Dramaturgy of vocal sounds in contemporary music
The Choruses festival will analyze the development of vocal writing in contemporary music, presenting the most important choral and vocal productions of the last 50 years and proposing new works that investigate the voice in its dramaturgical potentialities.
Avoiding the opera productions and the operatic use of the voice, the festival will focus on vocal techniques developed in the recent compositional researches. From the monumental historical vocal works of the last decades till the dramatic explorations of a cappella recent choral and vocal ensemble works, the festival aims to represent the complexity of the current use of the voice.
Choruses intended as multitude of individual voices, in their common utterance where the voice is seen as communication instrument, will be presented through new productions of a cappella dramatic choral works. They will be shown in different Venetian locations in the form of site-specific vocal works and processional performances. The refined and virtuosistic development of the vocal writing and the extended techniques created from the beginning of the past century will be further expanded upon through new commissioned works. The solo voice as performative instrument will be illustrated by world renowned vocalists.
The live and electronics treatment of the vocal sound will be curated by the CIMM Studios in collaboration with invited composers, exploring the materic substance of the voice.
Venezia as a historical point of departure of the development of vocal counterpoint and baroque dramaturgical experimentation of the voice, will be the object of new compositions that will analyse the peculiar acoustic of venetian locations.
Different College will be launched in order to help the possible renaissance of Italian vocal Ensemble and to produce new experimental works for the voice.
Out of Stage
Action concert pieces and site-specific music theatre experiences
Since decades the new music theater has invaded inedit spaces, alternative city locations, abandoned hangars, open-air spaces. This new music theatre experience nests in chamber music festivals, symphonic seasons, radio frequencies. Out of necessity or to make virtues out of necessity, it leaves the traditional stage and takes hold of a different social scene.
The control and treatment of sound sources through informatics media, the eclectic virtuosity of dedicated performers, the attractions of artists and intellectuals towards this inclusive and fertile machina-mundi, have progressively decentralized the place of the performance, which is not the traditional theater anymore, but the out-of-stage infinite possible locations.
The innate theatricality of the concert's ritual is enlarged and revised, developing what Mauricio Kagel has defined "Instrumental theatre", a theatre of sounds that doesn't need verbalization. Action-concert new works, and site-specific music theatre performance will animate the festival, together with new productions of seminal music theatre works.
The “Sound object”, past and new frontiers in sound treatment and diffusion
The advancement of sound recording and playback technology through new diffusion systems enables a new way to listen to music, a new culture of the hearing act. From the possibility to enter the sounds structure and study its parameters, till the creative and experimental alteration of the acoustic sound, pioneers of the fifties and contemporary composers of electronic and digital music have created a new sounds world that can be listened to in numberless individual or collective ways.
The festival will present music which can change the culture of perception and develop new forms of consciousness of listening. Luigi Nono's "tragedia dell'ascolto" (tragedy of listening) will burst forth into the actual world of creative sound design and innovative sound spaces.
New aesthetics of absolute music language
Music as a non-verbalised language, as self-referential and absolute language. European written music as the most refined attempt to transcribe acoustic fluxes of sounds into a hyper complex written codex. The festival will show the state-of-the-art of this alchemical and impressive discipline, the laboratory of the most rigorous and inventive composers, working in their Turris Eburnea, producing scores without any extra-musical references; scores that will be decoded for centuries with innumerable interpretations and new sophisticated music instruments.
Who are the new sound dreamers? A special net of composers and curators will be spread from the Biennale in order to investigate new aesthetics and new compositional inputs.