The seagull (1998)
Rain (1998)
Notturno (2000)
Aria (2001)
La battaglia del solstizio (2017)
Lo stellato (2010)
Nuclear Emptiness (2005)
Norilsk (2005)
Piano Duel (2003)
Ora i Passeri (2006)
Cosm'Ariel
Sopranino F flute and electronics
2020
8′ 05″
–
Antonella F. Bini
La composizione si è ispirata al nome «Ariel», spirito della tempesta di Shakespeare e «Leone di Dio» dal profeta Isaia. Il prefisso «Cosmo» rimanda all’idea di uno spazio lontano ed assoluto.
Il brano è suddiviso in 5 sezioni:
- Fight Lotta ovvero Scontro
- Falling down Caduta ovvero Perdita
- Airy water Acqua ariosa ovvero Dissoluzione
- Survival act Atto di sopravvivenza ovvero Ripristino
- Surrender (or not) Resa (o no) ovvero Scelta
La composizione è caratterizzata da un impianto narrativo:
- la lotta tra istanze interferenti;
- la precipitazione come risultato;
- la dissoluzione come conseguenza;
- il ripristino come recupero;
- la resa (o la ripresa) come scelta.
Il flauto sopranino è uno strumento timbricamente “sottile”, le cui qualità vengono messe in luce da una scrittura che possa valorizzare la sua voce “leggera”.
Il suono limpido dello strumento (ed a volte urlante con l’effetto kazoo) viene rincorso dall’elettronica creando un ambiente sonoro contrastato, tra continuità e frizione.
L’elettronica, a fronte di una specifica richiesta, è stata progettata per essere ready-to-use in qualsiasi contesto operativo (2 canali). Per tale motivo è stato preparato l’audiofile che, a fronte di una performance più impegnativa, semplifica il setting rendendo il brano eseguibile pressoché ovunque.
E’ stata altresì richiesta la possibilità di una versione temporalmente più elastica per la quale verrà programmata una patch in Max MSP con lanci sequenziali, rendendo l’esecuzione più libera a discapito, però, di una tensione meno netta.
The composition was inspired by the name “Ariel”, the Shakespeare’s spirit of the storm and the “Lion of God” by the prophet Isaiah. The prefix “Cosmo” refers to the idea of a distant and absolute space.
The piece is divided into 5 sections:
- Fight
- Falling down
- Airy water / Dissolution
- Survival act
- Surrender (or not)
The composition is characterized by a narrative structure:
- the struggle between interfering instances;
- precipitation as a result;
- dissolution as a consequence;
- recovery as recovery;
- surrender (or recovery) as a choice.
The sopranino flute is a tonally “subtle” instrument, whose qualities are highlighted by a writing that can enhance its “light” voice.
The clear sound of the instrument (and sometimes screaming with the kazoo effect) is chased by the electronics, creating a contrasted sound environment, between continuity and friction.
The electronics, in response to a specific request, have been designed to be ready-to-use in any operational context (2 channels). For this reason, the audiophile was prepared which, in the face of a more demanding performance, simplifies the setting making the piece playable almost anywhere.
It was also requested the possibility of a temporally more elastic version for which a patch will be programmed in Max MSP with sequential launches, making the execution more free at the expense, however, of a less clear-cut tension.
Surfaces
Four pieces for piano
2015
15′
Première
Cordula Fels and Bianca Schumann at Universität für Musik und darstellende Kunst Wien
Finalist at «3rd edition Mauricio Kagel composition competition»
Four pieces based about surface in three point of view
Surface as a body
Surface as a relation between bodies (man, instrument)
Surface as primitive geometric-gestural micro-patterns connected to each other and endowed with an univocal line which gives them a schematic motion partly
Movements
Between exploration of space between pianist and instrument
Through exploration of gesture and search of internal player tempo/time
Around figural exploration – with actions – characterized by local circularity
Over figural connections and gestures between pianists, until conclusion of whole actions
Surface as a cycle
Between birth and space-context exploration
Through growth and time exploration (possible evolutions)
Around actions implementation and balancing through special attitudes
Over sharing, overcoming, decline and loss
Locis
Bass and C flutes (one player) and electronics
2015
12′
Première
Antonella Fines Bini at Sala La Claque – Teatro della Tosse – Genova
Locis (ablative of Locus, in Latin means stay in, go to, go through, leave from a place) represents a location where the time characterizes cycles of events that built sequences of actions made by dominant duality: creative tensions against destructive ones, oriented direction against wasted ones, conservation against evolution, pure body’s reactions against reflections and remembrance.
