is made by three movements. Violent gestures interrupt a fake tranquillity. Deeper, there is a stormy excitement that really comes out in the last part. Silence, virtual-space and picture-background management, are just a few of the important aspects which the composition is focused on.


Rosso Cenere

[liveperformance] world PREMIERE | 20’00” acting : Fabrizio Festa soprano : Valentina Rizzato DAW, MS-20, microKORG : Gianpaolo Cassano Synth : Lucio Corizzo + Nunzia Gargano DAW + El. Guitar : Costantino Temerario

Rosso. Rosso è il colore della cenere, prima che la cenere sia cenere. La cenere prima è brace. La brace è rossa. Di un rosso che si mescola col nero. Il nero vira al rosso. Poi torna nero. Poi ancora rosso. La brace è viva: pulsa. Sembra dibattersi, non accettare il suo Destino che è Rosso. Rosso è il colore della cenere, prima che la cenere sia cenere. La cenere prima è brace. La brace è rossa. Prima della brace, la fiamma, cui tocca il medesimo destino. Questo è il punto: ciò che fu diviene quello che non sarà più. La cenere non nasce cenere. E’ stata albero, ad esempio. Come il carbonwe, come il petrolio: alberi a perdita d’occhio, foreste immense, un brulicare di vita, ridotto ad un nero liquame, a neri blocchi polverosi. Infine, una fiamma li consuma, Rosso il cielo, Rossa la brace, Rossa la cenere. Poi, solo cielo: nero. (text of Fabrizio Festa & Simona Spinella) 55

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matera intermedia festival


MA/IN 2017


matera intermedia festival


MA/IN 2017

||| PERFORMER / COMPOSER » » BIOGRAPHIES \\\ Alessandro cazzato graduated and specialized

“cum laude” in Violin with Franco Mezzena and Felix Ayo. He performed solo concerts in major Concert Halls and Festivals in Italy and abroad: Carnegie Hall (New York), New York Philharmonic Biennial, Spectrum NYC, NYC Electroacoustic Music Festival, “Flatus – International Music Festival” Sion, “Euro Arts – International Music Fondation”, Grosser Saal Gürzenich of Köln, Theatre Euskalduna of Bilbao, Theatre Petruzzelli, Auditorium “Juan Victoria” – San Juan (Ar), “Universidad de las Artes” Buenos Aires, “Center for Contemporary Arts” Glasgow, “Museu Condes de Castro” Lisbon, Festival “Valle d’Itria”, International Festival of Kardista (Gr), Lucca International Festival, etc. His repertoire spans from baroque to contemporary music. He recorded CD “Rewritings for solo violin” dedicated to contemporary music published by Tactus – The Italian Classic Music Label. Graduated “cum laude” in Literature and Modern Philology, he has written appreciated essays and papers on Music and Literature. He devotes also to teaching. He has been invited to take part in juries of International Competitions. He actually teaches Violin at “F. Torrefranca” Conservatory of Music (It).

Eleonora Claps

Born in Basilicata, she studied opera singing at the Conservatory of Music “G. Martucci” of Salerno, where she graduated under the guidance of Elisabetta Scatarzi. Her repertoire ranges in different vocal areas; primarily concerned with the figure of the interpreter singer/actress, she is assiduously engaged in the Twentieth-Century and contemporary, acoustic and electroacoustic, music. She perfected her studies under the guidance of Alda Caiello, attended the “Corso di specializzazione in canto lirico per l’opera contemporanea” at the Verona Opera Academy and the Postgraduate Summer Courses at the Internationales Musikinstitute of Darmstadt (with Michelle Donatienne-Dansac), during which she performed as a vocal interpreter in official concert IMD2016 (M. Ciciliani’s Workshop “Music in the Expanded Field”). She regularly participates in courses, masters and seminars aimed at the study and deepening of the contemporary musical language (S. Gervasoni, A. Solbiati, 60

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M. Di Bari, T. Murail, P . Aralla, F . Dillon, F . Filidei, J. Dashow etc..), collaborates with emerging composers, specialized Ensemble, CRM (Centre of Musical Research) in Rome and performs regular concerts.She has performed in numerous concert halls including the “Teatro Studio Gianni Borgna” at the Auditorium of Rome, as a finalist in the “Premio Bucchi Interpretazione – Parco della Musica 2015”. She is interpreter of world premieres presented by the Association “Alessandro Scarlatti – Ente Morale” of Naples in the “ScarlattiLab/ Electronics” since its first edition in May 2012 (Art Director: G. Turaccio, A. Di Scipio), in International Festival and Composition Competitions, often live on RadioCEMAT. Her repertoire includes works of the most important authors of the Twentieth-Century Classical Music like “Laborintus II” (L. Berio), “Sequenza III” (L. Berio), “Aria” for voice and magnetic tape (J. Cage), “József -Attila Töredékek Op. 20” for solo voice (G. Kurtág), etc.. as well as numerous world premieres.

Ernico di felice

completed his flute diploma in 1978 with full marks cum laude. He has performed as soloist in the most prestigious European concert halls, including the Concertgebouw Amsterdam, the Musikhalle Hamburg, the Conservatoire Hall Geneva, as well as Montreal, Tokyo, Dijon, Brussels, Strasbourg, Dresden, Leipzig, Neuchâtel, Bern, Innsbruck, Budapest, Bucharest, Copenhagen, Madrid, Lisbon, Ljubljana, Athens, Istanbul, Tirana etc. He has also performed in some international festivals: Nuova Consonanza Rome, Biennale Musica and Festival Galuppi Venice, Antidogma and Musiche in Mostra Turin, Schleswig-Holstein Musikfestival, Autunno Musicale Como, Contrechamps Geneva, Musikfestival Davos, Festival Barroco Oporto, Hofschlössnitz Dresden, Ma/In Matera etc. Enrico has recorded for the RAI (radio and television), ORTF (France), NOS (Holland), RDS (German Swiss), ORF (Austria) and for radio in Hungary, Romania, Egypt and Canada. He has also recorded numerous CDs of the most important works for flute by Vivaldi, Albinoni, Telemann, Scarlatti and Monteclair. His CD recording of Pergolesi and Leo’s concertos for flute was given maximum recognition in the prestigious French music publication Diapason. On 2014 he published a CD with the complete works for flute and piano by Astor Piazzolla (Stradivarius - STR 14001) valued with “Five Stars” by the two best musical italian magazines Amadeus and Musica. On July 2016 he published a CD with some works by Beethoven for flute and piano (Stradivarius 37049). Since 2016 Enrico Di Felice is member of New Made Ensemble Milan, with this group he performed in some important festivals like Festival Cinque Giornate Milan, Bellagio Festival Italy, Festival Tours France and in prestigious theatres like Teatro Lirico Cagliari, Politeama Garibaldi Palermo, Masini Theatre Faenza etc Since 1993 Enrico has been professor of flute at the Conservatoire of Cagliari as well as holding the position of further studies in baroque flute and chamber music at the Centre of Baroque Music Studies in Oporto (Centro de Estudos de Musica Barroca).


MA/IN 2017

Fabio Macchia

is born in Basilicata (Brienza). He studied percussion at the Conservatory of Music “C.G. Da Venosa” of Potenza, where he graduated under the guidance of Nunzio Pietrocola (2012). He attended training courses at “Accademia d S. Cecilia” in Rome with Andrea Santarsiere and Antonio Catone and he attended several masterclasses of contemporary and classical techniques with Antonio Caggiano, Peter Sadlo, Gregory Lacuer, Claudio Romano etc. As pecussionist, he played in several chamber ensemble and international orchestra like the “Orchestra Italiana” (Chine Tour) and the Symphonic Orchestra of Münster (Germany). Actually is member of the “Chigiana Percussion Ensemble” and he regularly performs with big names like Lilya Zilberstein and Patrick Galloise. He is a funding member of ThaumaTrio.

Ghenadie Rotari

Described as “a magnificient of the accordion...a true revelation of the festival...” (Formula-AS) and as an “exquisite accordionist” (Artribune), Ghenadie is a very active musician who has performed across Europe in venues like Musikverein and the Konzerthaus in Vienna, Gasteig in Munich, Teatro Regio in Turin, St. Martin in the Fields in London, Concert Hall of the Academy of Music in Ljubljana, and others. Born in 1991 in Moldova, Ghenadie started playing the accordion at the age of 9 in his hometown, Chisinau (Rep. Moldova). Later he continued his studies in Trieste under the guidance of Corrado Rojac and in Munich with Krassimir Sterev. Winner of first prizes and many awards at various international music competitions, such as the first prize at the “Strumenti&Musica festival” in Spoleto, the first prize at the international competition “Svirel” in Slovenia and first prize in the “Città di Piove di Sacco” international competition in Italy, among others. Ghenadie is a frequent participant in numerous concerts in various cities of Italy and abroad as well as at various international music festivals such as, for example, “Wien Modern”, “Festival Brücken”, “Nei Suoni dei Luoghi”, “Madesimo Music Festival”, “Festival di Portogruaro”, “Trieste Prima” contemporary music festival, “Innersound New Arts Festival” in Bucharest, “Tzlil Meudcan” festival in Tel Aviv, “Craiova Muzicala” international music festival, “aDevantgarde contemporary music festival” in Munich and “MA/IN Matera Intermedia 2017 Festival”, among others, performing a repertoire that ranges from classical to contemporary music for accordion.Chamber music plays an important role in Ghenadie’s repertoire and his collaborations with young and active musicians are numerous. He has performed extensively in concerts with the cellist Georgy Gusev, the accordionist Margherita Berlanda and with the saxophonist Vanja Sedlak. Together with the Italian pianist Valentina Vargiu, Ghenadie has founded the “Duo Aspera”, which has performed for various concert 62

