Controchiave Guitar Ensemble: A project founded and directed by Marco Cecilia, SIAE author and composer, and teacher. The project began in 1999 under the name “Orchestra di chitarre Controchiave,” initially composed of over 20 guitarists, and then reached its present formation as a quintet with Marco Cecilia and Giovanni Mascherucci on electroacoustic guitar, Guglielmo Oria on electric and baritone guitar, Cesare Costantino and Nicola Nosengo on classical and baritone guitar. The repertoire is varied and includes original compositions and reworkings of pieces selected from a wide range of apparently distant musical contexts, from Bach to Astor Piazzolla, Queen to Dave Brubeck, Pat Metheny and Jethro Tull. The group has performed widely in venues and festivals, mostly in the Rome area, such as the Giornata della Musica 2008 at the Auditorium Parco della Musica, the 2002, 2004, 2008 and 2011 editions of the Festa per la Cultura, and at Invito alla Lettura 2012 at the Biblioteca Comunale P. P. Pasolini.

Marco Cecilia completed his classical studies with Francesco Taranto and explored the modern language with Fabio Zeppetella and Enrico Bracco, also attending seminars conducted by Frank Gambale, Tommy Emmanuel, Robben Ford, Scott Henderson, Europa String Choir (study of the New Standard Tuning of Robert Fripp) and others. A SIAE composer and professor at many schools, he has published scores and the pedagogical text “Strumenti per il chitarrista” with the Erom publishing house.

PROGRAM: Marco Cecilia, Suite dei quattro elementi – L’ Acqua, Il Fuoco, L’Aria, La Terra.

Orchestra Papillon: founded in January 2005 with the aim of combining and reinforcing the varied teaching experiences of the musicians Simone Genuini, conductor and pianist, Roberto Nobilio, clarinetist and pianist, Valeria Bosso, violinist, Gabriella Pasini, violoncellist. The orchestral group joins more advanced students with children in their first months of study, and from an initial group of fifteen it has expanded to the present formation with seventy players and ten teachers, including the founders and guests. The orchestra does many benefit performances, including the annual concert on 8 November for ASM (Associazione Studio Malformazioni), dedicated to Margherita Nobilio, who lived only sixteen days due to a malformation of the heart. Past performances include the concert in 2011 at the Festival of Salzburg Cantus Salisburgensis, when the orchestra performed at the Mozarteum, the Mirabell Gardens and the Salzburg Cathedral. The teaching staff of the orchestra is composed of Valeria Bosso, Stefania Cassano, Roberto Nobilio, Gabriella Pasini.

The players of Orchestra Papillon – in the Very Young Group – are:
VIOLINS: Beatrice Nobilio,Tommaso Filippo Cucciardi, Daniele Campanella, Niccolò Ruggero, Aurora Barbagallo, Sophia Jasmin Khalifa, Pietro Giardina, Maria Vittoria Iannucci, Anna Chiara Capogni, Andrea Fazio, Alessia Marchetti
VIOLONCELLOS: Chiara Marchetti, Simone Ruggero, Lorenzo Nobilio, Eleonora Genuini
PIANOS: Jacopo Arsì, Michela Di Caprio
FLUTES: Giorgia Di Antonio, Lizette Ferracchiato, Chiara Crinò
CLARINETS: Marcello Danza, Matteo Crinò
SNARE DRUM: Luca Pomponi
TAMBOURINES: Isabella Beatrice Cucciardi
GUITAR: Damiano Chiodo

CONDUCTOR: Aurelio Ruggero
Degree in clarinet from the Conservatorio Francesco Cilea of Reggio Calabria. Winner of the international competitions Città di Capri and Città di Moncalieri, with an intense performance schedule in Italy and abroad. He has participated in the Concerti del Quirinale, the jazz festival Roccella J., the Mozarteum Argentino and in Salzburg, and toured in Chile, Uruguay, Argentina, Greece, Portugal, Austria, Hungary, Lithuania and Turkey. He has appeared on radio and television programs for RAI, Radio Vaticana, and in Argentina, Chile, Greece and Lithuania. Since 2004 he has taught music at the Ospedale Bambino Gesù of Palidoro and Policlinico Umberto I of Rome, where he has invented and implemented the therapy project “Uno dei fiati,” in collaboration with the Regional Cystic Fibrosis Clinic of Latium.