Dialogue in Nature
Alto saxophone and tape (audiofile)
2005
6′ 05″
The word «Nature» means natural environment and generative tensions from which the instinct takes own shape. I put in foreground the human action as reaction against the representation of reality, into a dialogue between inside (history time) and outside (absolute time). The last section is characterized by an evocative dimension that tries to represent the point from which we are born and from which we are going to separate, for characterizing ourself, to try to live.
Memini
2012
9′ 30″
Première:
Sala Puccini – Milano
Memini Memini is based on two simple organizational principles in turn derived from a rereading of the sentence that I had sketched and later developed further. A reinterpretation of the sentence in “time” (horizontality) and in “space” (constitution of matter, verticality), simplifying the rules of organization and conduct I had encountered. The material was therefore organized into three macro movements (“constitution-state”, “exploration-development” and “decline-loss”). In Memini, events are destined to fold back (close, repeat themselves, freeze) as the idea on which they are based is the search for levels that once emerged have no reason to exist except in the sensations of those who felt them, sensations that are the light of memory».
• • • • •
Memini si basa su due semplici principi organizzativi a loro volta derivati da una rilettura della frase che avevo abbozzato ed in seguito sviluppato ulteriormente. Una rilettura della frase nel “tempo” (orizzontalità) e nello “spazio” (costituzione della materia, verticalità), andando a semplificare regole di organizzazione e condotta che avevo incontrato. Il materiale è stato quindi organizzato in tre macro movimenti («costituzione-stato», «esplorazione-sviluppo» e «declino-perdita»). In Memini gli eventi sono destinati a ripiegarsi (chiudersi, ripetersi, bloccarsi) in quanto l’idea su cui si fondano è la ricerca livelli che una volta emersi non hanno più ragione di esistere se non nelle sensazioni di chi li ha avvertiti, sensazioni che sono la luce del ricordo».
Die Welt des Waldes
Trombone and cello
2019
11′ 00″
Première
Two New Duo Ensemble at LAC Teatro Studio – Lugano – 13th April 2019
The trombone and the cello are instruments that, although they merge each other, have different evolutionary lines. The sonic-analytical and historical-musical ambivalences that distinguish them have started the search for relations between elements “close to” (material-sound, measurable and objective) and “distant to” (musical, historical, expressive). The piece, through a tangle that is both exploration and shipwreck, narrates a possible evolutionary path from the discovery-separation-individuation (Into), to the oriented movement (Dusky field), to the fusion/dissolution (Disclosure). «Die Welt» (the world) «des Waldes» (from the wood) rapresents a clear watching route inside a different textures of possibility.
Silence is all we dread
Ensemble (C flute, clarinet, violin, cello, via, perc., piano, audiofiles – opt.)
2015
10′
Première
20/23 September 2015, Expo Gate, Milan – Sentieri Selvaggi (C. Boccadoro)
Silence, or the absence of communication and, therefore, of life, is the thing that frightens us, because we know that we are still immune from death only when we can hear a voice, even ours. For this reason, silence is like infinity, without sound and without dimension, a concept that we can only describe in the negative, as the absence of something concrete and recognizable.
La battaglia del solstizio
Violin and piano
2015
4′ 30″
Première
Unperformed
O dolce terra dei sacri confini
Sono arrivati i tuoi Alpini
Perché l’Italia bisogna liberar.
E’ giunta l’ora del nostro riscatto
Su questo suolo che è stato usurpato
Da quel nemico che l’ha calpestato
Spargendo sangue, lacrime e dolor.
E fu battaglia per l’aspra contesa,
sia gloria in terra per ogni caduto
perché il nemico infine è battuto
ed avvilito è costretto a fuggir.
Su questa cima che guarda a Treviso
Più forte il cuore ci batte nel petto
Dimenticato abbiam Caporetto
E riacquistata la nostra libertà,
e riacquistata la nostra libertà.
Dedicata agli Alpini
Nexus
Ensemble (C flute, clarinet, violin, cello, via, perc., piano, audiofiles – opt.)
2015
10′
Première
20/23 September 2015, Expo Gate, Milan – Sentieri Selvaggi (C. Boccadoro)
The development is based on food, which shapes elements that interrelate each other until their natural and inevitable melting. The food, which has different attributes according to the cultural frame, is the medium of the relational process while connection’s acts (nutrition) are the process itself. The word “Nexus” means “connection”. Feeding is an act of connection, that the knowledge freed by meeting (from the “nourishment” of the body to the “nurture” of senses and mind) allows the movement and, meanwhile, the synthesis of new consciousness. The cycle is repeated unlimited times on countless levels. The “food”, in its simplest meaning, marks the border between survival and life, between mere self-preservation and pioneering tension: food is “what is necessary to the maintenance a man for a day” and what a man produces in a day is new “nourishment”.
