GHEDALIA TAZARTES in concert 15th of March 2015 O' Milano

GHEDALIA TAZARTES

15/03/2015

  O'

Milano

Ghedalia Tazartes:Voice, All Instruments

some videos:

IMAGES FROM THE PAST 3 (BLAINE REININGER, MUSIQUE EN CHANTIER,CTHULU RECORDS,PRESENCE,VIVENZA,LES TROIS PHALLUS)

Interview with BILL SHARP (MNEMONISTS,BIOTA) from ADN 2 1982

Could you tell us something about your history?

Mnemonist Orchestra came together in March 1979 as a simple experiment on my part. The idea was to bring together an assortment of people: visual artists,scientists, musicians from diverse backgrounds rock, traditional jazz, improvisation, trained, untrained etc., place them in a spontaneous environment with simple arrangements suggesting only mood, dynamics and running time, initiate the improvisation and see where it leads. Many of the participants had never worked together before and none had seen the arrangements until shortly before the improvisation occurred.In order to best illustrate the images that went into the conception of the orchestra, I mixed pre-taped environmental material live as the improvisations proceeded. The results of this experiment were eventually released as DYS 01 on our label DYS RECORDS.The four pieces were recorded without rehearsal or retakes.

By fall of 1979 I had devised a plan to further dissect and manipulate improvisation in a more concentrated and pre-determined way. From approximately 150 minutes of material recorded during October 1979 to February 1980, 22 fragments were extracted and edited together to define a structure or "story line" having traditionally unstructured (improvisational) music as its source.The result is the second LP "Some Attributes of a living System" also released on DYS RECORDS. Once again we attempted to integrate visual art with music. The prints accompanying DYS 02 were done by Torger Hongen, Randy Yeates and Tom Katsimpalis all of whom contributed to the music as well. The project involved our first significant use of electronics, in this case as an illustrative tool primarily. The.The electronic instrumentation ranged from primitive home-fashioned devices to the DeltaLab acoustic computer, a digital delay processing computer.

I feel our third LP/visual package "Horde",was a great step forward for us in several respects. Begun in June 1980 and completed in May 1981, it represented our most effective and concentrated merging of modern and early music instrumentation with extensive electronic processing techniques. The extreme effect of such processing on the acoustic and electric instruments subjected to it gave us the "visual/illustrative" tool we needed to symbolize certain destructive tendencies in modern, industrial society. With Horde we also achieved a more effective unity between the visual and aural aspects of our work. 

My personal approach to composition does indeed begin with visual imagery, of a mental sort, and ends with a sublimation of such images in form of sound collages.This approach is not shared by all Mnemonist members, but as a totality we seem to balance each other out with our differing approaches to composition. The source instrumentation is documented in Horde notes included with the package,however details of electronic processing are not.No synthesizers were utilized. All electronic sounds resulted from the processing of the source instruments.The processing devices included tapes manipulation,extreme equalization and digital delay work(the Delta Lab computer again). The folder of 10 visual pieces included with the Horde LP was and will probably remain the most elaborate packaging for our work, as it was an expensive inclusion and I suspect that economic factors  may force us into simplifying our visual presentation in the future. This is unfortunate but it seems that many distributors don't want to pay extra for such things!

Since Horde was released, we have distributed another set of material, entitle "Roto-Limbs", on cassette only.This approximately 75 minutes of material recorded utilizing massed, primitive, battery-powered electronic devices as well as standard instrumentation:The cassette includes visual fold-out and is available from AEON Colorado. AEON serves for original distributor for all DYS releases.Our next LP is planned for release this summer.The sound material is completed...we are presently working on the visual aspect of the work,which will continue certain Horde themes.

Are you involved in other artistic fields?

Mnemonists involves member working with both visual and sound media.We try to stress these 2 aspects of our work equally with each release. The DYS label founded by myself also applies this philosophy to other Mnemonist releases.Our future live events will equally stress the sound and the visuals. For the future, I can certainly envision into the dance and literary media.