PROGRAM: Traditional Irish, The Wind that Shakes the Barley; Georg Friedrich Haendel, Minuet from Water Music; Camille Saint-Saëns, Tortoises, from the Carnival of the Animals; Klaus Badelt, Pirates of the Caribbean.

Peace Choir: a vocal ensemble that has performed many concerts over the last five years for humanitarian causes, raising funds for non-profit organizations. The repertoire is mainly gospel, but also includes a range of different original compositions. The choir is conducted by Sebastiano Forti and composed of a minimum of eight and a maximum of twelve singers, backed in the original formation by the rhythm section of Santo Tringali on pianoforte, Mauro Gavini on double bass and Giulio Caneponi on drums. The group recently worked on the soundtrack of the film that won the Golden Bear at the Berlin Film Festival 2012, “Caesar Must Die”, directed by Paolo & Vittorio Taviani.

PROGRAM: Joshua Fought the Battle of Jericho; Nobody Knows the Trouble I’ve Seen; Shalom; Amen.

Adaline Anobile (CH): Adaline Anobile was born in Geneva. After taking a Masters diploma in textile design at the La Cambre national school in Brussels, in 2008 she began studying dance and choreography at the School of New Dance Development in Amsterdam, under the guidance of Susan Rethorst, Robert Steijn and Gonnie Hegger. Today she continues her research on performance and contemporary dance, developing reflections on gestures, their obstacles and their opposites, and on their relationship with duration and thought, through the immediacy of the body. In 2008 Adaline Anobile met the choreographer Martin Nachbar and collaborated on the works Living Room and Nach Hause (2011). Today she is working on a range of collaborations in the United States, Germany and Switzerland. She has received a danceWEB grant in 2010 under the direction of Sarah Michaelson and Yasuko Yokoshi, at the Festival Impulstanz of Vienna.

BLACK MOUNTAIN String Quartet: Formed for the occasion, the Black Mountain String Quartet takes its name from the famous experimental arts college in North Carolina, where the ideas of the Fluxus movement, and of composers like J. Cage, M. Feldman and La Monte Young, were developed. Black Mountain College was located in a relatively isolated rural setting, with modest financing and an informal spirit of collaboration. Certain innovations, ties and unexpected connections that took form at Black Mountain had a lasting influence on American art in the postwar era. Buckminster Fuller met Kenneth Snelson, a student at Black Mountain, and the result was the creation of the first geodesic dome (improvised with boards in the school courtyard); Merce Cunningham formed his dance company there, and John Cage staged his first happening. Black Mountain College was a school of artistic disciplines based on the pedagogical concept of progressive education. At the time, it was a unique experiment in instruction due to the artists and writers that guided it, and as such it became an important incubator of the American avant-garde.

Sària Convertino (IT): Sària Convertino was born in Mottola in 1987. She began studying the accordion at the age of eight, and then moved on to study of the bayan with the chromatic system in 2005, under the guidance of Massimiliano Pitocco at the S. Cecilia Conservatory in Rome, where she graduated with honors in 2008. In March 2011 she took a Masters degree with honors at the same Conservatory. She has performed in concerts as a soloist and participated in many regional and national competitions, taking first place. Among international competitions, in 2003 she was selected to represent Italy at the Trofeo Mondiale C.M.A. World Trophy (junior), and then participated in Hungary at the finals, taking first place in the Coupe Mondiale Junior. She is a teacher at the S. Cecilia Conservatory in Rome, in the Pre-Academic Courses, and at the D. Cotugno music high school in L’Aquila.

