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Continuo #1
This composition has been carried out using slivers selected by several improvisation sessions. The material has been treated in order to highlight the fundamental features of the sound research undertaken by each member of the trio. In spite of the post-production operation, efforts have been made to preserve the spontaneity of the invetion, expressive freedom and the interplay, typical of the improvisation.
Continuo #1 is a composition that , right from the title, helps to figure out the philosophy with whom the trio produces its music. It's about a composition in which the start and the end are just arbitrary borders of a creative process with no limits.
Thomas improvises on Fender jazz with a multi-effects system and several objects and drum sticks made by himself for the stimulation of the strings and of the sonorous body of the instrument. Luca works with Gong and tubular bells , forged in the iron by himself. In fact, he studies the acoustic features in order to point out the sonorous pontentialities of the material. Lorenzo uses a constantly evolving Ableton-Live's patch with whom he handles sampling processes and manipulation in real-time of fields recordings and sound objects.
The aim is the musical interaction of three musical, digital and electroacoustic and acoustic systems in a unique sonorous context.
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released July 6, 2015
Tri/o is a radical improvisation project based on the interaction between acoustic, electronic and digital systems. It's about a research project which moves through different sound representation levels : musical and concrete.
The latter term means to refer to the experimental music trend which ,from the 1940' onwards, has been making use of any kind of 'sound objects' as basic sounds for the compositions.
The founding members of this project are Lorenzo Binotti: direction and electronic sound; Thomas Bianchi: electric bass, double bass, chapman stick and multi-effects; Luca Esposito: gong bell, iron handmade instruments and metal alloys. The three members are musicians with a background of different musical and intellectual experiences. Nevertheless, they have found a common ground in the necessity of developing a personal sound language within the overview of the music experimentation and improvisation.
Since it's a musical formation basing its own activity on the improvisation, during the concerts the public will attend a formation of an 'uncreated' sound substance, in which the formal concept of music and temporal control structures, that are the basis of each 'real' sound event, leave room to expressive freedom, intuition and interaction between the musicians.
Consequently, the live performance is not the execution of a pre-existing form, but rather a process of creation with its own limits and unpredictable expansions.
Despite that, some aspects concerning sound base choices (soundscapes and fields recordings, sound objects or sound synthesis, as well as stimolation techniques of stringed and percussion instruments) and fruition typology of performance from the public (frontal concert and development of strategies ad hoc in order to facilitate optimal concentration and listening in relation to the complexity of the context), are the result of a research operated from the analysis of the space where the performance will take place and also from the issues faced by the festival which will host the ensemble.
photo: © Marco Illuminati
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