cantierezero
translocal collective for music and contemporary arts (I/A)
  
  
  
  
  
cantierezero
info
bodysnatchers/ultracorpi
visible(in)visible
Duo Novalis
Luigi Abbate
Tiziana Bertoncini
Ivan Rabaglia
Agostino Di Scipio
Giorgio Klauer
Johannes Kretz
Bartolo Musil
Fabio Nieder
Grzegorz Pieniek
Stefano Trevisi
Lara Ušić
Gerhard E. Winkler
Cristalli di clessidra 
LUIGI ABBATE, Cristalli di clessidra [1985/2011]
piano four hands and electronics

I gathered some figurations of a former work for two pianos. Digital gestures, pianistic snapshots particularly suited to decomposition and recomposition processes. Given to the first player, the six short models act as a proposal - and as such they are presented in the beginning sequence - for a certain number of permutations that modify in an almost unperceptible way the physiognomy of each figuration. The second pianist, through the interplay of "muted" keys, provokes a resonant sedimentation that inflates giving place to momentaneous richer sonorities. But it is only a hinted essay of a meeting between two piano registers.

Doppelgaenger 
GIORGIO KLAUER, Doppelgänger (heimlich/unheimlich) [2010]
piano four hands and electronics

The electroacoustic part of Doppelgänger (heimlich/unheimlich) is generated by means of a real-time synthesis implementing a finite-difference string physical model. Through this method, extremely realistic sounds become viable, but also sounds that are inaudible for the actual hearing boundaries. Moreover, not materially realizable string structures are modelable and hence interactable through countless virtualizable actuations, in order to get astonishing sound chimaeras.
The research on timbre has been taken to paroxsystic extremes. An expressly suited computational environment has been developed to coherently couple the sonic resources to the formalisms of the musical language caracterizing the work, accompanying each step of the creative process, from sketching to composing to notating to performing.
Following the musical commission from the Duo Novalis which came along the project visible(in)visible centered on the theme of the double, I singled out the piano as the doppelgänger of the electroacoustic part, in the specific Freudian sense of a narcissistic projection (Das Unheimliche, 1919).
The genesis of the electronic part brought to a musical structure characterized by coactive repetition. Recurrences express in the most varied forms the selfcomplacency with timbre, whereas the piano becomes deeply destabilising, precisely because its part is symptomatically the exact image of the electronics.

plenty o' nothing 
JOHANNES KRETZ, plenty o' nothing [2009/2010]
piano four hands and electronics

plenty o' nothing concerns north american sound phenomena and musical preciousities. The title ensues from a song by George Gershwin's Porgy and Bess where the question about values and richness are thematized in a complex, yet rather humorous way. Fragments of it, which one could name as north american sonic articulation exemplars/paradigms, are atomized and brought into interaction and comparison with the sound of the piano, in order to project into the performance space a palette of characteristic sonic topologies. Therefore the piano is painstakingly painted over and, in a sense, "americanized". The spiritual centre of the piece is a quodlibet, were Gershwin's "Summertime", his Rhapsody in Blue, as well as the songs "As time goes by" and "Over the rainbow" are gathered in a multiple layered polyphonic rendezvous.

Requiem für einen Namen 
FABIO NIEDER, Requiem für einen Namen [2010]
Zwölfstimmiger Spiegelkanon
piano four hands

Requiem für einen Namen is a part of the Timmel opera, a night musical theatre play, as defined by the composer himself, which for long time Nieder has been working on. The starting point of this singular work in progress are the vicissitudes of the painter Vito von Thümmel/Timmel (Vienna, 1886 – Trieste, 1949) and his oneiric and suggestive poetics, fantastic and surreal, but marked by psychic pain.
The piece is characterized by an extremely dense and complex way of writing where the different genetic materials building the substrate of the whole opera sashay in a sort of accumulation. Timmel conducts here the farewell ritual to his actual name, to his actual identity, dissolving himself loosing his memory into a pure and gravityless room. Requiem für einen Namen is a 12 voice canon in contrary motion, the middle of the keyboard being an axis for the upper ascending half and the lower which descends, reminding of a weep.

Zwei Spiegel 
FABIO NIEDER, Zwei Spiegel [2010/2011]
für Baritonstimme und Klavier zu 4 Händen/für Klavier zu 4 Händen und Bariton in vertauschten Rollen.
Texte von Paul Celan und Fabio Nieder

Zwei Spiegel is one of the central scenes of the Timmel opera, a night musical theatre project, as defined by the composer himself, which for long time Nieder has been working on. The starting point of this singular work in progress are the vicissitudes of the painter Vito von Thümmel/Timmel (Vienna, 1886 – Trieste, 1949) and his oneiric and suggestive poetics, fantastic and surreal, but marked by psychic pain.
The complex dramaturgy of Timmel is scanned in several autonomous scenes that unfold as ritual actions and as moments torn from the flowing of time by the musical score. In these stations Nieder is amplifying the characters and the fuctions of the personae in a way that the boundaries of the theatrical space are enlarged into a metaphysical and symbolic universe. (s.a.)

