Musica Ritrovata

" .... when random playlist of my laptop choose for me, between 6667 pieces, the beautiful piano suite "Musica Ricercata" of György Ligeti. I was searching for a title of a "in fieri" composition so was immediate the passage from searched music (musica ricercata) and "Musica ritrovata" (found or retrieved music). The title was the inexorable and (for myself) unforeseen matrix of the spirit of this composition where I retrieve classical technics and languages like modes and chords (borrowed from my beloved Skrjabin and Messiaen), rhythmic and harmonic sequences, canoni and passacaglie. Anyway this is coherent with my research on physical modeling music synthesis software GENESIS (developed at ACROE in Grenoble, where I am conducing a PhD) as tool for musical composition more then a tool for sound synthesis. Searching for models generating forms, possibly meaningful at listening, I consider - at least at a first step - more effective and fertile work on the base of well known and familiar musical materials and elements rather then innovative or unusual: one thing at a time, for heaven's sake."

Some weeks ago I was asked to compose - in the frame of EASTN projet - a piece for the Sond'Ar-te Electric Ensemble to be played at Musica Viva festival in Lisboa, a piece for five instruments (the "Pierrot Ensemble": flutes, clarinets, violin, cello and piano), five Genesis virtual players and the acusmonium of Culto do Ajuda here in Lisbon.

Miguel Azguime wrote me:"Please send us the score and the parts before the end of April and send me, really as soon as possible, the title of the composition."

Few after, being at home, my brain was spinning on this second more urgent question when random playlist of my laptop choose for me, between 6667 pieces, the beautiful piano suite "Musica Ricercata" of György Ligeti. I was searching for a title of a "in fieri" composition so was immediate the passage from searched music (musica ricercata) and "Musica ritrovata" (found or retrieved music). The title was the inexorable and (for myself) unforeseen matrix of the spirit of this composition where I retrieve classical technics and languages like modes and chords (borrowed from my beloved Skrjabin and Messiaen), rhythmic and harmonic sequences, canoni and passacaglie. Anyway this is coherent with my research on physical modeling music synthesis software GENESIS (developed at ACROE in Grenoble, where I am conducing a PhD) as tool for musical composition more then a tool for sound synthesis. 

Searching for models generating forms, possibly meaningful at listening, I consider - at least at a first step - more effective and fertile work on the base of well known and familiar musical materials and elements rather then innovative or unusual: one thing at a time, for heaven's sake.

The composition will be performed tomorrow, Thursday May 21st : http://misomusic.com/index.php?option=com_content&view=article&id=72&Itemid=261&lang=en#21maiomv2015