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series in Europe and has won many awards in international competitions, including a special prize assigned to the “most promising chamber ensemble”. The duo has also won the “Sony Classical Talent Scout” award. As a soloist, Ghenadie performs regularly with orchestras such as Orchestra Filarmonica Marchigiana, the string orchestra of the Academy of Music of Ljubljana, the string orchestra of the “Elena Teodorini” State Theatre in Craiova, to name just a few, often performing new pieces written for him. He also collaborated with the Augsburger Philharmoniker Orchester and the Webern Kammerphilharmonie Orchestra of the Universität für Musik und darstellende Kunst Vienna. Ghenadie has recorded and performed live for numerous radio stations, both as a soloist and in chamber music ensembles, most notably: Radio Vaticana, Radio Capodistria, RTV Slovenia, Radio Beograd, Radio Classica, Venice Classic Radio, ORF, Radio Ars Slovenia and BR-Klassik Munich. Many are his TV appearances: TVR International, Tele U Craiova, ProTV, Moldova1, RTR Modova, etc. Ghenadie was one of the finalists of the show “Romania got Talent” with an audience of several million viewers.A convinced and active promoter of new music, Ghenadie has collaborated with many of today’s leading and young composers, such as Rebecca Saunders, Chaya Czernowin, Mark Andre, Franck Bedrossian, Gabriele Vanoni, Maurizio Azzan and Sara Caneva, to name a few. These collaborations resulted in more than 30 world or national premieres of works for accordion solo (also with orchestra) or chamber music works. “Ensemble Oktopus”, “ensemble XX.Jahrhundert”, “ensemble Kontrapunkte”, and “ensemble PHACE” are among the ensembles in which Ghenadie played over the past couple of years.Ghenadie is the recipient of the Erasmus scholarship that allowed him to study with Matti Rantanen at the prestigious “Sibelius Academy” in Helsinki, Finland. Together with Valentina Vargiu, Ghenadie is a participant at the courses held by the internationally acclaimed Trio di Parma (Ivan Rabaglia, Alberto Miodini and Enrico Bronzi) at the International Chamber Music Academy in Duino. Since 2016 he is a scholarship holder of the Yehudi Menuhin Live Music Now foundation.

Gianpaolo Antongirolami

received the saxophone diploma with top honours in 1986. He then continued further studies with JeanMarie Londeix. In addition he received his diploma in Electronic Music and in Chamber Music. He performs regularly as a soloist as well as with orchestra and chamber music ensembles, concentrating primarily on music of the 20th and 21st century with a repertoire that includes works by such composers as Berio, Bussotti, Bennett, Bryars, Cage, Donatoni, Gentilucci, Glass, Grisey, Nyman, Risset, Scelsi, Sciarrino, Stockhausen, Torke, Xenakis, Zorn, as well as works by the most significant emerging composers. He premiered several compositions, in most cases dedicated to him. With a keen interest in research, innovation, and experimentation, he has focused his interests on electro-acoustic music, performing in important electro-acoustic music festivals and concert series like the Festival International 63

MA/IN 2017 de Musique et Créations Electroacoustiques in Bourges (F). Gianpaolo Antongirolami is frequently invited to give special courses, master-classes and concerts at important European musical institutes such as the Musikhochschule in Freiburg (D), the Universität Mozarteum in Salzburg (A); the Keele University and the Edinburgh University (UK). Recently he has been invited from the SaxAmE international association (The Saxophone in America and Europe) to be included in the next book “Saxophone soloists and their music” (Indiana University Press); the book will collect the biographies of the most significant saxophone players of the last 20 years. Gianpaolo Antongirolami has taught saxophone at various Italian Conservatories of Music since 1987 and currently holds the chair of saxophone at the Conservatory in Perugia.

Giulio Cintoni

Born in Genzano di Roma (1994). Summa cum laude graduate at the Conservatorio statale di musica di Latina “O. Respighi” as a student of M° Rodolfo Rossi, he had also been an apprentice to M° Ignacio Martin Ceballos, who is the principal timpanist of Teatro dell’Opera di Roma. He attended in 2015 and 2016 a specialization course at the Accademia Chigiana di Siena with M° Antonio Caggiano obtaining, in both years, the merit diploma. In 2016 participates in the audition for the O.N.C.I. (Orchestra Nazionale dei Conservatori Italiani), with commission wa formed by A. Catone and A. Santarsiere, respectively timpanist and percussionist of the Accademia Nazionale di Santa Cecilia, reaching the second place in entire Italy. In the same year he wins an audition as both timpanist and percussionist for the O.F.C. (Orchestra Filarmonica Campana). Took part in many concerts, both as solo player and as orchestra. Some of the are: Orchestra Sinfonica Ottorino Respighi [Percussionist and Timpanist]; Filarmonica d’Opera di Roma [Timpanist]; Roma Tre Orchestra [Percussionist and Timpanist]; Orchestra Roma Sinfonietta [Percussionist]; Roma Chamber Orchestra [Timpanist]; Orchestra Italiana del Cinema [percussionist and timpanist] Orchestra Filarmonica di Benevento [Percussionist and timpanist], Orchestra Nazionale dei Conservatori Italiani (O.N.C.I.) [Percussionist and Timpanist]; Orchestra del Teatro dell’Opera di Roma [percussionist]; Orchestra Sinfonica Abruzzese [Timpanist and percussionist] etc. Moreover, he collaborates in many Ensemble, like: Freon Ensemble, P.M.C.E. (Parco della Musica Contemporanea Ensemble); Ars Ludi Ensemble. Since 2015 he has been member of Chigiana Percussion Ensemble with which he joined some concerts for seasons 2015/16 and 2016/17 of the Accademia Chigiana di Siena. In 2018 he found the Thauma Trio: a percussion trio that plays the reprtory of XX century and works with a new composer. He had a play in many theatres, like: Teatro Olimpico (Roma), Teatro Italia (Roma), Teatro Palladium (Roma), Aula Magna Università “La Sapienza” (Roma), Teatro D’Annunzio (Latina), Teatro Moderno (Latina), Teatro Vittorio Veneto (Colleferro), Teatro Ventidio Basso (Ascoli Piceno), Teatro A. Bonci (Cesena), Teatro Ariosto (Reggio-Emilia), 64

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Teatro della Fortuna (Fano), Teatro Manoel (Malta), Auditorio de la Diputaciòn (Alicante), Auditorio Teulada-Moraira (Teulada) etc.; and in some famous festivals: Nuova consonanza (Roma), Ravello Festival, Festival dei 2 mondi (Spoleto), Chigiana International Festival 2015 (Siena), Chigiana International Festival 2016 (Siena). He worked with different famous artists. The most important are: Anton Gakkel, Francisco Maestre, Marcelo Panni, Carlo Boccadoro, Gian Luigi Zampieri, Tonino Battista, Cord Garben, Patrick Gallois, Enrico Dindo, Giuseppe Grazioli, Katsuto Yokoshima, Ennio Morricone, Antonio Pappano, Daniel Oren, etc. He is a funding member of ThaumaTrio.

Justin Massey

Canadian saxophonist Justin Massey is a contemporary artist currently based out of Morgantown, West Virginia. Passionate for new music, Justin strives to present modern music in all his performances, often performing on the entire battery of saxophones. To this end, Justin constantly seeks out new repertoire and enjoys working with composers in order to recreate their visions into live performances. Recent commissions include Scrap Metals by Jason Charney and 9 Rhymes by Jacob Sachs-Mishalanie. Justin is currently pursuing his Doctorate of Musical Arts Degree at West Virginia University. He has studied at the Conservatoire de Bordeaux, Bowling Green State University, and the University of Alberta. His primary teachers have included Dr. Michael Ibrahim, Marie-Bernadette Charrier, Dr. John Sampen, Dr. Allison Balcetis, and Dr. William Street. Justin has received grants from the Edmonton Arts Council, and is a multi-year recipient of the Winspear Fund Scholarship and the Anne Burrows Music Foundation Scholarship.

Michele Perrone was born in Potenza in 1986 where he later graduated in Classical Guitar cum laude at the Conservatory of Music “Gesualdo da Venosa”. Even though guitar is his first passion he has also played electric bass for many years. Besides playing for several institutions and associations in the Basilicata region, he has collaborated with many recording studios. Since 2017 Michele Perrone is professor of classical guitar.

Nicola baroni

gained conservatory diplomas in Cello Performance and in Electronic Music, as well as a degree in Musical Aesthetics at the University of Bologna. He participated in post-graduate courses in cello and chamber music with Franco Rossi, Alain 65

MA/IN 2017 Meunier, Anner Bijlsma, Siegfried Palm, and followed stages on musical softwares at IRCAM in Paris. He fulfilled a PhD in Composition at the University of Edinburgh developing a research on Hyperinstruments. Cello teacher in Bolzano at the “Claudio Monteverdi” Conservatory in addition to Improvisation Techniques and Music Informatics, he is involved in solo and chamber music repertoire. He collaborated with the contemporary music ensembles Octandre, Icarus, Siddharta, Musica Attuale, Musica/Realtà, Interensemble, Antisonic- Elektronika, FontanaMix, Cardew Ensemble. He has directly worked with composers like Sylvano Bussotti, Paolo Castaldi, Franco Donatoni, Ivo Malec, Igor Linz Maues, Alvin Curran, Lawrence Casserley, Adriano Guarnieri. He is also involved in electro-acoustic music and composition, and principally in live electronics performance and interactive music environments. For many years he has been active in the concert scene in Italian theatres and festivals in Europe, US, Canada, South America, Japan. Ha has hold conferences and workshops on string contemporary repertoires, Improvisation, and Live Electronics in different universities such as Berlin, Wien, Atlanta, Stanford.

