Music of Fausto Romitelli
“At the center of my composing lies the idea of considering sound as a material into which one plunges in order to forge its physical and perceptive characteristics: grain, thickness, porosity, luminosity, density, and elasticity. Hence it is sculpture of sound, instrumental synthesis, anamorphosis, transformation of the spectral morphology, and a constant drift toward unsustainable densities, distortions, and interferences, thanks also to the assistance of electro-acoustic technologies. And increasing importance is given to the sonorities of non-academic derivation and to the sullied, violent sound of a prevalently metallic origin of certain rock and techno music.”
—Fausto Romitelli
Composer Fausto Romitelli took the power of psychedelic rock and the sonic analysis techniques of the French Spectral school and twisted them together to create a deformed, artificial sound world. New York-based Talea Ensemble will make world premiere recordings of five of Romitelli’s works during their EMPAC residency and perform a concert consisting of:
- Domeniche alla periferia dell’impero (2000) for violin, cello, flute, clarinet
- La sabbia del tempo (1991) for violin, viola, cello, flute, clarinet, bassoon, keyboard
- Amok Koma (2001) for violin, viola, cello, flute, clarinet, bass clarinet, piano, percussion, keyboard, live electronics
- Nell’alto dei giorni immobili (1990) for violin, viola, cello, flute, clarinet, piano
- Blood on the floor, Painting 1986 (2000) for 2 violins, viola, cello, flute, clarinet, electric guitar, keyboard
- Trash TV Trance (2002) for electric guitar
Main Image: Talea Ensemble on the concert hall stage in 2012. Photo: EMPAC/Rensselaer.