What kind of organization do you have concerning concerts and record production?

Although our focus has been studio work,we plan sound/vision live events for May and late fall 1982. Within summer 82 we expect to accomplish the majority of the studio work for LP number 5. The label DYs plans releases by French multi-instrumentalist Pascal Comelade and Italy's Maurizio Bianchi, in addition to Mnemonist LP's number 4 and 5 (early 1983). We welcome correspondence from artists interested in releasing their material in the U.S.

Is there an alternative musical in the USA' Are you in contact with other American musicians?

There is a great deal of new music being produced and released independently here in the U.S., although the scene as a whole might not be most accurately described as a movement.That's because there really is not a whole lot of communication between the various factions and groups. Each is off on its own in a way, just taking care of its own business matters. And ,off course, there is a competitive tension ever present. I guess it goes along with the tiresome "free enterprise" mentality. We enjoy communicating with other musicians here and abroad and we have difficulty keeping up with it, as we all keep standard working jobs, most full-time,and when we're not at work, we're usually in studio,or managing the label and distribution.Our communications with other musicians are thus very limited.

Do you feel influenced by European music?

Most definitely.As a group, a great diversity of influences come into Mnemonists music..... European,American,Eastern,folk artists: both music and visual. Speaking for myself,the influences range from European and American folk musics( eg. American Indian chants and dances,traditional Macedonian singing etc.) to diverse electronic composers such as Pascal Comelade,Costin Mierenau,Gilbert Artman and the Groupe Reserches Musicales of France. At the same time I must admit that I constantly try to distance myself from musical influences in an attempt to approach my work most openly. But the will always creep in! I don't think any composer can isolate him or herself completely!As for visual artists I am obviously most influenced by my fellow Mnemonist visual colleagues,as we try to maintain a constant flow of inspiration between music and visuals. Outside of the group share, I also encounter a great deal of power in the visual work of Ernst,Bacon,Klimt,Goya,Klee,De Chirico and numerous others.

How would you describe your music?

As a group Mnemonists achieve a rather odd blend of the intuitive "romantic" compositional tendencies of certain members(eg. myself and Steve Scholbe) and the "absolute" music of others, such as Mark Derbyshire.This contrast results in a very tenuous and stimulating studio environment. We always seem to be on the edge of disaster, so consequently the final work either succeeds or fails,there's a very little between these extremes.The diversity  of influences ,musical background, training and compositional approaches of our members probably explain the difficulty in classifying the group's music. I can speak more specifically and accurately about my own intentions as a group member. I approach the compositions from a pictorial/visual perspective; I see the music as a "landscape" even before I hear it. I propose to illustrate powerful aspects of our planetary environment that we, as species, tend to avoid, ignore,overlook or simply take for granted.In essence,I feel we must emphasize a sensitivity to all life forms. It is that devastating imposition of great power by a handful of individuals that could ultimately destroy all life on this planet. We, as species, as a global collection of rich and diverse cultures must first recognize this power that is used against us by a select few,and similarly, I feel we must recognize all of the richness: the art,the tradition,the culture that we stand to loose.If my music is violent,that is because violence is a phenomenon that must be confronted through understanding rather than through escapism or ignorance.My music deals with reality , not fantasy; it advocates observation,understanding and confrontation of a problem in order to solve it.

         THE GROUP IS NOW BIOTA AND THIS IS THEIR SITE  

ERIK POPPE (I)

                                                           ERIK POPPE

                    Norvegian Director , Screenwriter, Cinematographer and Press Photographer
                                                   Born in Oslo 24th of June 1960

Erik started his career as photographer for the newspaper Verdens Gang. He was a war photographer in the 1980s, in the Middle East, Central America, Angola and Mozambique. 

"Even if we're almost drowned by images, with messages trying to reach us all the time, there's no doubt that a single image in a newspaper or somewhere else can actually affect something."

"I was almost becoming an adrenalin junkie and I was really depending on being out in these areas, I was afraid it could drive me a bit mad."