Corps I
Violin and piano
2015
4′ 30″
Première
Unperformed
The compositions face the “mind / body” ratio in the organization of the sentence as a unified system by the elements that compose it by means of reactions, tensions and equilibrium points.
The choice of the French word Corps suggests the ideal unity between singularities and the system.
– The first body is approaching the “matter” creating conflicts outline attitudes and behaviors that will be developed;v
– the second comes into the “matter”;
– the third explores the relational agent, the performer.
We are facing a gradual transition from the causal agent concept to the phenomenon percevied (poietic process).
Corps II
Viola and piano
2015
4′ 30″
Première
Unperformed
The compositions face the “mind / body” ratio in the organization of the sentence as a unified system by the elements that compose it by means of reactions, tensions and equilibrium points.
The choice of the French word Corps suggests the ideal unity between singularities and the system.
– The first body is approaching the “matter” creating conflicts outline attitudes and behaviors that will be developed;v
– the second comes into the “matter”;
– the third explores the relational agent, the performer.
We are facing a gradual transition from the causal agent concept to the phenomenon percevied (poietic process).
Corps III
Cello and piano
2015
4′ 30″
Première
Unperformed
The compositions face the “mind / body” ratio in the organization of the sentence as a unified system by the elements that compose it by means of reactions, tensions and equilibrium points.
The choice of the French word Corps suggests the ideal unity between singularities and the system.
– The first body is approaching the “matter” creating conflicts outline attitudes and behaviors that will be developed;v
– the second comes into the “matter”;
– the third explores the relational agent, the performer.
We are facing a gradual transition from the causal agent concept to the phenomenon percevied (poietic process).
Verso
Stereophonic or quadraphonic fixed audio media
2014
10′
Première
Universidad Autonoma Metropolitana UAM Xochimilco – MUSLAB (Mexico City, Mexico)
New York City Eletroacoustic Music Festival – NYCEMF (New York City, USA).
The work is about the musical phrase as a container of conflicts and about the idea of “unity”. The latter is refined into its opposite, the extreme fragmentation and subsequent reunification through chains of not causal events (Markov’s chains). By relating created objects, it could be drawn trend lines. Verso is an oriented movement, a representation of one of the quality of space (uni-verse: movement towards the whole).
The work is about the musical phrase as a container of conflicts and the research for the formal and perceived unity from fragmented elements.
The sounds – generated or recorded – are fragmentized through several software patches controlled by a code that reads Markov’s chains: every couple of numbers contains an index and a number associated with a specific sound movement or transformation.
Every audio file is read in several ways and various times; it is fragmented into segments, stretched and mixed with other elements through gradual stratifications.
The material created is put in relation and, finally, chosen to derive music lines.
Every movement of the piece is characterized by two main ‘lines’ (‘tonic’–‘dominant’ or ‘main foreground’–‘main background’).
In order to try to represent the contrasts which lead to unity, the emphasis is also put on the dialectics between ‘rationality’/’intuition’ and ‘rule’/’derogation’, to look for a formal cohesion, able to strengthen expression.
Le parole dell'acqua
Audiovisual
7’11”
2013
- Minikino, Bali, Indonesia, Nov 2017 (short list) – Asia première
- Los Angeles Cine Festival, Feb 2017 (semi-finalist)
- Boomtown, Beaumont, TX, USA, Feb 23-26, 2017 (official selection) – USA première
- Today’s Music, Rome, Italy, 2014 (official selection)
- Concerti di mezzogiorno, Orta San Giulio, Aug 2014 (official selection)
- Synchresis, Valencia and Granada, Spain, Nov 2014 (official selection)
- Vuoto Ciclo – Sankta Sango – PAN, Naples, 2013 (official selection) – World premiére
The words are chains of sounds with several semantic levels. The words are the main way of exploring the world and beyond. This exploration may be structural (how the world is made of) or functional (how the world runs), and the meaning is embedded in the relationship between actor and context. The context is twofold: natural (Nature) and artificial (Culture). Nature goes on: it evolves ignoring man’s destiny. Culture is a human product free from the laws of nature: humans choices and activities have distanced themselves from life’s original matter. From these thinkings, the object is to represent the actions of human needs and relationships. Water represents a ‘wild vehicle’, such as big uncontrolled hands, but also the starting point of life. Water movements are the first expression of a pulse: a ‘cold’ and mechanical oscillation that is represented as dynamical vectors. In the deterministic logic, at first there is a ‘predicate’ that looks for its own shape. The red color is the blood, the beginning of a complex biological life. Blue is the sky: the ‘main frequency’ that draws the world to our sight through a mirror effect. Green is the aspect of humans that is closest to nature and represents the primeval generative conflicts (the woman) and the actions of order (the path). The end is the synthesis and the deletion: the ‘generated’ goes back to water. In the end, the water, which at the beginning was a ‘wild vehicle’, now carries many words that have lost their power: the memory, developed by words, is now disconnected in ‘liquid experiences’ in a time unable to build an identity, in a world of oblivion. The sound material is derived from visual frequencies transposed in an audible range and from my own libraries of environment sounds, sound effects and records of Mongolian throat singing. I have developed a software to create sounds from images.