Alfredo Mola (IT): He began his musical studies at the age of four with violin and pianoforte, followed by violoncello, studying in Naples with Giacinto Caramia, in Florence with Andrea Nannoni, in Rome with Jorge Schultis, in Cremona at the Accademia Walter Stauffer with Rocco Filippini, and in Vienna with Christopher Stradner. He has worked, among others, with the Orchestra A. Scarlatti of Naples, the Orchestra del Teatro Lirico of Bergamo, the Orchestra Sinfonica of Rome, the Symphonica Toscanini and the Orchestra del Teatro Regio in Turin. He presently collaborates with the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome. In April 2005 he was the sole Italian admitted to the finals for selection by the Orchester Akademie des Bayerischen Rundfunks. He frequently works with chamber ensembles of all kinds, with musicians like Luigi Piovano, Lorenza Borrani, Giacomo Fuga and Sara Mingardo. He is also an assiduous member of contemporary music ensembles, gaining gratifying acclaim from leading figures on the contemporary music scene like Fabio Vacchi and Luciano Berio.

Riccardo Savinelli (IT): A graduate of Conservatorio Guido Cantelli of Novara. Advanced training at the Accademia Stauffer in Cremona, under the guidance of Bruno Giuranna. He later moved to Belgium and took a degree at the University of Ghent under the Russian virtuoso Michael Kugel. At the same time, he took a degree in Philosophy at the Amedeo Avogadro University of Western Piedmont with Prof. Livio Bottani, writing a thesis on Philosophy of Music regarding Vladimir Jankélévitch. He works with several orchestras and has continued to develop his chamber and symphonic repertoire with musicians like S. Braconi, D. Waskiewicz and G. Karni. He works with the magazine “Allegro con brio”, writing articles on music and philosophy. Since 2004 he has been First Viola of the Orchestra Sinfonica di Roma, where he has had a chance to study the symphonic repertoire in depth, also performing as a soloist in Strauss’s Don Quixote and the Sixth Brandenburg Concerto of Bach. A great lover of literature and books, he has recently published short stories with Giulio Perrone Editore.

Mervit Nesnas (IT): Italian, of Austro-Persian origin, born in 1983 in Transylvania. She began to study violin at the age of five. She started at the Conservatory of Budapest, then moving on to the Conservatory in her city Cluj-Napoca under the guidance of Mariana Persa. In 1996 she moved to Rome and continued her training at the Santa Cecilia Conservatory with Camillo Grasso. In Rome she has performed regularly in concert halls and prestigious institutions like the Parco della Musica, Filarmonica Romana, Auditorium della Conciliazione, Accademia di Ungheria, Palazzo del Quirinale, Campidoglio, St. Peter’s Basilica, Oratorio del Gonfalone, Villa Celimontana, Accademia di Romania, and all over Italy as well. With the I Cameristi di Santa Cecilia she has performed in tours in Belgium, Egypt, Finland, China, Russia and the United States. She focuses on chamber music, working in ensembles with Enrico Dindo, Uto Ughi and others, and in different groups, including duos, trios and quartets, including recent performances of the Jubilee of Queen Elisabeth of England and at the Swiss Embassy in Rome.

Cristiano Serino (IT): Born in Rome in 1973. He attended the S. Cecilia Conservatory in Rome, graduating in Violin under the guidance of Aldo Redditi, and in Composition with Teresa Procaccini and Luciano Pelosi, and in Orchestra Conduction at Latina Conservatory. He attended serveral composition Master Classes with composers such as Louis Andriessen, Ivan Fedele, David Lang, Azio Corghi, Adriano Guarnieri. In 1999 he meets Hans Werner Henze, and with him he regularly studied at La Leprara in Marino (Rm).

His music had many executions in eminent locations in Italy (Biennale di Venezia, Teatro dell’Opera di Roma, Fondazione Arena di Verona, Auditorium Parco della Musica, Palazzo delle Esposizioni di Roma e l’Oratorio del Gonfalone di Roma, Associazione Alessandro Scarlatti di Napoli, Dolomiti Musica Festival, Incontri Europei di Bergamo) and abroad (Manchester, Preston, Nottingham, Ginevra, Washington, Lelocle, Ankara, Beirut, Teheran, Madrid, Pechino, Lubljana, Maribor, Meiningen). His compositions have been broadcasted from Rai Radio 3 and other national and foreign radios. He taught armony, analyis, composition, orchestration, improvisation in the Conservatory of Ferrara, Cosenza, Latina, Castelfranco Veneto, Salerno and Benevento, where he is now teaching armony and musical analyis.