Rosalba Potenza

Violinist and Violist, she is graduated in Violin with Maestro Bonaccini and Viola with Maestro Misciagna, both at the Conservatory of Music “C. Gesualdo da Venosa” of Potenza. She has an intense concert activity in Italy and she performs in chamber ensembles and in lyric-symphonic orchestra regularly, both classical and contemporary music. She is tenured professor of violin and viola.

LUCA SANZO’, pupil of Bruno Giuranna, conducts an intense professional activity dividing

his time between concerts, recordings and teaching. He has performed concerts all over the world, as a guest artist in prestigious concert halls and festivals: the music Biennale in Venice, Musicacusticafestival in Beijing, EMUFEST in Rome, the Staatsoper in Stuttgart, the Festival Synthese in Bourges, the Concertgebouw in Amsterdam, the Hercules Saal in Munich, the Metropolitan Museum in New York and Monaco Electoacustique, to name just a few. He is particularly interested in the production and dissemination of new music, of which he is an esteemed performer. Many composers have dedicated works to him and consider him a reference point in the interpretation of their works. He is a member of the PMCE, Parco della Musica Contemporanea Ensemble; resident ensemble specialized in 20th century and contemporary music at the auditorium Parco della Musica in Rome. 66

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He is a founding member of the Michelangelo Quartet and is regularly invited to perform at the annual Rome Chamber Music Festival with musicians from all over the world. He has played as Principal Solo Viola, with the Rome Opera House, the Teatro Lirico in Cagliari and the Concerto Italiano, a Group which has allowed him, thanks to a collaboration with amongst the best instrumentalists in this sector, to deepen his knowledge of philological performance of Baroque Music using original instruments.He has published a revision of Campagnoli’s 41 Caprices for solo viola, for Ricordi. He is viola professor at the Rome Conservatorium of Santa Cecilia. He has recorded for the following labels: Nuova Era, Bottega Discantica, BMG Ricordi, Opus 111, Tactus, Edi Pan, Stradivarius, Naïve, Chandos, Naxos and the Hindemith viola and piano sonatas and Brahms viola and piano sonatas with Brilliant Classics.


MA/IN 2017

ALFREDO ARDIA Born in 1989 in a small Apulian town of South of Italy. He is fascinated by sound’s nature and is interested in its perception and relations with other media and the environment. In his works, he explores sound phenomena and behaviors, using simple sound material, aiming to an aware form of listening. Lovers of a calm life, he is inspired by nature and daily life.

MASSIMO VITO AVANTAGGIATO He took a master degree in Electroacoustic Composition

with full marks at “Giuseppe Verdi” Conservatoire in Milan and a master degree as a Sound Engineer. He has also studied composition in the same Conservatory. Finalist in some composition and video competitions, he has recently participated in: MUSLAB2017, Mexico; NYCEMF 2017, New York, USA; BIENNALE D’ARTE DI ROMA 2017, Rome, Italy; SEGNALI 2017, Perugia, Italy; DME 2017, Portugal; Oasis Short Film Festival, August 2017, New York, USA.

ANDREW BABCOCK Born in Buffalo, NY, Andrew Babcock has been working in a variety

of contexts with music and multimedia for over 15 years. As a composer, Andrew’s main interest lies in the transmission and perception of voice in the electroacoustic medium. Recently, he received his PhD in music composition at the University of Florida, studying with Paul Koonce. Andrew’s works have received several international prizes and honors, including CICEM (Monaco, 2016), Città di Udine (Italy, 2016), Metamorphoses (Belgium, 2012), Música Viva (Portugal, 2015), Prix Destellos (Argentina, 2015), SCI/ASCAP (United States, 2016), ASCAP/SEAMUS (United States, 2017), and Sound in Space (United States, 2011).


is an Australian electroacoustic composer and sound artist. He is self-taught in electroacoustics, his creative works have received various international composition citations and he is a passionate field recordist.

RODRIGO CADIZ (1972) is a composer, researcher and engineer, currently working at the

Centro de Investigación en Tecnologías de Audio of the Pontificia Universidad Católica de Chile. He obtained his Ph.D. in Music Technology from Northwestern University in 2006. His music has been presented at several venues and festivals such as ICMC, June in Buffalo, Ai-maako, Bourges, SEAMUS, EMM, Festival de Música Contemporánea UC, Silencio and Musica Viva. He has received several composition prizes and grants both in Chile and the USA. He is currently associate professor in the Music Institute of the Pontificia Universidad Católica de Chile.

ROCÍO CANO VALIÑO (Argentina, 1991) Composer and designer. Currently, she has been

accepted to study electroacoustic composition with Stéphane Borrel at the Conservatoire 68

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à Rayonnement Régional de Lyon, France. She won the Audience Award at the Luigi Russolo Award 2014 with her work “El Sendero hacia lo Profundo”. In the year 2015, she received a commission from the Festival Bahía[in]Sonora for the creation of a quadraphonic electroacoustic piece called “Pyxis”. Her works have been selected and performed around the world in different festivals such as Mixtur Festival, CEMI Circles, Forum Wallis Ars Electronica, EVIMUS, MUSLAB, FILE, Phas.e, Musinfo, SIME, Sonicscape, Festival Zéppelin, etc. She has attended to several master class and conferences with Dhomont, Vaggione, Vande Gorne, Normandeau, Mary, Tutschku, among others. In 2017, the label Resterecords released her first monographic album.

ENZO CILLO attended the high school of arts in Benevento, continuing his studies in visual

arts at the Academy of Fine Arts in Naples. The video is for him a way to get in touch with something more deep and hidden. At the core of his research there is the topic of light and shadow, and the constant questioning of the invisible image that exists between those two elements. His works are displayed at various international museums and festivals. He currently lives and works in Madrid.


is an Italian sound artist, composer, music producer, drummer and mastering engineer. His artistic output includes acousmatic music compositions, soundtracks, audiovisual and multimedia works, EDM and experimental electronic music pieces. As a producer he specializes in rock, indie and electronic music. He works as producer and mastering engineer at Babajim Istanbul Studios & Mastering and he is a PhD candidate in Sonic Arts at Istanbul Technical University’s Center for Advanced Studies in Music (MIAM). He is a co-author of Laboratorio di Tecnologie Musicali - Vol. I and Laboratorio di Tecnologie Musicali - Vol .II, a series of books specifically designed for music technology courses in music schools, high schools and conservatories.

MARCO DIBELTULU (Alghero, 1971) studied at the Conservatory of Cagliari Composition,

Choral Music and Electronic Music (with Francesco Giomi, Sylviane Sapir and Elio Martusciello).His compositions have been selected in many competitions as 24th International Electronic Music Competition “Luigi Russolo” – Varese; CALL 2006 and 2013 – Federazione CEMAT, Rome; 6th International Computer Music Competition “Pierre Schaeffer” 2007 (1st Prize) – Pescara; ICMC 2012 – Ljubljana; EMUFest 2012 - Rome; NYCEMF 2014, 2015 - New York City Electroacoustic Music Festival. He performed at Festivals: Synthèse – Bourges; Biennale di Venezia on-line; Moscow Biennale of Contemporary Art; Zeppelin 2008 – Barcelona; Primavera en La Habana 2008; CONCERTS DE BRUITS: PIERRE SCHAEFFER 1948-2008 – Centro Tempo Reale, Florence; Audio Art Circus 2008 – University of Arts, Osaka; 60x60 Dance – Theatre Square, London; 60x60 Video - Audiograft – Oxford Brookes University, Oxford; Urban soundscapes – Vienna.


MA/IN 2017

MIRTRU ESCALONA-MIJARES He has received multiple internationally recognised awards, He works regularly with highly recognized ensembles and musicians. His 2017/2018 season include performances of his latest works in several festivals in Europe, Latin America, and the US.

ANDREA FAMILARI Italian artist, born in 1987, lives and works in Berlin, Germany. He

investigates mostly the perception of audio, the way to represent it and to describe the feeling with geometrical structures. His works are focused on the data analysis of the sound to generate distorted landscape, surreal forms and abstract scenery of decomposition of micro/macro cosmos. His projects encompass from performance, interactive installation, photography and geometry.


(Argentina, 1983). Composer and sound designer. She studied Composition at the National University of Arts (UNA) and Sound Design at the National School of Film Experimentation and Production (ENERC) in Buenos Aires, Argentina. Currently, she is Professor and Researcher at the ENERC and at the Musical Arts Department at the UNA, where she is also Co-Director of the DaMus Electroacoustic Ensemble. In addition, she is member of the GEAM Group and of the Destellos Group as a composer. Her compositions, which have been performed in several venues in Argentina and abroad, includes works ranging from instrumental music, mixed music and acousmatic music to sound design in films and in multimedia works.

ANA GNJATOVIC (Serbia, 1984) is a composer and performer of acoustic and electro-

acoustic music, collecting and combining found items, works, concepts, and ideas that lend themselves to generalization, translation, interpretation, and sonorization. She finished her doctoral studies in composition at the University of Arts in Belgrade. She is an associate professor of music analysis at University of Kosovska Mitrovica Faculty of Arts. She has attended various composition masterclasses, working with composers Georges Aperghis, Chaya Czernowin, Brian Ferneyhough, Beat Furrer, Louis Andriessen, G.F. Haas, and Ivan Fedele, among others. Her pieces have been performed throughout Europe, in USA and Japan, and have been programmed at festivals such as the International Review of Composers, Culturescapes, Wratislavia cantans, Espressivo, Festival de Wallonie, Biennale of Contemporary Music Koper, Ankara Music Festival.


