It is a concert for ensemble, live electronics and light installation.
The live performance of some works by Giacinto Scelsi entwines with 8 new electronic compositions by Luigi De Angelis and Sergio Policicchio.
Scelsi’s works are: Khoom, Seven episodes of an unwritten tale in a distant land for so- prano voice, two violins, viola, cello, horn and two percussionists and Sauh I and II for soprano voice.
The 8 electronic compositions explore the universe of sound of composer Giacinto Scelsi, his tactile, bodily approach to music, the physicality of musical improvisation and the subtle, magmatic, underground dimension. They form a plot, a lively and pulsating body of sound from which the seven chapters of Khoom and the voice parts emerge. The electronic compositions are mainly based on low and infra-low frequencies, making use of the whole range of low frequencies speakers and echoing other compositions by Scelsi (for example Okanagon, In Nomine Lucis, Wo-ma), the sound landscape he immersed in during his improvisation sessions, his obsessive recording activity and the reassembling by means of magnetic tape.
For the whole duration of the concert, the sound design by Tempo Reale takes care of the sound spreading of the compositions for low frequencies and at the same time makes the gradual step from the electronic score to the live perfor- mance of Scelsi’s works absolutely natural. The sound design is conceived for 8 speakers, 4 subwoofers and 2 infra subwoofers and is to be reformulated depen- ding on the characteristics of the venue.
In In Nomine Lucis the setting of the audience is of great importance. Not a cano- nical front view, but the audience laying down on beach or deck chairs, listening in solitude and in a meditative dimension, touched by the low frequencies, the sound going through them. The ensemble is placed at the centre of the scene on a raised platform, with the audience on two sides on their beds giving their back to the ensemble, outward-facing, looking to “a distant land”… The hornist and thesinger can leave their central position and move among the small beds, creating an effect of natural surround sound, as if they were playing for each single member of the audience.
The concert is conceived to be performed almost completely in the dark, with the exception of some ephipanies of light radiating from the centre of the scene, from the platform where the ensemble is placed, as if they were subliminal trails of light, already present in the music and materializing from time to time, real reverberations of musical light. The light design is programmed by means of a de- dicated software, so that it’s possible to “compose” the light’s lines in an horizontal way as if each and every light source was the instrument of an orchestral score or Scelsi’s music itself. For this purpose, we will make use of some blinders or similar projectors all around the musicians’ platform, outward-facing, and some profile spots from above and at the edges of the scene. We will also use a fog ma- chine, in order to emphasize the materiality of light, its dust.
The duration of the concert is approximately 70 minutes.