Anna d’Errico (IT): The repertoire of Anna D’Errico ranges from classical music to that of the present, with a special interest in the latter that has led her to establish working relationships with some of today’s most intriguing composers. She is regularly invited to appear in many international concert halls and to take part in recording projects. She has worked with composers like Helmut Lachenmann, Salvatore Sciarrino, Enno Poppe, Georges Aperghis, Brian Ferneyhough, Beat Furrer, Rebecca Saunders, Heinz Holliger, and conductors of the caliber of Peter Eötvös, Lucas Vis and Matthias Pintscher. She collaborates with the Algoritmo Ensemble, under the direction of Marco Angius; she is a founding member of Ensemble Interface, and has appeared with Ensemble Modern and Ensemble Linea. As a teacher specializing in contemporary repertoire and techniques, she regularly takes part in workshops for composers and performers in Italy and abroad, and in interdisciplinary education workshops involving music and other languages. She was named Creator in Residence for 2013 at the Tokyo Wonder Site.

Dave Phillips (CH): One of the leading figures of Swiss extreme music since the 1980s, member of the historic Schimpfluch-Gruppe, Dave Phillips works between performance in the actionist tradition and disturbing field recordings.

a href=”http://syncope.istitutosvizzero.it/wp-content/uploads/2013/03/a_guhl2.jpg”> a_guhl2 Andy Guhl (CH): Found in the 190s of the duo Voice Crack, Guhl represents one of the most courageous adventures of the European avant-garde, mixing a background in free improve with studies and experiences related to musique concrète.

Teho Teardo (ITA): Essential figure of Italian underground since the Eighties, Teho Teardo is also one of the most respected composers of soundtracks for cinema. For the centenary of “The Art of Noise” he will present in first preview a live mixing of OH, originally composed for sixteen “intonarumori” (sound generators invented at the beginning of XXth century by Luigi Russolo himself), played for the first time at Performa 09 from T.R.I.O. of Trento Music Academy, and also a selection of new releases.

Skullflower (UK): A historic name of the British underground, Skullflower have been and remain the leading exponents of the Broken Flag aesthetic, a label that since the 1980s has crossed the cruder aspects of so-called industrial music with a guitar-based, if not always rock, matrix.

Cut Hands (UK): On the borderline between electronics, tribal repetition and noise primitivism, Cut Hands is the latest project of the English musician William Bennett. Active since the early 1980s under the name Whitehouse, Bennett is perhaps the most influential figure in the development of today’s non-academic «noise music».

Aaron Dilloway (USA): Probably the most important noise artist of the last decade, Dilloway was one of the founders of the group Wolf Eyes and now works as a soloist using analog electronics, tapes and loops.

Céline Hänni (CH): After having graduated from harp and voice studies at the Conservatoire Populaire de Musique in Geneva, Céline Hänni entered the Conservatoire Supérieur in Lausanne to study harp with Chantal Mathieu, taking a diploma for teaching. Together with many experiences in orchestras and teaching, she has refined her singing in the class of Danielle Borst at the Conservatoire Supérieur of Geneva. A rebel of sorts, she has explored vocal experimentation through a wide range of traditions and styles. In parallel with interpretation of the 20th-century repertoire and the creation of contemporary works, she practices improvisation as well. A curious explorer of the arts, she likes to associate her sound research with theater and the graphic arts.

Rudy Decelière (FR): Born in 1979 at Tassin-la-Demi-Lune (FR), he lives and works in Geneva. He explores sound art mostly through installations, in both outdoor and indoor spaces, and in an ongoing relationship with environments, architectural elements and native soundscapes (Archipel 2003, Bex & Arts 2011, Abbatiale de Bellelay 2012, Jenisch Museum 2013). His parallel experiences as a sound engineer for film and a sound designer for interdisciplinary projects have led to multiple reflections regarding sound, its spaces and their relationships or limits with respect to music, giving rise to performances and multichannel works broadcast in specific contexts. Thanks to his experience in film, Rudy Decelière works mostly with concrete sounds, at times made abstract, testing the limits of the perceptions of the listener.

