[ EXPOSE part 1 ]  Project for the Composition of a New Work

for a duo of bass-recorder and percussion with Live-Electronics

 > 1. Introduction

The composition of a duo, for obvious reasons, means the confrontation of two individuals that, due to their peculiar characters, are able to activate a situation of strong “dramaturgy”.

The dualism, in a broader sense, has been always a central theme in the shaping of my musical language, beginning from the material organisation to the “musical behaviour” of the players, in my works (as it is possible to hear in the CD) there is in all levels (music material, gestures, structure) a strong need of “theatre”, a dialectic attitude.

This project will describe a duo for the following performers: bass-recorder, percussion, Live-Electronics

 > 2. Dramaturgy

Two basic aspects seem to me be essential in the duo-dramaturgy:

• the bass-recorder and the percussion are chosen since they represent two among the earliest music instruments that fit the kind of musical material chosen (see 3.); further considerations concerning this choice are connected to the process of re-define in a new way their “sound repertoire”. The main idea, on the timbre domain, is to make behave the bass-recorder in a percussive way and vice-versa. Concerning the percussion (several skin-instruments) the range of its sounds will be produced mostly with hands.
• on a purely sound intuitive level, in the new piece will be an high attention to the “exchange of timbres”, obtained through a compositional attitude that I can express with: “thinking to an instruments with categories that belong to another one”. This allows me to create a new territory (both in timbre and gesture domain) that, in the case of the duo will be even stronger since the electronics will empathise this “timbre-morphing”).

From this elementary dualism, depending also on the musical needs that the material will create, further “intermediate” possible paths will be developed according a leading idea of “complexity in simplicity”, two aspects that only apparently seem to be in contradiction.

A third one, not less important, comes from the extreme “sound-flexibility” of the two players that will be able, according to my imagination, to “colour” each other's timbre so that the result will be a broad range of changing nuances.