First
record for a "new
artistic
life"
by
Alessandra
Novaga.
Why
I
wrote about
a "new
life"?
Because by some
years
Alessandra
has
begun
a
new exploration
around in
electrical
/
improvised
/
contemporary
areas
opening her artistic
career
to
new
instruments,
new
sounds
and
collaborations.
After
the previous
cd
made
with Spring
Duo,
always
dedicated
to
contemporary music,
but still
played with her
classical guitar,
this
"
CHAMBRE DES JEUX SONORES "
opens
not
only
to
new
sounds,
but
also to new
musical
philosophies.
I
try, in
this
review,
to
point
out
some
possible
ways
of
listening and
meditations
about these
musics.
First meditation: the title of the cd. "La Chambre Des Jeux Sonores" suggests a dimension of play and space exploration, construction of a non-rigid but more free and expressive.
Second
meditation:
the choice of
the
music label.
Those
who follow
my blog
know
my
"affection"
towards Setola
di Maiale,
italian independent
label whom,
thanks to
the
consistent
efforts
his founder
Stefano
Giust,
from
over twenty-years
is
devoted
to
improvisation
and
the
more
free
and
independent
musical
thoughts.
So
the choice
of
Alessandra
to produce
this
work with
this
label
denotes,
in my opinion, even the
desire to move
into
areas
other
than those
usually
used
for the
contemporary
music
of
academic
excellence, and
moving
on
land
over
charged
by
the free
edge.
Third
meditation:
listening
to the
5
tracks
that
“built” this record,
International
Hash
Ring
by the
New
Yorker
Travis
Just,
In
Memoria
by
Sandro
Mussida,
Collaborating Objects
by American
Paula
Matthusen,
Erosive
Raindrops
by Vittorio
Zago,
Untitled,
January
by Francesco
Gagliardi,
denotes not
only the use
of
open
structures
with
the possibility of
improvisation
by
the interpreter
but
also
a
more
...
"material"
component
in her sound.
The
sound
of
the electric guitar
is
often treated
with
the use
of
effects and
used
in a very different manner from what
we
are used to listen to
in
other
contexts (rock,
jazz, blues)
in
which
the electric guitar
has
accustomed us.
The
result is a
"transfiguration"
of
electric
sound
in
an extremely
innovative
and
interesting way.
On
this record,
it
goes beyond
a
"simple"
use
of
the guitar as
we
are
accustomed
to,
a
job that
transcends
a
possible
melodic
structure
with
the (musical) instrument
used
as a (sonic) tool
generating
sound
in
a
similar
manner to what
people
like
Keth
Rowe,
Fred
Frith
and
Eugene
Chaudborne
have
worked over the last
30
years of
free
improvisation.
I
don’t think it’s a coincidence that
some
of
the scores
used
herein
are
outside the
“normal
framework”
to
move
towards
visual
elements
such
as images and
video
aimed
at stimulating
a
different
musical
gesture
on
the part
of
the interpreter,
in
a
"set"
swaying
more
and more
towards
pure
performance.
Maybe
all of this is no so “new” as
it
seems
to me to
synthesize
and
build upon
the
causal
randomness
of
Cage,
the
irony of
Fluxus,
the
free-thinking
improvisational
European
‘70s,
the
New
York
intelligentsia,
the
physicality
of sound
and
electrical
industry
by Milan
city (where Alessandra lives),
I feel the
lack
of
a new "Opera
Aperta"
like the one by Umberto
Eco
who
knows how to
synthesize
and
better
delineate
these
new forms
...
maybe
we should
ask
Giuliana
Bruno
to
focus its
semiotic
look
for
a new
Atlas
of
(musical
and sound) Emotions.http://www.setoladimaiale.net/record.asp?id=SM2690§ion=audio
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