(Argentine-France) PhD in Aesthetics, Science and Technology of the Arts at the University of Paris, Justel currently works as an independent composer and video artist. Her works have received numerous awards in international competitions and were commissioned by the French government and different European studios. She has developed a pedagogical and research activity at the Universities of Marne La VallĂŠe (France) and Pompeu Fabra (Spain) and several European schools of music. 70

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Recordings by Empreintes Digitales (Canada) ( discog/), and other publishers. In 2007 she creates the Foundation Destellos to promote electroacoustic musica and digital arts, organizing an International competition.

MIKEL KUEHN American composer Mikel Kuehn (b. 1967) has received awards, grants,

and residencies from ASCAP, BMI, the Banff Centre, the Barlow Endowment, the Chicago Symphony Orchestra, Composers, Inc. (Lee Ettelson Award), the Copland House (Copland Award), the Fromm Foundation at Harvard, the Guggenheim Foundation, the International Contemporary Ensemble (ICE), the League of Composers/ISCM, the MacDowell Colony, the Ohio Arts Council, and Yaddo. Professor of Creative Arts Excellence at Bowling Green State University and former director of the MidAmerican Center for Contemporary Music (MACCM), Kuehn received degrees from the Eastman School of Music and the University of North Texas. In November 2016, New Focus Recordings released Objet/Shadow, a portrait CD of Kuehn’s music; other recordings of his works are available on ACA Digital, Centaur, Erol, ICMA, MSR Classics, and Perspectives of New Music/Open Space. He is the author of the computer music application nGen.


is an Australian composer and sound maker whose creative output includes works for orchestra, bands, EDM, installation, and hybrid-arts projects. An active performer in audiovisual electronic music his work has been featured in festivals such as the Zèppelin Ars Electroacustica and the International Computer Music Conference. Anthony is interested in the ways technology, audiovisual interactions and structural design coalesce in creative practice. He is drawn to the inner worlds of sound and connections to memory, sonority and place. Anthony is a lecturer in Interactive Composition at the University of Melbourne. Paul Fletcher created the visual for Cosmos and has been creatively involved for many years in experimental music and short film/animation and media projects. His AudioVisual Midi Vacuum Cleaner was first premiered at the Commonwealth Games Cultural Festival 2006. Paul is a Lecturer in Animation at the University of Melbourne.

FRANCESCO MARCHIONNA Always interested in the Art / Science report, he graduated

cum laude in Electronic Music at the Conservatory “N. Piccinni” of Bari in 2014, under the direction of Francesco Scagliola. He attended seminars with Lionel Marchetti, Leonello Tarabella, Danilo Girardi and a laboratory of Hardware Hacking with Nicolas Collins. His compositions have been selected in various festivals Italian and abroad, collecting praise from critics and audience. Among the events: Fimu-2010 (International Festival of University Music - Belfort), URTIcanti10 (Bari, 2014), SEAMUS-2015 (Society for Electro-Acoustic Music in the United States -Virginia), Ruid al Sud 2015 (International Arts Festival - Bari) and ArteScienza 2017 (International Festival - Roma). Since 2010 is part of the research group Sin[x]Thesis and is currently enrolled in the second year of specialization of Electronic Music. 71

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Musician, improviser, composer, born in Verona (Italy), currently based in The Hague (NL). His research is focused on developing an improvisational language in the electro-acoustic scenario, where the electronic manipulations and the acoustic sounds merge seamlessly in the continuum of the sonic gesture. He is active in many projects, playing a range of reed instruments (bass clarinet, clarinet, tenor saxophone) combined with live electronics. With drummer Riccardo La Foresta he founded Sho Shin Duo, with which he published three albums and toured extensively in Europe. He received a BD summa cum laude in Jazz Music and Improvisation by the Conservatoire “G. Frescobaldi” in Ferrara, Italy, a MD in Electronic Engineering by University of Padua (Italy) and then he specialized in Computer Music at IRCAM (Paris) with Mikhail Malt. He is currently doing his Master Research project at the Institute of Sonology at the Royal Conservatoire in The Hague.

PAUL OEHLERS is most recognized for his “extraordinarily evocative” film scores. (Variety)

Films incorporating his music have won the Grand Jury prize at the Hamptons International Film Festival, the Atlanta International Film Festival, and the Indiefest Film Festival. In addition, films with his music have screened at dozens of festivals in Europe, Asia, Africa, and Australia. Paul A. Oehlers’ compositions have been performed in the United States and abroad including performances at the Society for Electro-acoustic Music in the United States national conferences, the International Computer Music Conferences, the Seoul International Electro-acoustic Music Festival, the Institut für Neue Musik und Musikerziehung in Darmstadt, Germany, and the VII Annual Brazilian Electronic Music Festival.Paul was named the Margaret Lee Crofts Fellow by the MacDowell Colony for the year 2006. He is currently Associate Professor of Audio Technology at American University in Washington, DC.

JUNG-WOONG OH (b. 1992, South Korea) was born and raised in Seoul, and he currently

resides in Bloomington, Indiana. He studied music composition with Hyun-Sue Chung in Seoul Arts Center Academy, music composition with Uzong Choe and computer music with Roland Breitenfeld in Seoul National University, and is studying music composition with P.Q. Phan and computer music with John Gibson and Jeffrey Hass in Indiana University.

CLELIA PATRONO is a musician, composer and sound designer based between Rome

and Paris.She specializes in composition, sound design and sound fx for moving images, creating original music for film, television, corporate videos, commercials and Podcasts. Clelia works as both a composer and sound designer for RAI Television and SKY Arte HD in Italy. She is the composer, guitarist and musical director of the band “Atome Primitif”, which released its first album “Three Years Three Days” in 2010 and an EP “Quipu” in 2016. She composes music for films and advertising, while at the same time continuing her activity as a live performer around the world. 72

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Enthusiastic, well-motivated and accustomed to working with tight deadlines, she is a member of the collective of musicians MUMI Prod.


Buenos Aires (1959) Studied composition with Francisco Kröpfl in Buenos Aires and with Marcelle Deschênes at Université de Montreal. His music has been programmed in Festivals and concerts around the world , including L´espace du son (Bruxelles) , Korea World Music Days, Seoul Computer Music Festival, (Korea), Aspekte (Austria), Festival de Bourges (France), Festival de Música Contemporánea de Caracas (Venezuela), Festival Musica Nova (Brazil), Centro de Experimentación del Teatro Colón, Festival Internacional de Teatro de Buenos Aires , ICMC Utrecht. He received comissions and /or worked in artist residencies at GRM(Paris, France) , Musiques & Recherches (Ohain, Bélgium) Phonos (Barcelona, Spain) , CCRMA (Stanford, U.S.) , LIEM(Madrid, Spain). His music is published by BabelScores and Luscinia Discos (Spain). He´s currently teaching Musical semiotics at Universidad de Tres de Febrero and electroacoustic composition at Conservatorio Alberto Ginastera


Composer and sound designer Pierre-Luc Senécal is piecing together his reputation as curious and dashingly passionnate about sound. His compositions for concert, theater, film and dance bear his fondness for poetry, lyricism and exuberance. He is currently realizing a masters degree at University of Montreal on the topic of mixing and mastering in acousmatic music. His work has been presented in the United States, Canada, Monaco and Germany. His piece, Schrei, a composition on the thematic of the Nazi genocide, has been presented during the San Francisco Tape Music Festival 2014 and the soundLAB – soundCollective exhibition project.


is a composer, musician and associate professor at the University of Leeds. Ewan has been composing with synthesizers and tape recorders since the 1980s. As a composer and performer in the last few years he has worked closely with a broad cross-section of collaborators. His solo pieces have been performed on BBC Radio 3 and at various national and international events.

FRED SZYMANSKI is a sound and image artist who lives in New York City. In his work,

he investigates the relations between nonlinear forces and applies the results to sound diffusion and multi-screen installations and performances. His work has been performed at many festivals, including the 2017 New York City Electroacoustic Festival, 2016 Matera Intermedia Festival, 2015 Monaco International Electroacoustic Festival, International Computer Music Conference 2015 (Denton, Texas), SonicLIGHT (Amsterdam), Abstraction Now (Vienna), the European Media Art Festival (Osnabruck), and Mutek (as part of RML’s 73

MA/IN 2017 CineChamber) (Montreal). He has participated in the shows “What Sound Does a Color Make” at the Eyebeam Center (New York) and “Bit Streams” at the Whitney Museum of Art, and has exhibited at the Diapason Gallery for Sound (New York). Szymanski has released his sound work (A Laminar Project) with Sub Rosa (Belgium), Asphodel Ltd., JDK Productions, Soleilmoon, and Staalplaat (Amsterdam).