[links to sound excerpts are coming soon] 
Illusion 
GRZEGORZ PIENIEK, Illusion [2011]
piano four hands and electronics

To reach the unreachable, to discover the undiscovered, to explore the unknown - that is the eternal desire of humanity. New lands, new species, new stars, new worlds.
In some way, music is also a closed, coherent world we try to explore while listening to it. Or rather an illusion of a world, because its fugitive, elusive nature does not allow us to get known it completely. It passes with time, vanishes after the performance and only a vague impression remains after the concert. The everyday life goes on.
The idea of two opposite realities - the material world and the illusive realm of music - are reflected in the form of the piece, wich splits into three fragments, where the external parts use a similar sound material. The passage from one fragment to another creates a kind of gate or threshold. And, like in every music piece, there is also a very natural gate: the first and te last sound. A gate between life and music, between the material world and an illusion, between the obvious and enigmatic, between the visible and insvisible.

di polvere e tempo 
STEFANO TREVISI, di polvere e tempo [2010-2011]
piano four hands and electronics

[...]
Dios mueve al jugador y éste, la pieza.
¿Qué dios detrás de Dios la trama empieza
De polvo y tiempo y sueño y agonía?
J.L. Borges, Ajedrez (from El hacedor, 1960)

Through the amplification and the live electronic sound processing the piano becomes an instrument capable of enlarge its own expression field. In this work bent to the theme of visible/invisible wich characterizes the whole performance, ambivalences rise at different levels: the interpreters oscillate between univocal gestures and polyphonic textures (also by means of live electronics); the preparation of the instrument, thought not only as the enlargement of its timbral capabilities but also of the instrumental sound morphology itself, transforms the piano from a percussion instrument into a dense oscillation network, leaving the hearer loose the perception of which materials are actually produced by the piano and which are generated through the live electronics.
The formal unfolding results itself ambiguous, with three apparently independent situations interleaved with two static transitions, momental detours over a single sonic detail. Their order encrypts which of them is the original and which actually its evolution. Maybe it is always the same embodiment, probed at different places of hearing or from opposed temporalities.
The time itself, though certain processes converge, is deprived from any orientation, being marked by static snapshots that anyway leave a common sedimentation whose presence is percepted as a resonance only when it has vanished...

Black Mirrors II 
GERHARD E. WINKLER, Black Mirrors II (HerzStück) [2012]
piano four hands, self-sensing actuators and electronics

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chpn3.2 
AGOSTINO DI SCIPIO, chpn3.2 (variazioni di sensibilità al sé [2012]
feedback network for piano, self-sensing electrodynamic actuators and electronics

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Still again Sealed again 
STEFANO TREVISI, Still again Sealed again [2012]
violin, piano four hands, self-sensing actuators and electronics

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Three Man in a Wormhole 
GIORGIO KLAUER, Three Man in a Wormhole [2012]
violin, piano four hands, self-sensing actuators and electronics

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Off-Theater
Grzegorz Pieniek, Claudio Cristani, Stefania Amisano, Stefano Trevisi, Johannes Kretz, Giorgio Klauer, Lara Ušić
playing Illusion by Grzegorz Pieniek
playing di polvere e tempo by Stefano Trevisi
playing Requiem für einen Namen by Fabio Nieder
playing Doppelgänger (heimlich/unheimlich) by Giorgio Klauer
cantierezero: Stefano Trevisi, Claudio Cristani, Stefania Amisano, Giorgio Klauer
playing plenty o' nothing by Johannes Kretz
Grzegorz Pieniek
Grzegorz Pieniek, Claudio Cristani, Stefania Amisano, Stefano Trevisi, Johannes Kretz, Giorgio Klauer
applauding Lara Ušić
Stefano Trevisi, Giorgio Klauer
visible(in)visible

Giorgio Klauer, Doppelgänger
Stefano Trevisi, di polvere e tempo
Johannes Kretz, plenty o' nothing
Grzegorz Pieniek, Illusion
Fabio Nieder, Requiem für einen Namen

Concert held on 13.04.2011
Off Theater, Vienna

Stefania Amisano and Claudio Cristani,
piano duo

Giorgio Klauer, Johannes Kretz,
Stefano Trevisi, sound projection

Lara Ušić, visuals
Vienna, 13.04.2011 at Off Theater
visible(in)visible concert program
Eterotopie
visible(in)visible

Giorgio Klauer, Doppelgänger
Stefano Trevisi, di polvere e tempo
Johannes Kretz, plenty o' nothing
Grzegorz Pieniek, Illusion
Fabio Nieder, Zwei Spiegel

Concert held on 25.06.2011
Eterotopie, Madonna della Vittoria
Mantua

Stefania Amisano and Claudio Cristani,
piano duo

Bartolo Musil, baritone

Giorgio Klauer, Johannes Kretz,
Stefano Trevisi, sound projection

Lara Ušić, visuals
Mantua, 25.06.2011 at Eterotopie
visible(in)visible concert program
Trento preview
playing di polvere e tempo by Stefano Trevisi
visible(in)visible preview

Stefano Trevisi, di polvere e tempo
Marco Uvietta, Ritrovare
Luigi Abbate, Cristalli di clessidra
Giorgio Klauer, Doppelgänger

Concert held on 15.02.2011
Auditorium Liceo Rosmini, Trento

Stefania Amisano and Claudio Cristani,
piano duo

Giorgio Klauer, Stefano Trevisi, sound projection

Lara Ušić, visuals
Trento, 15.02.2011 at Liceo Rosmini
visible(in)visible preview
Visuals
still frames by Lara Ušić
from visible(in)visible
still frames by Lara Ušić from visible(in)visible