But just as he started winning major prizes in his late twenties, he decided to leave the battlefield and head to film school. He graduated as a cinematographer at the Dramatiska Institutet in Stockholm in 1989, and had great success as a cinematographer for commercials. He also was director of photography on Bent Hamer's film Eggs.
In 1998 he started his "Oslo trilogy" with the film Schpaaa (Bunch of Five) followed by Hawaii, Oslo and deUSYNLIGE (Troubled Water).
In 1998 he also started with friends Paradox Films in order to produce Norvegian Films

His next film will be Three Days in April

1998 Schpaaa (Bunch of Five)

Emir and Jonas  are two younsters part of a baby criminal gang in Oslo. Emir suffered a small brain-damage after being beaten by his father as a 5-year-old. Jonas' biggest problem is trying to stop Emir from hitting people on their head. They are offered a job by a gang of drug-dealers: deliver a packet of heroin to one guy and beat up another. This is the start of events that bring their lives out of control.

2002 Hawaii, Oslo 

It's one of the hottest days of the year in Norway, and seven people will cross their paths without knowing what fate will bring to them. Frode and Milla are becoming parents, but they are upsetted learning  that their baby will not survive. Bobbie-Pop is a failed pop singer who wants to die. Leon,a kleptomaniac, is determined to marry Åsa - the woman with who has sworn to marry him within the span of a decade. When Leon's brother Trygve checks his brother out of the institution under the auspices of celebrating Leon's birthday, he has no idea that his brother is determined to remain a free man at all costs. The angel who connects all of these unassuming souls is Vidar, Leon's best friend at the institution, and the man with the power to see things that none of the others can even comprehend. Though Vidar may be able to save all of the others from a grim fate, it remains to be seen if he will be able to save himself when all is said and done.

2008 deUsynlige (Troubled Water) 

A man convicted in his teens for killing a child is released on parole. He finds work as a church organist and develops a rewarding relationship with a priest and her young son. However, his caring for the boy catches the attention of his old victim's mother, bringing to the surface her bad memories and unanswered questions. This draws them both into troubled waters, having to learn when to hold on and when to let go.

2013 A Thousand Times Goodnight

Rebecca  is a photo journalist obsessed with reporting in dangerous war zones. She documents a group of female suicide bombers in Afghanistan. She accompanies one of the suicide bombers to Kabul , where the premature detonation of the bomb severely injures her. While recuperating at her home in Ireland , she is confronted by her husband Marcus (Coster-Waldau) and her daughter Steph (Lauryn Canny), who force her to choose between covering war zones, or prioritizing her family. She chooses her family.Steph is intrigued by her mother's photographs and interested in humanitarian work in Africa, so Rebecca proposes a photography trip with her daughter to a refugee camp in Kenya. Marcus agrees, assuming that the trip will be safe. Instead, the camp is attacked by an armed group that begins murdering people in their tents. Rebecca sends her daughter to safety but stays in the camp to document the attack.

An interview with Erik

Interview

trailer Hawaii,Oslo

1000 times good night trailer

deUsynlige trailer

IMAGES FROM THE PAST 2 (PTOSE,DDAA,LA STPO, CRAIG BURK, CONRAD SCHNITZLER, STENKA BAZIN)

Interview with RICCARDO SINIGAGLIA (FUTURO ANTICO, DOUBLING RIDERS, CORRENTI MAGNETICHE)

                                               

                     

                         

When did  you  first encounter music ?

I was a boy when I first listened to a Listz record and I really was overhelmed by it.

                                 


Could you inform us about the main steps of your music training?

Once I was very keen on classical music and I was member of the association “gioventù musicale” (music youth), so I attended to all the concerts at  the Verdi concert hall of Milan Conservatory.

Later I started to play piano and I enrolled in the course of electronic music held by Angelo Paccagnini. He was  a great music teacher and a wide-opened musician  who liked improvisation and every kind of music experience. I think that I owe my present status of musician and teacher to his way of being. Probably other teachers would have brought me to stop my studies.