KYLE VANDERBURG (b. 1986) grew up in Missouri where the Ozarks meet the Mississippi

River valley. Raised on southern gospel and American hymnody, his music tries to walk the line between eliciting nostalgia and devising innovative sonic worlds. His electronic works place familiar sounds in new contexts, his acoustic works feature catchy melodies and too many time signatures. He writes music he hopes his parents will like. He holds degrees from Drury University and the University of Oklahoma and has studied under Carlyle Sharpe, Marvin Lamb, Konstantinos Karathanasis, and Roland Barrett. He’d be delighted if you checked out

roberta platania (Rome, 1975) studied Electronic Music at the Conservatory of music

of Frosinone where graduated in Digital Audiovisual Composition in 2017. Singer, author and composer, since 2008 she works for cinema, theater and television. More and more attracted to the relationships between sound and image, at this time the artist experiences the possibilities of integrating music and new media. Closely observing our perception’s behaviour in real and virtual space, she realizes installations, sculptures and projection surfaces that may include many different materials, matters and methods

David Berezan has acted, since 2003, as Director of the Electroacoustic Music Studios

and MANTIS (Manchester Theatre in Sound) at The University of Manchester (UK). In 2012 he was appointed Professor in Electroacoustic Music Composition. After completing a BA in History (1988) at the University of Calgary, a Diploma in Composition (1996) at Grant MacEwan College (Edmonton) and a MMus in Composition (2000) at the University of Calgary, he moved to the UK and completed a PhD in Electroacoustic Composition (2003) at the University of Birmingham (UK). Berezan has been awarded in the Klang! (France, 2015), Music Viva (Portugal, 2012), Bourges (France, 2002), Luigi Russolo (Italy, 2002), Radio Magyar (Hungary, 2001), São Paulo (Brazil, 2003, ’05), L’espace du son (Belgium, 2002) and JTTP (Canada, 2000) competitions. He has worked in residence in the studios of the University of Calgary (Canada, 2011), Université de Montréal (Québec, 2011), CMMAS (Mexico, 2011), EMS (Sweden, 2011, ’12), VICC

Francesco Altieri Francis Dhomont 74

N/A Born in France, electro-acoustic composer Francis Dhomont

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divided the second half of his life between Paris and Montreal. Gifted with a sense of the narrative never matched, he is able to tell captivating tales through acousmatic art. The two parts of his Cycle of Depths works, the albums Sous le Regard d’un Soleil Noir (1981) and Foret Profonde (1996), remain some of the most enduring examples of musique concrète, transcending the genre to touch the core of mankind. Born in 1926 in Paris, Francis Dhomont came to musique concrète through classical music. He studied with Ginette Waldmeier, Charles Koechlin, and Nadia Boulanger. Stumbling upon musique concrète at about the same time Pierre Schaeffer did, he abandoned musical composition around 1953 to create only electro-acoustic music. Little is known of his works before 1972, as the composer repudiated them. Sous le Regard du Soleil Noir introduced him to a relatively larger audience, the album becoming a classic of the genre and a source of inspiration for many sound artists. He created many acousmatic works playing on sound and meaning, but his best results were obtained through the use of dream-like narratives and “cinema for the ear.” His work in the 1990s grew even more evocative, culminating in the 60-minute piece Foret Profonde, a fantasy on fairy tales through the works of Bruno Bettelheim. Dhomont was also very active as a theorist. He edited several issues of magazines on electro-acoustic music (L’Espace du Son, Circuit), created radio programs for Radio-Canada and Radio-France, taught electro-acoustic composition at the Universite de Montreal where he maintained a strong influence on younger composers, and co-founded the Canadian Electroacoustic Community. His work has been recognized internationally through numerous awards and prizes, including the Magisterium of the Bourges International Electroacoustic Music Competition in 1988. In February 2001 he received a career grant (60,000 dollars Canadian over two years) from the Conseil des Arts et Lettres du Quebec, an incredible achievement for an avant-garde artist.

Daniel Fawcett (b.1991) is a composer, sound artist, visual artist and instrument builder

from the United States. He is a graduate of New York University’s Steinhardt School with a M.M. degree in music composition where he studied privately with Joan La Barbara and Morton Subotnick. Prior to this, he completed his B.M. studies at Roosevelt University’s Chicago College of Performing Arts, studying with Stacy Garrop and Kyong Mee Choi. His work has been featured at events including the Look and Listen Festival (NYC), the Spaziomusica Festival (IT) and Matera INtermedia Festival (IT). Much of his recent work deals with the interaction between humans, light and sound as part of focused performance. This has led to the use of both wearable and stationary, sound reactive, light units for a series of works designed to be performed in a wide variety of spaces.

marco marinoni (10/04/1974) is a professor at the Conservatory of Music “G. Verdi”

of Como where he teaches Electroacoustic Performance Practice. He gained a M. Mus. Conservatory Degree in Computer Music (2007) 10/10 cum laude, a Master’s Degree in Sound Direction and Live-Electronics at the Conservatory of Music “B. Marcello” of Venice (2007), 110/110 cum laude with Alvise Vidolin and a Master’s Degree in Composition (2013), 75

MA/IN 2017 110/110 cum laude. He studied music composition with Mario Garuti. He was finalist for the Internatioanl Gaudeamus Composers Competition 2002 and 2003, Prix du Trivium at the 29e Concours International de Musique et d’Art Sonore Electroacoustiques – Bourges 2002, selected for the project What’s Next by Nuova Consonanza – Rome 2003, winner at the second call for electroacoustic music by Federazione CEMAT and included the CD Punti di Ascolto 2005, 1st Prize at the Primo Concorso Internazionale di Composizione per Iperviolino – Genova 2007, 1st Prize at the VIII Concorso Internazionale di Composizione Città di Udine – 2010. He is a member of SIMC - Società Italiana Musica Contemporanea. The scores of his pieces are published by ArsPublica and Taukay.

Paolo Geminiani

Studied in composition, electronic music, choral music and choral conducting, band instrumentation at the conservatoires of Bologna and Modena. He has undertaken advanced study under Franco Donatoni, Azio Corghi, Alessandro Solbiati, Adriano Guarnieri and Alvise Vidolin. He has won and received commendations at various competitions including: Gustav Mahler, Counterpoint International Competition, SuonoSonda, Daegu Contemporary Music Orchestra, Valentino Bucchi Prize, Pierre Schaeffer, Egidio Carella, Reggello International Festival, IBLA Grand Prize, Romualdo Marenco and many others. Some scores published in Italy by Ut Orpheus, Agenda, Sconfinarte, ArsPublica, TEM-Taukay, and performed at International Contemporary Music Festival Deagu, Lefrak hall-Queen College of New York and Steinway Hall NYC, Columbus State University, Ruidalsud Festival Internacional de Música Contemporánea, Guitar Festival of Lipica, Hagi Origami Museum Japan, and in Italy: Risuonanze Festival, Oltre il Contemporaneo, 3 Quarti d’ora di Musica, Sulle ali del Novecento, Festival dell’Arte Contemporanea-La Settimana del Contemporaneo Faenza, Sagra Musicale Ambrosiana, Milano: Cinque Giornate, Tempo Reale, Cluster–Compositori Europei Lucca, and performed by Linda Wetherill, Antonella Bini, Alessandro Cazzato, Duo Novecembalo, Chiara Urli, Tiziano Cantoni, D’Antonio-Montanari, Ensemble Suono Sacro, Soundiff Ensemble, Ensemble Filomusia, Daegu Contemporary Music Orchestra, Dedalo Ensemble, Uroboros Ensemble: Italy, Slovenia, UK, South Corea, Japan, USA. Actually teaching in Bari (Italy), Conservatorio “N. Piccinni”.

Roberto Zanata

born in Cagliari, Italy where he also graduated in Philosophy. He studied and graduated in composition and electronic music at the Conservatory of Cagliari. He attended the Ferienkurse in Darmstatd in 1996 where he studied with K.Stockhausen and M.Spahlinger. In the middle of nineties Roberto became active in Italy and abroad. He wrote chamber music, music for theatre, computer music, electroacoustic and acousmatic music as well as multimedia works. His music is published by Audiomat, Taukay and Vacuamoenia. In International competitions his works have been awarded Grands Prix Internationaux de Musique Electroacoustique (Bourges), Interference Festival (Poland), Sonom Festival (Mexico) and more. He currently teaches Electronic Music at the Conservatory of Foggia (Italy). 76

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Cesare Saldicco (*1976) is graduated in piano, composition and electronic music. For

his artistic development have been very important his encounters between 2005 and 2006 with Anders Hultqvist and Ole Lützow-Holm during the Erasmus scholarship in Sweden. Soon afterwards he attended lessons and master classes with Philippe Hurel, Unsuk Chin, Oscar Strasnoy, Helmut Lachenmann, Gavin Bryars, Stefano Gervasoni, Salvatore Sciarrino and Ivan Fedele, with whom he obtains the alto perfezionamento diploma in composition at the Accademia Nazionale di Santa Cecilia in Rome. Winner of several scholarships he has been awarded in important composition competitions such us Bourges (2009) EmuFest (2009, 2010. 2011 and 2013) and Mùsica Viva Poutugal which selects the work “Digressione Ipertestuali N.10” for the installation “Sound Walk 2012” at the Goethe Institut in Lisbon. In the same year “La Biennale di Venezia” invites him to produce a new electroacoustic work - “Still Life”- staged during the 56th edition of the festival. His music is edited and published by ArsPublica, Philology, Da Vinci Publishing and Sconfinarte. His works have been performed in Australia, Austria, Albania, Belgium, Bulgaria, Canada, Chile, Denmark, England, Finland, France, Germany, Greece, Italy, Malta, Portugal, Russia, Spain, Sweden, Switzerland, U.S.A. and broadcasted by Italian National RadioRAI. Currently he teaches Electroacoustic Music at Conservatory of Lecce (Italy)

Sebastiano Trombatore

23yo Italian Canadian sound designer and audiovisual composer. After graduating at the “Licino Refice” conservatory, I started an audiovisual and music project named “Eyevenear” that concerns intersection of Disturbing imagery and Nostalgic feelings. It aims to a community that likes and spreads this art genre. I post all works on the namesake YouTube channel. Meanwhile, I’m gonna start the sound design program at the Vancouver Film School, BC. Then, we’ll see...