Audio and video Omar Dodaro
Takes: Chiareggio, Colorina, Selvetta, Forcola (SO)
2013 Como (IT)
Ad Tensa (Hall)
Audiovisual
7’11”
2013
- Minikino, Bali, Indonesia, Nov 2017 (short list) – Asia première
- Los Angeles Cine Festival, Feb 2017 (semi-finalist)
- Boomtown, Beaumont, TX, USA, Feb 23-26, 2017 (official selection) – USA première
- Today’s Music, Rome, Italy, 2014 (official selection)
- Concerti di mezzogiorno, Orta San Giulio, Aug 2014 (official selection)
- Synchresis, Valencia and Granada, Spain, Nov 2014 (official selection)
- Vuoto Ciclo – Sankta Sango – PAN, Naples, 2013 (official selection) – World premiére
Soon
Broken Intimacy - Intimità violata (Passage)
Audiovisual
Installation
Made in collaboration with Olo Creative Farm
8’30”
2006
- Allarmi Como
- Athens video art festival
- Mya Lurgo Gallery
- Open week street art più
“The title “intimità violata” (“broken intimacy”) well expresses this long take sequence & tape meaning. The work represents the frenzy of a schizofrenic society, passionless, merged by loneliness and incommunication. But suddenly, in the heat of dismay, surfaces the yen for bouncing homologation and contending our own individuality. The main performer takes off her mask, climbs existence and engages a purification path, coming back to her childhood, through a striking iter, in which the art of music and dance assumes a cathartic role. Repression disappears, shortly: today’s society protagonists come back, destroying that precious purification. The girl tries, in vain, to involve them in her new journey of light, but she finds herself alone, resigned and looking for the initial position. The tale begins again in a cyclic way, in the same toilet that represents everything: public but also private place, emblem of an intimacy which is a prideful meeting point and sublime nostalgia, “self”‘s dwelling and its own ruin.”
The chosen location for “intimità violata” is functional to its installation.The opera was created in a public toilet to be projected in real size (1:1) during an art exhibition inside the same location. The toilet assumes a very important role: not only the background of the protagonist’s actions, but also the surrounding for a complete and fulfilling experience to the audience.The audio environment was created through 4 surround speaker to deeply involve the audience in the location. However this strong relation with its environment is not obstructive to its presentation; “intimità violata” can be experienced also in other environments, without loosing its meanings and aims.
Omar Dodaro with OLO Creative Farm
Text by Patrizia Calcinardi
2006 Como (IT)
Il mercante di sogni
Short narrative (2009)
- 3rd runner up at Movie Picture Film Contest, USA
- Selected at River’s Edge International Film Festival, USA
“The title “intimità violata” (“broken intimacy”) well expresses this long take sequence & tape meaning. The work represents the frenzy of a schizofrenic society, passionless, merged by loneliness and incommunication. But suddenly, in the heat of dismay, surfaces the yen for bouncing homologation and contending our own individuality. The main performer takes off her mask, climbs existence and engages a purification path, coming back to her childhood, through a striking iter, in which the art of music and dance assumes a cathartic role. Repression disappears, shortly: today’s society protagonists come back, destroying that precious purification. The girl tries, in vain, to involve them in her new journey of light, but she finds herself alone, resigned and looking for the initial position. The tale begins again in a cyclic way, in the same toilet that represents everything: public but also private place, emblem of an intimacy which is a prideful meeting point and sublime nostalgia, “self”‘s dwelling and its own ruin.”
The chosen location for “intimità violata” is functional to its installation.The opera was created in a public toilet to be projected in real size (1:1) during an art exhibition inside the same location. The toilet assumes a very important role: not only the background of the protagonist’s actions, but also the surrounding for a complete and fulfilling experience to the audience.The audio environment was created through 4 surround speaker to deeply involve the audience in the location. However this strong relation with its environment is not obstructive to its presentation; “intimità violata” can be experienced also in other environments, without loosing its meanings and aims.
Omar Dodaro with OLO Creative Farm
Text by Patrizia Calcinardi
2006 Como (IT)