Angelo Paccagnini

Composer, Executor and Teacher , do you think that these three roles are perfectly balanced in your music activity or do you think they cold be better distributed ?

Teaching is very nice, I always learn something in my relationship with my pupils they are often very brilliant.

Composer and Executor are normally different roles in Western tradition, but  I normally melt them because I need to be both, considering that I love working through improvisation, which is something like an instantaneous composition.

Do you see teaching like a source of inspiration and learning?

Off Course, the relationship with my pupils brings to a mutual exchange that gives me the opportunity to stay up-to-date. This kind of relationship is bidirectional  the more you teach the more you learn.

I think it would be interesting to spend a few words on the evolution of your relationship with Milan Conservatory from student to teacher.

My relationship with Paccagnini was based on consideration and friendship so he took me with him, as an assistant, even during his summer advanced courses. After my diploma I was a trainee so I continued to stay at the Conservatory to teach to the students of the first year.

When Paccagnini became the director of Milan conservatory and left teaching, his place was taken by Riccardo Bianchini ,one of his students, who had ended his studies when I started mine. After some time he moved to Rome so I took his place and started to teach at Milan conservatory where I’m also teaching nowadays.  

Could you speck us about “Esemble Elettroacustico” and “Uroboro Orchestra”?

Since long we started a course of improvisation with electronic instruments, at the beginning I did it with Gaetano Liguori ,who also had been  a student of Angelo, but it was a problem for the Conservatory to have a course with 2 teachers so I had to go on alone with the students of our department.

You can see some of the results of this work on my youtube channel.

What kind of role has improvisation in your music and in your activity as a composer?

An important role I think, I always try to find a balance between the opposed polarities of composition and improvisation. 

                                                           Futuro Antico

Which were the effects of Milano music effervescence during  the seventies on your music?

It was a time full of life and new ideas, I was thinking that it was time to free ourselves from the conditioning of avant-garde music which had become academy, later everything returned slowly to normality and monotony, luckily today I rediscovered in young people the wish to go back to creative liberty.

When did you start with electronic music? And when dates back your love for African an Middle-East sounds?

Probably at the end of the seventies when I bought an electric piano and started to listen to contemporary composers like Berio and Stockhausen but also to the music of Ravi Shankar and similars. In the meantime I started also to listen to jazz and musicians like Jimi Hendrix with a great primordial force and sounds that were not so distant from cultured avant-garde.

In 1973 I bought my Moog.

Which are your present feelings towards your solo works  Watertube/ringspiel;Riflessi;Scorrevole 3/Fluttuazioni and Correnti Magnetiche?

I always like them, and sometimes I listen to them with pleasure.

Could you tell us extensively about the activity of the artistic nucleus “Correnti Magnetiche”?

The group started after my meeting with Mario Canali and from our mutual passion for digital art and symbolism.

At the beginning I prepared the videos in basic and the music for Mario, but later we thought that it was better to share the tasks and so I continued only with music. We were developing the concept of collective art so we included in the group Flavia Alman & Sabine Reiff for the visual part and Tommaso Leddi, Gabin Dabirè and Maurizio Dehò for the music.

We started to do live concerts where Mario was painting on a drawing board connected to a projector following our improvisations.

With concerts, videos and installations we were everywhere and we gained many awards. At the Ars Electronica Festival we unbelievably won the second  prize after John Lasseter of Pixar who had behind him a big organisation and the money of Steve Jobs.

Unfortunately Mario gave up , tired  of digital complications, and moved to Laurel Canyon (Los Angeles), a well known place thanks to John Mayall ,where he returned to traditional painting.

Anyhow we keep in contact.

And what about the birth of Futuro Antico?

After the return of Walter Maioli from a 4 years long  Eastern trip we met and we started to play together (first Lp of Futuro Antico) after a while Gabin Dabirè , who Walter had known in Nepal, joined and there was a sudden harmony between us. 