Damian Gorandi was born on 11- 11 of 1991, Buenos aires , Argentina. He was Awarded

with the 1 ̊ prize in the international conquest Franz liszt (weimar ) 2017. Exhibitronic award 2017, 1 ̊ prize in the international competition “Mas/menos”, Destellos (Honorary mention 2016/nominated 2017), Prix russolo, 1 ̊prize SADAIC (2015), 1 ̊prize Trinac, 1 ̊Prize Fondo nacional de la artes. Silver Medal in the Global Music Awards ( 2017), others. He obtained the scholarship of ibermusicas to studie with Joao pedro Oliveira. The scholarship in Weimar (Germany) to take classes with Robert Normadou. The scholarship in Cmmas (Mexico). Residence at the study EMS ( Sweden)..He have participated in numerous festivals as CIME / ICEM in Moscow, Ina GRM Banc Essai 2017,Nycemf 2015,Musinfo 2015, ect. His Artistic works and composition was declared like “ High cultural and artistic interest” by the Ministry of Culture Argentina.Study compotition with Elsa Justel , Ricardo Mandolini and Jorge Sad.

Reuben De Lautour

New Zealand-born is a composer, sound artist and pianist. He is a faculty member at Istanbul Technical University’s Center for Advanced Studies in Music, 77

MA/IN 2017 where he founded the Program in Sonic Arts in 2012. He composes music for instruments and / or electronics, and writes about music, technology and listening practices. His music has been performed and recorded by artists such as Evelyn Glennie, the Nash Ensemble, the New Jersey Symphony and UMS ‘n JIP. He holds a PhD from Princeton University, where he studied with Paul Lansky and Steven Mackey, and was the recipient of a Fulbright award. Before this he studied piano and composition at the University of Auckland in New Zealand with Bryan Sayer, John Rimmer and John Elmsly.

giulio colangelo holds an MA cum laude in electronic composition after studying with

Alessandro Cipriani and Giampiero Gemini in Frosinone (Italy). He attended masterclasses in instrumental techniques and electronic composition plus specialist courses in sound engineering and postproduction. He researches parallel languages in order to create complex perceptive experiences. It is focused on instrumental experimentation and electroacoustic/acousmatic compositions, on electronic performances and sound installations, in the domain of the intermedia development. His works have been exhibited in several international contests and broadcasted on Radio France, Radio4, Brava TV, VPRO etc. He has recently worked at the “ZKM” on his sonic projects and contributed to the exhibition “SoundArt” curated by P.Weibel. He was one of the five nominees for the prestigious Gaudeamus Music Award 2016 (the Netherlands). He recently won the first prize at Destellos Prize 2017. He is the artistic director of the international electroacoustic music festival MA/IN – MAtera INtermedia. . He is project leader for Matera 2019 - Euro Capital of Culture. He is professor of Electroacoustic Music Composition at the Conservatory of Alessandria (Italy). []

james o’callaghan

is a composer and sound artist based in Montréal praised for his “mastery of materials and musical form” (Radio France). His music intersects acoustic and electroacoustic media, employing field recordings, amplified found objects, computerassisted transcription of environmental sounds, and unique performance conditions. His works, spanning chamber, orchestral, live electronic and acousmatic idioms, audio installations, and site-specific performances, have been awarded national and international prizes, as well as nominated for a JUNO Award (2014) the Gaudeamus Award (2016). His acousmatic music is published by empreintes DIGITALes and his acoustic music is available through the Canadian Music Centre.

patricia alessandrini

’s works actively engage with the concert music repertoire, and issues of representation, interpretation, perception and memory, often in the context of social and political issues. These works are often multimedia, theatrical, and collaborative, involving live electronics, resonating objects, and interactive video She studied composition and electronics at the Conservatorio di Bologna, Conservatoire de Strasbourg, and IRCAM, and holds two PhDs, from Princeton University and the Sonic Arts Research Centre (SARC) 78

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respectively. Her principal composition teachers were Ivan Fedele, Paul Koonce, Tristan Murail, and Thea Musgrave.Her works have been presented at Agora, Archipel, Ars Musica, Musica Strasbourg, Musiques Démesurées, Mostly Mozart, Sonorities, and Miso Music (Lisbon), and performed by ensembles including Accroche Note, Arditti Quartet, Ensemble Aleph, Ensemble Alternance, Ensemble InterContemporain, l’itinéraire, Nicolas Hodges, and Ensemble Vortex. She has collaborated with institutions including le centquatre (Paris), Elektromusikstudion (EMS-Stockholm), the Groupe de Recherches Musicales (GRM), IRCAM, and La Muse en Circuit (Paris). She is also a performer and improvisor of live electronics. She was composer-in-residence at the 2010 soundSCAPE festival, and with the International Contemporary Ensemble (ICE) in 2012. She was awarded first prize in 2009 in the Sond’Arte Composition Competition for Chamber Music with Electronics, and a Förderpreis in Composition by the Darmstädter Ferienkurse in 2012. In 2015-6, she will be featured in the four-concert Soundkitchen series of the Ensemble InterContemporain at the Gaîté lyrique.She previously taught at the Accademia Musicale Pescarese and Bangor University, and is currently a part-time Lecturer in Sonic Arts at Goldsmiths.

Samuel Béland

is a graduate of the Montreal Conservatory of Music where he studied electroacoustic composition under the supervision of composer Martin Bédard. In addition to acousmatic music, he is particularly interested in the medium of video music, algorithmic composition and the sociology of art.

donato Corbo is a blues guitarist and electroacoustic composer, graduated in electronic

music at the Conservatory of Potenza. His interest includes music, video and interaction with technological tools. He followed workshops with Esther Lamneck, Cort Lippe, Agata Chiusano. Founder memeber of LOXOSconcept he has exposed his works in several international contests and his installation “CUT it!” at the ZKM (SoundART exhibition - 2012). In 2013 the “Trama Sottile” installation was exhibited at the Naples PAN, in the Vuotociclo IV SanktaSango event. As an electronic music performer his experimentations move in the direction of the interactive sound, like his live performance with Kinetics controller at the festival VIVAVERDI MULTIKULTI XVII EDITION 2013 at Casa Cava (Mt)

luca Acito I’m a director, a researcher and a performer often working on cultural projects

related to cinema and new technologies. I work with several forms of new media, creating television commercials and documentaries for italian channels like Rai Sat Art, Rai Sat Show. My first feature film “The Heritage of Cain “ with Filippo Timi dates back to 2006 - www. .Since then I’ve travelled widely around Italy, collecting and telling stories with tha caravan of “Itinerant Cinema – Travelling memories”, a cultural heritage project promoted by UNESCO - In 2008 I decided to abandon everything (or almost) in order to become a beggar for a Rolex in my surplus needy project, for which i won a GAI award from the Young Italian Artists group - www.surplusneedy. com. In 2009 I joined the collective Action30 co-producing in Bologna and Brussels and I 79

MA/IN 2017 directed the short film “Grande Brasserie Cyrano”. Action30 explores new forms of fascism through contemporary languages. We have produced books, graphic essay, performances using live video, live comics and live electronic music. In 2011 Action30 made the project/ show “Constellation61” in partnership with the National Theatre of Brussels and Bxl Laique - / youtube/action30media. In 2010 I opened Studio Antani visual / cross media / creative company - In 2010/11 I’ve been a guest of the Paris-Villette Wip in two residencies for the documentary theatre project “Demande d’Asile / Buddha, mon pére et moi”. In 2014 - with Action30 we made the performance/show Nage Nage Petit Poisson - Dés/obéir à l’époque de la téléréalité - in partnership with the d Bxl Laique - Festival des Libertes 2014.

domenicoFilitti holds a MA degree in Electronic Music at the Conservatory of Potenza

with a thesis on violin augmentation techniques. He has a particular interest in programming languages and algorithmic composition. His compositions are performed in events such the “Intermediart”, the “Contemporaneously”, the “Root formative paths” ; in 2013 the “Trama Sottile” installation was exhibited at the Naples PAN; in 2013 he was back in Matera witrh a live performance at the festival VIVAVERDI MULTIKULTI XVII EDITION 2013 at Casa Cava .

Simone Longo

Sims is a composer and performer of electronic music. He is interested in creating and processing sound in the digital domain, focused on timbre exploration with different techniques. He obtained a master degree in electronic music at G.F.Ghedini Conservatory of Cuneo.

Filippo Mereu

Born in Sardinia, Italy. He received the “Diploma accademico di II livello” (Master of Arts) in Electronic Music, summa cum laude, at the Music School “Pierluigi da Palestrina” of Cagliari. Co-founder and member of the improvisational electroacoustic duo Terminale_3, with which he released the album “I-son” (TiConZero, 2014). He performed at the following events: Signal, Tempo Reale Festival, Time In Jazz, Multiversal, Music In Touch, Miniere Sonore, Acusmatica in Movimento, Spazio Musica, Di_Stanze Festival ecc. His works have been selected and performed at many international festivals.

Levy Oliveira

(b. 1993) is a Brazilian composer. He studies composition at the Federal University of Minas Gerais (UFMG), oriented by João Pedro Oliveira. Several festivals has played his music, most recently, Monaco Electroacoustique 2015 (Monaco/Monaco), MUSLAB 2015 (Mexico City/Mexico), JIMEC 2015 (Amiens/France), Open Circuit 2016 (Liverpool/UK), Tinta Fresca 2016 (Belo Horizonte/Brazil), Clicle Somelgrup 2016 (Valencia/ Spain), EMUFest 2016 (Rome/Italy)and New York City Electronic Music Festival (New York/ USA). His music Hyperesthesia received the First Prize in Eduardo Bertola Composition Competition. His orchestral piece A Leap of Faith received honorary mention in the Festival Tinta Fresca 2016. 80

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Lior Eytan

is a composer, Born in Israel in 1986, based in Milan. After completing, in 2016, his bachelor degree at the Jerusalem Academy of Music and Dance, studying with Prof. Yinam Leef and Prof. Ari Ben-Shabtai, he moved to Milan where he currently studying for his master degree at the Milan Conservatory with Maestro Gabriele Manca. His works were played in Israel and abroad. His piece Chamber Music, from 2015, had won the 1st prize in the Mark Kopytman competition.