Denis Schuler (CH): A composer, musician and curator, Denis Schuler explores the terrain of music, drawing material from different spheres, including traditional music, improvisation and so-called occidental art music, comparing and combining multiple influences in a personal discourse. Through the study of rhythm and sound material, his work investigates extreme listening conditions, especially in the direction of silence. The music proposed by Denis Schuler relies on a particular capacity for concentration, where the ear often has to make an effort to perceive breath and noises. He creates spaces of sound reception that allow musicians to rethink the relationship with listeners, while offering the latter a chance for a different type of listening. Born in Geneva, Denis Schuler studied drums privately, then classical percussion at the Conservatoire Supérieur of Geneva, where he took a teaching degree. He then studied composition with Nicolas Bolens, Eric Gaudibert, Michael Jarrell and Emanuel Nunes.

Noémie Etienne (CH): An art historian, Noémie Étienne lives and works in Geneva, Zurich and New York. She wrote a doctoral thesis entitled La restauration des peintures à Paris, published by Presses Universitaires de Rennes in 2012. Her research focuses on the ties between visual culture and material culture, on the notion of the object, the relationships between theories and practices, art history and anthropology, or art, science and crafts. A co-founder of the interdisciplinary nomadic festival Eternal Tour (www.eternaltour.org), she is now planning a residency at the Cairo headquarters of Pro Helvetia.

Anna Spina (CH): Born in 1971 in Bern, she studied viola at the conservatories of Bern and Zurich. She is an outstanding interpreter of contemporary music, and a very innovative, versatile player. Without denying her classical roots, she works in a wide range of areas: she has played as a member or musician in many ensembles from the Swiss contemporary music scene, including Collegium Novum Zurich, Contrechamps Genève, Quatuor Kairos Berlin, NEC La Chaux de Fond. She is interested in microtonal and spectral music, and has studied the scales of Arabian music (with the Egyptian violinist Abdou Dagher). She prefers to develop her interpretations in collaboration with composers, including works on Georges Aperghis, Giorgio Netti, Michel Roth, Elena Mendoza, etc; her repertoire ranges from the 20th to the 21st century. Anna Spina has produced many creations, and played as a soloist and chamber musician in international festivals. She has published a CD of solo works with the labels NEOS and Grammont.

7pm e 8:30pm

free entry until seating capacity has been reached

The concept of the evening comes from reflection on the twelve bunkers Mussolini ordered built in the 1930s under Rome, seen as emblems of the invisible places that exist in cities. The bunkers are a pretext to think about space as the product of political, social, cultural and mental factors. The concrete structure with beveled corners, the armored doors, the air filters that make these places impenetrable bear witness to an intensification of fear of others. The bunkers can become the vector of a theoretical reversal. Looking at them “in reverse” means imagining a convex territory, without walls, an area of sharing without limits or boundaries, an autonomous, mobile, real, existential or imaginary zone. Ensemble Vide thus moves underground and updates the problematics of the void, starting with an encounter with what is hidden. The project mixes art and science, creating new connections developed with the timing of performance: dance, music, lecture and installation meet the audience below ground level.

Underground spaces of Chiostro del Bramante, via della Pace, 5 – entrance from via della Volpe, snc

Concept by Ensemble Vide, coordinated by Denis Schuler

Performers: Adaline Anobile (dance & performance), Sària Convertino (accordion), Rudy Decelière (sound installation), Lucia Piccioni (art historian). Consulting: Noémie Etienne (art historian).

With the technical collaboration of AMEG

Lucia Piccioni (IT): After having taken a degree in Modern Literature at the University of Macerata, Lucia Piccioni took a Masters degree in Art History at the École des Hautes Études en Sciences Sociales (EHESS) in Paris, where she is now conducting doctoral research in collaboration with the Scuola Normale Superiore of Pisa. Her research on the links between art and politics, and on the concept of the autonomy of art, focus on the identity implications of landscape and the representation of the human figure during the period of Fascism in Italy (1922-1943). She has been a researcher at the Institut National d’Histoire de l’Art (INHA, 2008-2012) in Paris, and has held various teaching positions in Art History at the Sorbonne-Paris I.

