Alessandro Massobrio

outHear New Music Week - 2024 Klangforum Wien & PPCM Graz Ana Caseiro (voice) Miriam Overlach (harp) Szymon Kałużny (violin) Text fragments by: Ludwig Wittgenstein Carlo Rovelli Umberto Boccioni :::::::::::::::::::::::::: Program notes :::::::::::::::::::::::::: Choked words, grains of space, ancient glimmers: in years of renewed violence and collective acceptance of horror, the ecstatic words of a philosopher, a physicist and a painter of our time remind us that the nature of things loves to hide. :::::::: Text :::::::: Die (Sprache) die Welt ist alles was dem Fall ist. Die Welt zerfällt in Tatsachen (die Sprache zerfällt). Die gesamte Wirklichkeit ist die Welt. Die Gesamtheit der Sätze ist die Sprache. Wovon man nicht sprechen kann, darüber muss man schweigen. Die Satz ist ein Modell der Wirklichkeit wie wir sie uns denken. Die musikalische Gedenke, die Notenschrift, stehen in jener abbildenden internen Beziehung zu einander, die zwischen Sprache und Welt besteht. _________________ Ondivaga natura / aspetto ondivago della realtà / tempo che si ferma / spazio che si strappa / struttura discreta dello spazio. Una rottura di continuità. Siamo lo spumeggiare irreversibile dell’energia libera che era intrappolata nel disequilibrio tra idrogeno ed elio ed è stata liberata dal sole. _________________ Sfondo quadrato argenteo dei caseggiati medi accaldati / vampa limpidissima pulviscolo blu-oro atomi d’estate azzurro cielo / beatitudine del borghese che viene sul terrazzo a fumare il sigaro / posti sulla ghiaia, bisbiglìo, voce, lucentezza accecante lontana dei vetri di una serra / lago intravisto / lago di Garda / lago Maggiore / lago dei Quattro Cantoni / luccichio di vetri / tremolio di onde increspate dal vento / profumo, frescura, sogno, libertà.

Sound of Wander 2024, masterclass concert by mdi ensemble at Fabbrica del Vapore, Milano. Luca Ieracitano (piano) Matteo Savio (percussion) Photo © Stefano Pozzi - Martina Bari, courtesy of Istituto Italiano di Fotografia

debole forza pt.1 (esploso - 2010) performed by Andrew Zhou at Studio Boerne Berlin, in the context of the concert programme Hypothesis. Berlin 2023.

Commissioned by Music Current (Dublin Soundlab). Performed by Izumi Kimura and Shane Latimer at Music Current Festival 2023, Project Arts Centre Dublin.

Performed at OutHEAR New Music Festival in Larissa, Greece, by Klangforum Wien and PPCM Graz Clarinet: Elena Arbonies Jaregui Alto Sax: Grald Preinfalk Flute: Gregory Chalier Accordion: Krassimir Sterev

in Five Phaenomenological Studies

Senza - miniatura #3 (for piano and percussion) 2020 by Alessandro Massobrio

Senza - miniatura #2 (for piano and percussion) - 2020 by Alessandro Massobrio

Senza - miniatura #1 (for piano and percussion)- 2020 by Alessandro Massobrio

Track 05, from Flushing Device 'Event Horizon', Betulla Records (2006) performed by Alessandro Massobrio

Villadeati (for string trio and field recording) - WIP excerpt by Alessandro Massobrio

Live Excerpt a/v w/ Valentina Besegher

Live Excerpt a/v w/ Valentina Besegher

Fabio Orsi / Flushing Device. Collezione del silenzio. Free interpretation of silent sounds. Silentes Tapestry - White Series www.silentes.it/tapestry

Short extract of a soundwalk in Genoa's Porto Antico, with Valentina and our dog Lungo, 2004 🖤 by Alessandro Massobrio

Performed by Lux:nm "[...] After this, men can believe anything, expect anything: don't any of you be surprised in future if land beasts change places with dolphins and go to live in their salty pastures, and get to like the sounding waves of the sea more than the land, while the dolphins prefer the mountains." Archilochus

E-guitar 2006.

Performed by Julia Den Boer - Unerhörte Musik - BKA Theater, Berlin Gravitational force governs matter down to macroscopic proportions, while playing a crucial role in the process of physical decay. This inescapable interaction controls conflicting forces and processes, proximity and distance, growth and decline, identity and difference. In this piece, I wanted to retrace these relationships by organising the sound material according to an inverse directionality, i.e. starting from an expanded situation, and then collapsing into a denser and more organic temporality, which perhaps attracts, by rolling it backwards, what is scattered at the beginning. So, musically, I explored techniques of scale explosion, extreme dynamics, resonance strategies through the pedal and the use of the e-bow on the piano strings. A sense of stasis and dissolution, perhaps an obscure dynamism activated through the electronic part, marks the listening of the piece. Any sense of musical movement is interrupted and remains unsatisfied. This also seemed to me to reflect the human condition, as a kind of ascending and at the same time descending movement. The electronics in this piece use amplification as a musical parameter. The microphones function as lenses that zoom in and out of the mechanics of the instrument exposing an electrocaustic immanent layer that ultimately integrates the resonance of the piano in the room. Further sound-space is additionally opened by a few reworked piano samples synchronised by means of a digital support. At this point we have a multi-dimensional sound object: the musical layer, generated by the interactions of the performer, and the layer of the bodies projected by the loudspeakers into the surrounding environment.