Salvatore Sciarrino (Palermo, 1947) boasts of being born free and not in a music

school. He started composing when he was twelve as a self-taught person and held his first public concert in 1962. But Sciarrino considers all the works before 1966 as an developing apprenticeship because that is when his personal style began to reveal itself. There is something really particular that characterizes this music: it leads to a different way of listening, a global emotional realization, of reality as well as of one’s self. And after forty years, the extensive catalogue of Sciarrino’s compositions is still in a phase of surprising creative development. After his classical studies and a few years of university in his home city, the Sicilian composer moved to Rome in 1969 and in 1977 to Milan. Since 1983, he has lived in Città di Castello, in Umbria. He has composed for: Teatro alla Scala, RAI, Teatro del Maggio Musicale Fiorentino, Biennale di Venezia, Teatro La Fenice di Venezia, Teatro Carlo Felice di Genova, Fondazione Arena di Verona, Stuttgart Opera Theatre, Brussels La Monnaie, Frankfurt Opera Theatre, Amsterdam Concertgebouw, London Symphony Orchestra, Tokyo Suntory Hall. He has also composed for the following festivals: Schwetzinger Festspiele, Donaueschinger Musiktage, Witten, Salzburg, New York, Wien Modern, Wiener Festwochen, Berliner Festspiele Musik, Holland Festival, Alborough, Festival d’Automne (Paris), Ultima (Oslo). He was published by Ricordi from 1969 to 2004. Since 2005, Rai Trade has had exclusive rights for Sciarrino’s works. Sciarrino’s discography is pretty extensive and counts over 100 CDs, published by the best international record labels and very often awarded and noted. Apart from being author of most of his theatre opera’s librettos, Sciarrino wrote a rich production of articles, essays and texts of various genres some of which have been chosen and collected in Carte da suono, CIDIM – Novecento, 2001. Particularly important is his interdisciplinary book about musical form: Le figure della musica, da Beethoven a oggi, Ricordi 1998. Sciarrino taught at the Music Academies of Milan (1974–83), Perugia (1983–87) and Florence (1987– 96).He also worked as a teacher in various specialization courses and master classes among which are those held in Città di Castello from 1979 to 2000. From 1978 to 1980, he was Artistic Director of Teatro Comunale di Bologna, Academic of Santa Cecilia (Roma), Academic of Fine Arts of Bavaria and Academic of the Arts (Berlin), Sciarrino haswon many awards, among the most recent are: Prince Pierre de Monaco (2003) and the prestigious Feltrinelli International Award (Premio Internazionale Feltrinelli) (2003). He is also the first prizewinner of the newly created Salzburg Music Prize (2006), an International Composition Price established by the Salzburg Land. In 2006 his new opera Da gelo a gelo, coproduced by Schwetzinger Festspiele, Opéra National de Paris and Grand Théâtre de Genève, was performed to great acclaim. In 2008 La Scala Philharmonic Orchestra performed his 4 Adagi and 12 Madrigali 81

MA/IN 2017 were premiered in the summer of the same year in a portrait series dedicated to him by the Salzburg Festival.

jacob Sudol

writes intimate compositions that explore enigmatic phenomena and the inner nature of how we perceive sound. His music has been performed over one hundred times across the USA as well as in Canada, Taiwan, the United Kingdom, Germany, Singapore, China, Netherlands, Thailand, Japan, and Cambodia. He was awarded a Fulbright grant to teach at National Chiao Tung University in Taiwan for the Academic 201516 Year and is also an Assistant Professor of Music Technology and Composition and the Coordinator of Music Technology area at Florida International University in Miami, Florida. He holds a Ph.D. in composition from the University of California, San Diego where his mentor was the Grawemeyer Prize-winning composer Chinary Ung. In 2012, he founded a cello/electro-acoustic duo with distinguished cellist Jason Calloway and, since 2010 he has been in a piano/electro-acoustic duo with his wife Chen-Hui Jen. He also regularly collaborates on interdisciplinary projects with visual artist Jacek Kolasinski, architect Eric Goldemberg, and Cambodian dancer/choreographer Chey Chankethya.

Joao Pedro Oliveira

completed a PhD in Music at the University of New York at Stony Brook. His music includes one chamber opera, several orchestral compositions, a Requiem, 3 string quartets, chamber music, solo instrumental music, electroacoustic music and experimental video. He has received over 50 international prizes and awards for his works, including three Prizes at Bourges Electroacoustic Music Competition, the prestigious Magisterium Prize in the same competition, the Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prize in Yamaha-Visiones Sonoras Competition, 1st Prize in Musica Nova competition, etc.. He is Professor at Federal University of Minas Gerais (Brazil) and Aveiro University (Portugal). He published several articles in journals, and has written a book about analysis and 20th century music theory.

Gabriele Paolozzi / Diego Capocitti


Francesco Pellegrino

is a composer, musician and multimedia artist whose work covers live electroacoustic performances, compositions and installations.

Epameinondas Fasianos is originating from Athens, Greece. He has attended both the

University of York (MA in Music Technology) and the University of Sussex (MA in Composition for Media and Film and MPhil in Musical Composition). His BA in Greece was in Informatics and Computer Technology. He has also obtained his Piano Diploma in 2003 with Professor Dimitris Toufexis. In parallel, he has obtained the Diplomas in Harmony, Counterpoint and 82

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Fugue respectively. At the moment he is a fourth-year PhD student in acousmatic music at the University of Manchester (NOVARS Research Centre), under the supervision of Professor David Berezan. His area of interest is: creating works of acousmatic music based on aspects of Greek culture [Religion, traditional Greek instruments, Mythology].

Adrian Moore

is a composer of electroacoustic music. He mainly composes music intended for ‘sound diffusion’ over multiple loudspeaker systems. He directs the University of Sheffield Sound Studios (USSS) where researchers and composers collaborate on new musical projects. Adrian Moore’s research interests are focused towards the development of the acousmatic tradition in electroacoustic music, the performance of electroacoustic music, signal processing, and human-computer interaction in music. His music has been commissioned by the Groupe de Recherches Musicales (GRM), the Institute International de Musique Electroacoustique de Bourges (IMEB) and the Arts Council of England. A significant proportion of his music is available on 4 discs, ‘Traces’, ‘Rêve de l’aube’, ‘Contrechamps’ and ‘Séquences et Tropes’ on the empreintes DIGITALes label. His book ‘Sonic Art: An Introduction to Electroacoustic Music Composition’ is published by Routledge.

CArlos De Castellarnau Born in Catalonia, Carlos de Castellarnau has studied with

Ramon Humet and Agustí Charles in Barcelona, with Stefano Gervasoni in the CNSMDP in Paris and he has participated in the Cursus I and II in the IRCAM. His works have been awarded in several competitions as the Joan Guinjoan Composition Competition in Barcelona or the JukeBoxx NewMusic in Munich. His recent works are very influenced by the informalist painters and their praxis researches. Fascinated by the grotesque as a poetical source and the quality of ex<x>pression of the matter, Castellarnau works combine sound refinement and timbre complexity.

Erik Nystrom

’s output includes live computer music, electroacoustic works, and sound installations. His current work explores synthesis, space, and human-computer performance. He is currently a Leverhulme Research Fellow at Birmingham Electroacoustic Sound Theatre, University of Birmingham, working on a project which develops an aesthetic and technological model for multi-channel music based entirely on live spatial texture synthesis processes and algorithms. He studied electroacoustic composition with Denis Smalley at City University, London (MA, PhD), and computer music at CCMIX, Paris, France. Nyström performs frequently worldwide and his music has been released by empreintes DIGITALes on the disc Morphogenèse.

Bret Battey

(b. 1967) creates electronic, acoustic, and audio-visual concert works and installations, with a focus on generative techniques. He has been a Fulbright Fellow to India and a MacDowell Colony Fellow, and he has received recognitions and prizes from Austria’s Prix Ars Electronica, France’s Bourges Concours International de Musique 83

MA/IN 2017 Electroacoustique, Spain’s Punto y Raya Festival and MuVi4, Abstracta Cinema of Rome, Amsterdam Film eXperience the Texas Fresh Minds Festival, and the Red Stick International Animation Festival for his sound and image compositions. He pursues research in areas related to algorithmic music, haptics, and image and sound relationships. He completed his masters and doctoral studies in Music Composition at the University of Washington and his Bachelors of Music in Electronic and Computer Music at Oberlin Conservatory. His primary composition and technology teachers have been Conrad Cummings, Richard Karpen, and Gary Nelson. He also served as a Research

Steve Wanna

is a multi-disciplinary sound and visual artist whose work includes music, sound design for dance collaborations, sculpture, installation, photography, and works for mixed media. Born and raised in Lebanon, he immigrated to the United States with his family at the age of 15, receiving a doctorate in Music Composition from the University of Maryland in 2004. His chief research and creative interest is the phenomenon of emergence. His works often incorporate electronics and interactive software to create pieces that exist in a state of becoming rather than being. In contexts both visual and sonic, the artist often relinquishes total control to become a contributing agent in a larger ecosystem that gives rise to the work. He has been teaching Sound Recording and Music Technology at the college level for the past decade.