7pm / free entrance

The concert at Piazza dell’Immacolata in the San Lorenzo neighborhood in Rome is inserted in the multiple reality of public space, where a multitude of parallel stories and people meet, discuss, play, sing, eat, come and go. This is why different groups and styles are positioned at different points, alternating classical, choral, gospel, pop and jazz, to reflect the diversity around us. The spatial array of the musicians and the apparent disorganization of the formation alter our way of listening: some musicians perform in the square, while others are at windows or on rooftops. The sounds mingle and move. The architecture of the buildings becomes more evident, creating a true set for this spectacle open to all who pass through the square. Set design by the architects Susann Vécsey and Christoph Schmidt.

Piazza dell’Immacolata – San Lorenzo, Roma

Coordinated by: Denis Schuler

Music by: Klaus Badelt, Marco Cecilia, Georg Friedrich Haendel, Camille Saint-Saëns, traditional Irish music, gospel choirs, improvisation.

Sets:
Susann Vécsey & Christoph Schmidt (CH): White circles with a diameter of one meter are arranged around Piazza dell’Immacolata. This aesthetic intervention attracts the attention of passers-by to the event in progress. At the same time, the circles offer a space in which to sit and listen. They can be moved and repositioned in the public space; they move freely, just like the musicians and the audience.

Antoine Chessex is a swiss composer, saxophone player and experimental musician born in 1980 in Vevey (CH). His sonic researches include compositions for ensembles, solo works, transdisciplinary collaborations and sound installations. Chessex´s works are based on the exploration of the physicality of sounds and spaces.
His solo works feature dense layers of sustained pitches reacting with the architecture of the space or massive clouds of amplified sax resulting in intense live actions in total immersion in the sound.
He presents his works worldwide and appears at numerous international venues and festivals in the United States, Japan, China, Russia and all around Europe.
Recent compositional works include “DUST” for 3 violins and electronics (commissioned by Pro Helvetia), “Resonant Water” a site specific piece for acoustic ensemble, “Metakatharsis” commissioned by the Phoenix Ensemble in Basel, “CHUTE” for the Kammerensemble Neue Musik Berlin as well as numerous electronic music pieces.
Collaborations with musicians like Lasse Marhaug, Zbigniew Karkowski, Jérôme Noetinger, Chris Corsano, Maja Ratkje, Ilios, Didi Bruckmayr, Thomas Ankersmit, Valerio Tricoli, C. Spencer Yeh, Axel Dörner, Hans Koch, Robin Hayward, Lucio Capece, Dave Phillips, Kasper Toeplitz, Monno, architect Christian Waldvogel and media artist Ulrike Gabriel.

2.30pm / free entrance
What do musical notes repeated for hours make happen in the body and the spirit? How does the memory of melody develop? Is it possible to remain concentrated on musicians for 300 minutes? In 1983 the American Minimalist composer Morton Feldman wrote his second string quartet. It lasts approximately five hours, in a single movement without pauses. The music imposes a new device and investigates our aptitude for long-term listening. The stamina of the musicians is tested along with the listeners, half dozing, as they lose all notion of time and find themselves living an experience in slow motion. The sense of time, the audience seated in rows, lose all their meaning in such a context. Therefore solutions must be found to allow the music to unfold in a space open to movement and to meditation. The experiment is conducted in the Reception Hall of Villa Maraini, entirely refurbished for the occasion by Christoph Schmidt and Susan Vecsey (members of ISR 2012/13).

Istituto Svizzero di Roma
Entrance via Ludovisi 48

Coordinated by Denis Schuler

Black Mountain String Quartet: Cristiano Serino (violin I), Mervit Nesnas (violin II), Riccardo Savinelli (viola), Alfredo Mola (violoncello).
Program: Morton Feldman, Quatuor No.2 (1983)

Set design:
Susanne Vécsey & Christoph Schmidt (CH): For once the piano nobile of the Villa Maraini should be filled with life. Diverse furnishing of all mayor rooms should create convenient spaces to spend an entire Saturday afternoon listening to the string quartet, reading books while having a tea or even taking an after-lunch nap. In the central hall the custom-made white sculpture consisting of four interconnected chairs is meant to be a pedestal for the musicians rather than a stage. From early afternoon until after sunset a softly lit naked light bulb is hanging above the musicians. It marks a constant point of concentration within these hours of contemplation.

