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Valerio Sannicandro


The idea of composing for far-away sound-sources (in this case six musicians) goes beyond the sheer practical, social and human situations, as it provokes a direct consequence not only on the composition techniques (see my writings about the multiple counterpoint levels in Ius Lucis 2006/20071) but also on the nature of sound itself.
Indeed, placing sound-sources at different physical places can be a deliberate act to allow – through a composition process – a wide series of possibilities and chances: Firstly we might consider in this peculiar project the different perspectives of listening (from live to remote transmissions through binaural reproduction). Secondly, musicians placed in separate rooms allow sound – in this peculiar architecture – to be manipulated (transformed) without any interactions or masking effects due to direct sound, a condition that makes sound-movements in space essentially clearer and more effective. The chance to treat such sounds and shape them according to spatial perspectives allows to enter into another aesthetic area.
As a matter of fact the sonic nature of these resulting sounds (acoustic but dramatically transformed and fragmented by spatialization) raises new questions about the sound world that is represented, Space-related acoustic effects2 are taken as metaphor to compose sonic spaces and acoustic situations, a crucial point in this project. Technology, in this case would show another facet, not an artificial (sound) aesthetic but a tendency to simulate a kind of spatial-oriented sonic environment (read: sound-sculpture, almost environmental music).



Création contemporaine

Repertoire secondaire

Création contemporaine



Nombre d'artiste sur scène



Mise en espace, Spectacle mis en scène, concert in 2 rooms