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Valerio Sannicandro: VISIO–FICTIO
(2021)
About the aesthetics
It is hardly possible to put this into words–but without hesitation I can say that the origins of my music are deeply connected to the idea of space. Beyond any phenomenological or purely intuitive meanings, space and spatiality represent musical aspects that I have been exploring since at least 2003, and whose powerful poetry continues to exert a strong influence on my musical thinking. My curiosity about the close interaction between acoustic instruments and live electronics brought me to some of the most interesting institutions in Europe (IRCAM, SWR Experimentalstudio Freiburg, ZKM Karlsruhe, GRM Paris, ICST Zurich). I met dedicated people there, with whose help I was able to gain valuable experiences for which I will always be grateful. Because later I transferred many achievements from the practice of electronic music into my own musical vocabulary. I have conceived works for different spaces along the way, instrumental and vocal works are based on specific space-related musical figures.
(Valerio Sannicandro)
VISIO–FICTIO
A few years ago I accidentally discovered a canzona (written by Dante Alighieri) in three languages that shows how far back in time the need to express diversity, complexity and coexistence goes. The past can be surprising at times: Going beyond something, trying to explore human perception, finding questions rather than answers, and outlining a political and cultural anthropological vision seemed to me to be the main points expressed in this piece of literature.
My diptych, consisting of a first short part (VISIO) for three violas and a second part (FICTIO) for 24 voices and three violas in a separate room, wants to trigger a memory process and change the habitual way of hearing and perceiving sounds in time and space.
Such a listening perspective is triggered by the first part. It presents a compressed version of the work, moving through three different timbres (different mutes reproduce a sense of spaciousness). The second (and main) part of the work consists of four stanzas whose form follows the text structure. It creates an interpolation between two different acoustic situations (that of the voices and that of the electronically amplified violas). Phase shifts of time and phase shifts of acoustics. For the vocals, there are many different ways of producing sound to create a sense of space within the frontal set-up: echo effects, change of sound projection, actions with the hands, simulated resonance effects.
(Valerio Sannicandro)