9pm–10pm–11pm

free entrance with limited seats
A voluntary blackout. Total darkness. Sonic bodies delicately fill the space, probing all its nooks and crannies. What are the points of reference? How can we orient our listening? It we cannot see the musicians in the space in which they are playing, the perception of the music becomes global and constitutes a “sonic world”. Everything is part of the experiment, there are no longer parasites or noises, and there is an extension of listening. We can hear breathing, silences form notes, speech becomes incarnate. Starting from a mixed repertoire that includes contemporary music, folk music and improvisation, Anna D’Errico, Céline Hänni, Denis Schuler and Anna Spina offer an experience of place through hearing, developing an utterly original concert format. The four musicians play three times, three different repertoires, for a single sensory experience. The musical experience thus conceived eliminates sight to concentrate on the experience of the space through sound, also thanks to the organization of the hall, done by the architects Susann Vécsey and Christoph Schmidt, members of ISR 2012/13.

Istituto Svizzero di Roma – Sala Elvetica
Entrance via Ludovisi 48

Concept by Ensemble Vide, coordinated by Denis Schuler
Ensemble Vide: Anna D’Errico (piano), Céline Hänni (voce), Denis Schuler (diffusione), Anna Spina (viola)

Music by: Georges Aperghis, John Cage, Eva Cveta, Claude Debussy, Morton Feldman, Olivier Messiaen, Kurt Schwitters, Jürg Wittenbach

Set design:
Susanne Vécsey & Christoph Schmidt (CH): They found their architectural practice ‘Vécsey Schmidt Architekten’ in Basel in 2007. Besides competitions and building projects they also work on theoretical issues of Architecture.

Through a volumetric cross connection the oversized existing columns merge into a big white sculpture within the overall space. The intervention is space unifying and not – as might be assumed – space dividing. The audience of the concert in full dark can lie or sit on the sculpture while musicians can move around them in all directions.

Die Schachtel (ITA): Label born in Milan in 2003, Die Schachtel has rapidly grown up as one of the reference names in the avant-garde and experimental range. For TAM TUUMB!, its founders Fabio Carboni and Bruno Stucchi will sonorize the setting of the Istituto Svizzero with an inventory picking both amongst historical reprints, and new protagonists of international experimental music.

Susanne Vécsey & Christoph Schmidt (CH): They found their architectural practice ‘Vécsey Schmidt Architekten’ in Basel in 2007. Besides competitions and building projects they also work on theoretical issues of Architecture.

Set design:
With a simple intervention, the application of room-high letters on the existing pillars, their seperating impact is dissolved in favour of the overall space. Dioganally viewed the characters unfold an abstract, sculptural expression. The letters refer to the title of the concert which for his part is borrowed from a poem of the Italian futurist Filippo Tomasso Marinetti.

4.30 pm – 12 midnight / free entrance

Inside the Syncope project, a musical program in five events, dedicated to contemporary artistic experiences which break the circle of harmony and tradition, on Sunday 24th of March Rome’s Istituto Svizzero presents the TAM TUUMB! Project, a series of performances on the centenary of Luigi Russolo’s “The Art of Noise” publishing.

In 1913 the Futurist Luigi Russolo published a manifesto, “The Art of Noise”. For Russolo, to fully reject the harmonic and melodic codes that still governed the 18th-century musical tradition, the time had come to «break at all cost from this restrictive circle of pure sounds and conquer the infinite variety of noise-sounds» whose power, according to the artist, could «bring us back to life». His insight pointed to many later developments in 20th-century music, making him become the godfather and demiurge of entire currents: from musique concrète to industrial music, all the way to the contemporary forms of noise music.

In particular, from the start of the 2000s on, the most heretical circuits of underground music have gone through a genuine noise Renaissance, whose impact has been unprecedented in the balances of the new sounds produced outside academic musical circles, including electronic, rock or generically experimental music. And Russolo’s name is still there, revered and honored by a generation of musicians that has taken the Art of Noise to its extreme consequences: reinterpreting, reinventing and – why not – betraying it. One hundred years after the publication of one of the most influential manifestos in the history of music, TAM TUUMB! offers a chance to take stock of a lively phenomenon, one with an unpredictable impact on the musical research of the new millennium, while paying tribute to one of the most revolutionary, visionary and farsighted forefathers of the Italian avant-garde, widely acclaimed abroad though curiously overlooked in his native land.

