At the
cutting edge of an anthropological revolution, the
unpredictable and uncontrollable transition from
analog man to digital man, Francesco Pirella's matrix-man
powerfully poses the dilemma of the seperation between
mechanical and biological, between digital and physical,
proposing a recombination, a harmonic fusion.
The same dilemma is reproposed in this musical
project, in which eight different notions of musical
expression are contrasted. Pieces which are exclusively "analog" (i.e.
purely instrumental) are juxtaposed with others that
utilise electronic elaboration, all being linked by Eduardo
Sanguinetti's acrostic "TIPARCHETIPI", which is based
on the name Francesco Pirella. Its sixteen verses, read
by the author himself, were divided amongst eight composers
(some of whom were already well-versed in the exploration
of the digital world, whilst others were still strongly
attached to sound's physical nature) as the basis for
the realisation of a work for bass clarinet with (or
without) magnetic tape.
The choice of bass clarinet for this piece was
dictated by the skill of its intended interpreter, Rocco
Parisi, who for some time has been a skillful and passionate
advocate of the submerged world of new music (or, if
you like, new musics). To him, as well as to Francesco
Pirella, who followed and stimulated this project, a
heartfelt thanks from all the composers involved. (Riccardo
Dapelo).
Some of
these pieces were presented during an exhibition
and installation of Francesco Pirella: "Istallation
of the simuiacrum of typographic man", Acquasanta
(Mele), 1996; "The universe, the matrix", Città della
Scienza, Napoli, 1998; "Tipography in changed bodies",
Galleria Nazionale di Palazzo Spinola, Genova, 1998.
(Traduzione di Russel Hall). |