Marco Molteni (Italy – 1962) studied composition with L.Chailly and G.Giuliano at the Conservatory of Music of Milan; electronic music with R.Sinigaglia. He attended several perfectioning courses like : Accademia Chigiana / MC2 Musique Contemporaine (F.Donatoni); Atelier de Recherche Instrumental IRCAM - Paris; Darmstadt Ferienkurse. His music has been rewarded and recognized in important international concourses (Gaudeamus Music week - Concorso Internazionale “Casella” Siena – Conc. Internazionale G. d’Arezzo ecc.) and played in several places like IRCAM, Chigiana Novità Siena, Festival Antidogma Torino, Ferienkurse fur Neue Musik Darmstadt, Gaudeamus Musik Week Amsterdam, Internat. Review of Composers Belgrade ecc. His music has been broadcasted by Radio France, RAI, ABC Sidney, CBC Toronto and it has been published by BMG Ricordi, Arspublica.

Carmine Emanuele Cella is a composer and a researcher in the relations between

mathematics and music. He studied at Conservatory of Music G. Rossini in Italy getting degrees in piano, computer music and composition and he got a master in musical composition at the Accademia di S. Cecilia in Rome, with M° Azio Corghi. He also studied philosophy and mathematics and got a PhD in mathematical logic at the University of Bologna working on symbolic representations of music. As a composer, he won many prizes, including: 1st prize at the G. Rossini composition competition (1998), 1st prize at the Egidio Carella competition (2010), 2nd prize at the ICOMS composition competition (2010). In 2006 he has been semifinalist at the Queen Elisabeth composition competition 84

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and in 2007 at the George Enescu composition competition. In 2009 Carmine Emanuele Cella has been selected by the SWR orchestra of Stuttgart, while in 2011 he has been finalist at the international Isang Yun music prize in South Korea. In 2007 he received the E. Contestabile grant from Accademia Chigiana and the G. Guarino grant from Accademia di S. Cecilia in Roma, while in 2008 he won the prestigious Petrassi prize for composition, from the President of the Italian Republic Giorgio Napolitano. From 2007 to 2008 he had a job position as researcher at IRCAM in Paris in the Analysis/Synthesis team working on audio indexing and he is currently composer in residence in the same institute that commissioned him several works for orchestra and electronics (the latest has been played in Paris – Salle Pleyel under the conduction of Jukka-Pekka Saraste). He is currently member of Academie de France à Madrid for 2013-2014 at Casa de Velazquez.

Fabio Monni

Born in 1976 in Sardinia, Fabio Monni studied at the “G.P. da Palestrina” Conservatory in Cagliari, where he graduated in Piano, Organ and Composition. In June 2013 he completed the master II in composition at Lund University with Luca Francesconi. His interest around how sound and space relate with each other brought him to compose several pieces as well as sound-installations that investigate how the space is experienced by listeners through specific sonic stimulation. He is particularly interested in spaces which are not normally devoted to music performances (museums, public buildings etc.) and whom architectures could be functionally implemented in the music composition. In 2016 his radio-opera What’s That? (with the support of SwedishArtsCouncil) premiered in Malmö (SE) during Transistor II festival. In the same year he also created a sound installation for one actress and electronics that was presented at InterArtsCenter in Malmö (SWE). The text, based on Karen Blixen’s Babettes Gœstebud, was written and performed live by Danish actress Liv Kaastrup-Vesterskov. During 2017 he will compose the music for a new dramatic production by Teater Mutation (Sweden). The project, titled Konvergens, was funded by Kulturrådet, Kulturskåne and Författarfonden. He is organist in S.t Thomas church in Lund (SWE).

Gerardo De Pasquale composer, researcher, sound designer, visual designer; studied

music specializing in violin with Georg Mönch and composition with Edoardo Ogando in Rome. Since 1995 works on an aesthetic language of composition concrete- spectral, and sound quality and visual synesthetic. He wrote computer music, electroacoustic and acousmatic music as well as audio-visual and multimedia works. Its audio-visual and multimedia projects for famous international brands, have received awards, as well as in Italy, in France, Germany, Holland, Austria, Great Britain, USA, Canada, China, Japan, etc. Some of his compositions and performances are documented in important exhibitions, museums and festival including: Bauhaus-Archiv Berlin, Städtische Galerie im Lenbachhaus of Monaco, the Museo Cantonale d’Arte in Lugano, Exposition Internationale d’Art Contemporain – Jeune Création, Grande Halle de la Villette in Paris, Archives DOCVA Milan, 85

MA/IN 2017 MAXXI in Rome, Expo Milano 2015, Galleria Milano in Milan, Galleria Il Ponte in Florence, Musinfo Opus-centrum in Bourges, MUSLAB International Festival of Electroacoustic Music in Mexico City, L’arsenale // Nuova Musica a Treviso, OUA Electroacoustic Music Festival in Osaka. The last recording project “Mosconi-Wagner” for the label Alga Marghen, produced with Gabriele Bonomo, making composition, technical implementation, sound engineering and graphics, is entered from a-Musik in Köln (Germany) has classified the disc the first top 25 titles of its archives 2015.

Michele Abolaffio

Michele Abolaffio is a live electronics performer, sound engineer and interface developer. He holds a BA degree in Music and New Technologies from the Conservatory of Firenze “L. Cherubini” and a Master of Music degree in “Instruments & Interfaces” at the Institute of Sonology in The Hague, in collaboration with the STEIM Institute in Amsterdam. He is currently working in the STEIM Institute on hardware and software prototyping under supervision of Frank Baldé. His artistic and technological research focuses on the development of biophysical musical instruments for live performance.

Alessio Rossato

Graduated in Percussion, Electronic Music with A. Vidolin at the Music Conservatory of Venice. In the same city he is graduated in Composition with R. Vaglini. Within the Erasmus Exchange Program, he attends the composition course with M. Stroppa at the Hochschule für Musik und Darstellende Kunst in Stuttgart. He attended several courses: 43° International Summer Courses in Darmstadt (2006); electronic music workshop with A. Richard, De Musica (Associazione Nuova Consonanza) in Rome with S. Sciarrino and P. Manoury etc... His works were performed in several places and festivals: 29° Cantiere Internazionale d’Arte di Montepulciano, Teatro La Fenice and Biennale Musica (Venice), Stagione Rondò (Milan), EMUFest and Musica Verticale (Rome), UNAM and FIMNME (Mexico City), The BEAMS Festival (Boston), Festival de Radio France (France), FZML Leipzig (Germany),Théâtre des Louvrais à Pontoise (France), Sound New (Canterbury). Hi played percussion with ensemble lʼArsenale and he has partecipated

Brian Topp

is Vancouver, Canada based composer, sound designer and programmer. His main interests lie in electronic and electoacoustic music; developing interactive systems for realtime audio processing and creation, and developing new ways to create and interact with music and technology. Currently, Brian is pursuing a doctorate in Music Composition at the University of British Columbia with Dr. Keith Hamel, including the development of live performance softwares at the Institute for Computing, Information and Cognitive Systems (ICICS).

John Wiggins John Wiggins is an award winning sound designer and mixer, living in New York.


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Tristan Berger

was born in Datteln/Germany and grew up in North-Rhein-Westfalia. Since 2010 he studies music and composition at different schools with a focus on filmmusic and music-production. Since 2012 he studies at the Institut für Computermusik und Elektronische Medien (ICEM) of the Folkwang University of Arts in Essen/NRW with his main focus on electroacoustic music and visual art. Besides his individual works, he creates music and sounddesign for films and videogames.

Milos Cathals

is an improvisational quartet dedicated to the concepts of feedback, synergy and self- organisation. It consists of four interconnected systems, each bringing a different scope of live electronics to the table; bio-sensors, modular synthesisers and generative stochastic algorithms are being integrated into a larger system. Every agent’s choices lead to changes that shift and shake the behaviour of the system, challenging the others to alter or adapt to the conditions. The project was initiated in 2015 as a sideresearch platform where the different ideas and approaches of each member would be exchanged, explored and exploited in a collaborative environment.

Diego Ratto

was born the 14th of January 1988. He graduated with a Bachelor’s Degree in Electroacoustic Composition (under the guide of Gustavo Delgado) at the Music Conservatory “A.Vivaldi” of Alessandria (IT) in 2017. In the past he studied Jazz Guitar and Music Therapy (both Bachelor’s Degree). Currently he is studying Electroacoustic Composition (Master Program) at the KMH - Royal College of Music (Stockholm). He also studied with: Matteo Franceschini, Cesare Saldicco, Riccardo Piacentini and Antonio Galanti.


Music Design and Sound Design are MaterElettrica core business. Moreover Materelettrica, a team born in Electronic Music School of Matera Conservatory, is strongly active in different research fields, as programming for DAW enviroment, automation for music installation and remote control, applications for mobile devices. Following the entire process from composing to post production editing, since last three years MaterElettrica produced soundtracks for movies, documentaries, jingles and clips. MaterElettrica brought forth live performances (concerts and theater shows) and special projects for sonorization. The team collaborates regularly with: D.E.R. (Documentaristi dell’Emilia Romagna), Saul Saguatti, MUSMA Museo della Scultura Contemporanea di Matera, Associazione Minerva Scienza, VisitMatera, CDM (Centro di Musica Contemporanea, Milano). MaterElettrica took part to the following festivals: SpazioMusica 2013 Cagliari, Rupextre 2013, L’altro suono (Teatro Comunale di Modena), Lugo Opera Festival (Lugo).


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