The idea is to go back to the points listed by Russolo himself, in his manifesto dated 1913, and to see how musicians of the two latest generations have reinterpreted them, achieving surprising solutions and results that go beyond mere sound effects, in a return to the authentic spirit of the Italian Futurist: that of «enrich[ing] men with a new voluptuousness they did not suspect existed».

According to Russolo, «the art of noises must not be limited to a mere imitative reproduction. The art of noises will extract its main emotive power from the special acoustic pleasure that the inspired artist will obtain in combining noises».
Russolo identified a long series of families of noises, in a sonic spectrum that ranged from «roars, bellows, claps» to «animal and human voices». In these families, we have found – in our opinion – the descendents that seem most original, interesting or influential in historical terms, alternating already historic cases with others in a state of becoming, and crossing experiences from different places, backgrounds and times.

WHISTLES, SNORES, SNORTS
Aaron Dilloway (USA): Probably the most important noise artist of the last decade, Dilloway was one of the founders of the group Wolf Eyes and now works as a soloist using analog electronics, tapes and loops.

ROARS, CLAPS, FALLING WATER, DRIVING NOISES, BELLOWS
Cut Hands (UK): On the borderline between electronics, tribal repetition and noise primitivism, Cut Hands is the latest project of the English musician William Bennett. Active since the early 1980s under the name Whitehouse, Bennett is perhaps the most influential figure in the development of today’s non-academic «noise music».
Skullflower (UK): A historic name of the British underground, Skullflower have been and remain the leading exponents of the Broken Flag aesthetic, a label that since the 1980s has crossed the cruder aspects of so-called industrial music with a guitar-based, if not always rock, matrix.

SHRILL SOUNDS, CRACKS, BUZZINGS, JINGLES, SHUFFLES
Teho Teardo (ITA): Essential figure of Italian underground since the Eighties, Teho Teardo is also one of the most respected composers of soundtracks for cinema. For the centenary of “The Art of Noise” he will present in first preview a live mixing of OH, a composition for sixteen “intonarumori” (sound generators invented at the beginning of XXth century by Luigi Russolo himself) and also a selection of new releases.
Andy Guhl (CH): Found in the 190s of the duo Voice Crack, Guhl represents one of the most courageous adventures of the European avant-garde, mixing a background in free improve with studies and experiences related to musique concrète.

ANIMAL AND HUMAN VOICES
Dave Phillips (CH): One of the leading figures of Swiss extreme music since the 1980s, member of the historic Schimpfluch-Gruppe, Dave Phillips works between performance in the actionist tradition and disturbing field recordings.

WHISPERS, MUTTERINGS, RUSTLINGS, GRUMBLES, GRUNTS, GURGLES
Antoine Chessex (CH): A composer and sound artist whose work ranges from pieces for instrumental ensembles to installations. One of the founders of the Swiss group Monno. He now lives in Berlin.

SOUNDSCAPES
Die Schachtel (ITA): Label born in Milan in 2003, Die Schachtel has rapidly grown up as one of the reference names in the avant-garde and experimental range. For TAM TUUMB!, its founders Fabio Carboni and Bruno Stucchi will sonorize the setting of the Istituto Svizzero with an inventory picking both amongst historical reprints, and new protagonists of international experimental music.

SET DESIGN:
Susanne Vécsey & Christoph Schmidt (CH): They found their architectural practice ‘Vécsey Schmidt Architekten’ in Basel in 2007. Besides competitions and building projects they also work on theoretical issues of Architecture.

With a simple intervention, the application of room-high letters on the existing pillars, their seperating impact is dissolved in favour of the overall space. Dioganally viewed the characters unfold an abstract, sculptural expression. The letters refer to the title of the concert which for his part is borrowed from a poem of the Italian futurist Filippo Tomasso Marinetti.