Is it correct to consider Futuro Antico as a natural evolution of Aktuala?

I think so, considering that Walter was the mind behind Aktuala.

Futuro Antico started with auto-production of 2 cassettes can you tell us the story behind?

We created a cultural association  and we produced cassettes to be sold during our concerts, we were helped by a crew of friends and passionate collaborators.

Why was your first album published in Brasil?

Because we were contacted by the producer Antonio Petikov ,a Brasilian of Russian origins, who was very fond of our work.

Are you satisfied by recent represses of this  first album and the  cassette by the label Blacksweat?

Yes a lot, also because it was a big success, they are doing already the third repress in one year and they are preparing also the CD version.They are young and very correct and like ADN they do it because they love music and not for business, as myself.

And what can you tell us about the lost CD “Intonazioni Archetipe”?

It was made in a very limited edition as a test. We were recently  contacted by a label of Florence who wants to print it as an LP.

Futuro Antico is a group in “hibernation” or do you think that its artistic adventure has come to an end?

We are trying to organize some concerts in spring 2015 with the help of Blacksweat so probably the hibernation will be over.

You were also a stable member of Doubling Riders, can you tell us how you joined this already existing group and how you contributed to its evolution?

We came in contact through Marco Veronesi of ADN , we were in the same label, and I licked very much the concept of this group based on distant collaborations of different artists. So I started to collaborate and I was part of the group.

Doubling Riders anticipated the internet era , but at the time the magnetic tapes were sent through post accompanied by a letter and all was very slow.

Are you also, like Franceso Paladino, considering Garama like the more accomplished work of the group?

Also the double Lp on ADN is very nice.

                                                          The Doubling Riders


Could you speack us about the project Swimmers  Quartet /Quintet?

The project was conceived by  Alzek Misheff a painter performer of great energy who involved me, Maurizio Barbetti viola, Rocco Parisi bass clarinet, Maurizio Dehò violin and many other collaborators for some concerts like Charles Amirkhanian, Theodosii Spassov and the great  Don Buchla.

                                         RICCARDO  WITH WALTER MAIOLI

How important do you find the collaboration from a compositive and esecutive point of view with other musicians?

Very important because I believe in collective art and in the meetings of persons who share love for sounds and are open to every development.

I also like to play alone, but in this case I know that what I’m doing is foreseeable. Much  more exciting and risky  is to be contaminated by others and even by other aesthetics.

     Sergio Armaroli                         Mario De Leo


    Yuval Avital                 Ahmed Fakrun             Pietro Pirelli

During your long music career you collaborated with many musicians, some of these collaborations found their way to a phonographic support ( Sergio Armaroli, Mario De Leo, Ahmed Fakrun, Italo Bertolasi) other not(Yuval Avital,Ahmed Ben Diab, Pietro Pirelli etc. etc). Did these musicians broaden your already wide music frontiers?
Off Course, lately I’m working with my students that are coming from the techno-noise and other kind of experiences.. and even if sometimes I feel perplexed I think they are animated by my same passion.

What kind of music do you listen when you are not at work and which are the musicians you consider essential for your music knowledge?

My teacher Angelo Paccagnini and: Luciano Berio, Karlheinz Stockhausen, Miles Davis, Gustav Mahler, J.S. Bach, Igor Strawinski, Bela Bartok, Franz Listz, Keith Jarrett, Terry Riley, John Hassel, Led Zeppelin, Lou Reed, Third ear band, Arab, Saharian and Iranian music ecc....
These are only the first names that come to my mind.

What about your future projects?
A new CD with Sergio Armaroli and Maurizio Dehò a very good ensemble, I think. Next spring we will try to organize some concerts od Futuro Antico.
And than we’ll see……

Riccardo's site

Riccardo's Youtube Channel

some video

Angelo Paccagnini Underground

                                    Angelo Paccagnini Sequenze e Strutture

                                   Riccardo Sinigaglia & Yuval Avital

                                  Riccardo Sinigaglia & Mario De Leo