After a Body Work 2

After a Bodu Work 1

Voice: Max Di Carlo
Live electronics: Stefan Roslmair

It all started with a research that has united them and, goes beyond all technical and musical knowledge. A research that lead to the observation of an existential prison to which the key can only be found in the quality of presence: being without necessarily making. Being music as a fluidity that marks each instant in the passage of time with open eyes and heart, by observing the constant hum of the mental dissolution, and by diving into the flow of sound. They _ sought _ sound from the beginning, without another code or language being used. “It” emerged after having ”electro accousticly talked” for several hours. “It” is a conversation between a piece of brass with a vibrant past (and present) in classical studies, performances ranging from orchestras to jazz clubs, from the road, to audio-visual installations, and a sophisticated mix of samples. A dress woven of acoustic sounds with electronics, “A Dark Dress” ventures into landscapes without borders, the most of which are still unknown. Therefore, common experiences for Stefan Röslmair (piano, voice and live electronics) and Max Di Carlo (trumpet, voice and electronics) _ were fused together in a journey that began in 2011 by making a soundtrack for a projection mapping at the Kernel (Desio – Milano) festival and continues between Genova and Marche by shaping songs and live sets that arise through improvisation and interaction with each other.

A dark dress- Liturgia stellare

Portrait 7

Body 7

Body 6

Lunar dream-nigredo

Portrait 6 sculpture

Luca Albrecht Praussello – Praux 

founding member of the group “voci atroci”, started from the work of Demetrio Stratos and through experiences of classical vocalism at the Conservatory Niccolo Paganini, or a modern one at the Berkley Jazz Summer School or at the Umbria Jazz Clinics '92, naturally trough the ethnic music to hundreds of live performance, he has created a musical vocabulary having rather to express without the mediation of any tools. In fact, he devoted himself to vocal experimentation, considering his voice asTHE instrument, the first and most natural, and usually even the most neglected and forced by education and conventions so that expression is limited.

As a poet he joined the "International Poetry Festival" by C. Pozzani; as a composer the "Genoa film festival”creating the music for the short film" Vagge by C. Grifasi, as an actor and music composer the trilogy Capra Pictures (Anna, Enzo and Vico Morchi) transmitted during the "Short Film Festival 25 th hour" and with Anna2 the ending theme of the television broadcast of Channel 5 “Laboratorio5”.

the CPTrilogy part in the 61 ° International Exhibition of 'Venice Film Festival.

Discs: Anagrumba (1991), Vox Pop (1993/95), Cattivèria naif (1995), Musica per ascensori (2000 autoproduzione) Draghi rossi e buchi neri (2007), Zenatron vol. 1 e vol. 2 (2007-8).

aBBasso Volume A dark dress Feat PRAUX vocal alchimist

No limts mind

ChiaraMente Chopin

Body 5

Body 4

Portrait 5

Trumpet: Max Di Carlo
Live electronics: Stefan Roslmair

It all started with a research that has united them and, goes beyond all technical and musical knowledge. A research that lead to the observation of an existential prison to which the key can only be found in the quality of presence: being without necessarily making. Being music as a fluidity that marks each instant in the passage of time with open eyes and heart, by observing the constant hum of the mental dissolution, and by diving into the flow of sound. They _ sought _ sound from the beginning, without another code or language being used. “It” emerged after having ”electro accousticly talked” for several hours. “It” is a conversation between a piece of brass with a vibrant past (and present) in classical studies, performances ranging from orchestras to jazz clubs, from the road, to audio-visual installations, and a sophisticated mix of samples. A dress woven of acoustic sounds with electronics, “A Dark Dress” ventures into landscapes without borders, the most of which are still unknown. Therefore, common experiences for Stefan Röslmair (piano, voice and live electronics) and Max Di Carlo (trumpet, voice and electronics) _ were fused together in a journey that began in 2011 by making a soundtrack for a projection mapping at the Kernel (Desio – Milano) festival and continues between Genova and Marche by shaping songs and live sets that arise through improvisation and interaction with each other.

A Dark dress

Portrait 4

Body 3

Body 2

Solar dream-lara

Solar dream-train travel

Trumpet: Max Di Carlo
Live electronics: Stefan Roslmair

It all started with a research that has united them and, goes beyond all technical and musical knowledge. A research that lead to the observation of an existential prison to which the key can only be found in the quality of presence: being without necessarily making. Being music as a fluidity that marks each instant in the passage of time with open eyes and heart, by observing the constant hum of the mental dissolution, and by diving into the flow of sound. They _ sought _ sound from the beginning, without another code or language being used. “It” emerged after having ”electro accousticly talked” for several hours. “It” is a conversation between a piece of brass with a vibrant past (and present) in classical studies, performances ranging from orchestras to jazz clubs, from the road, to audio-visual installations, and a sophisticated mix of samples. A dress woven of acoustic sounds with electronics, “A Dark Dress” ventures into landscapes without borders, the most of which are still unknown. Therefore, common experiences for Stefan Röslmair (piano, voice and live electronics) and Max Di Carlo (trumpet, voice and electronics) _ were fused together in a journey that began in 2011 by making a soundtrack for a projection mapping at the Kernel (Desio – Milano) festival and continues between Genova and Marche by shaping songs and live sets that arise through improvisation and interaction with each other.



A Dark dress-Session one

Solar dream-travelers

Portrait 3

Solar dream-evolution

Portrait 2

Body 1

portrait 1

This duo was born in Genova on 2012. We play music from the classical repertoire to contemporary.

Trumpet: Max Di Carlo
Piano: Enrico Grillotti

Duo Enescu

This trio was born in Genova on 2012.
We play Italian baroque program, or a mixture of Europen pieces, and modern pieces for this ensemble.
Trumpet: Max Di Carlo
Soprano: Laura Dalfino
Organ: Davide Merello

ITALIAN PROGRAM

All'armi pensieri
Alessandro Melani (1639 - 1703) Cantata per Soprano , Tromba e Organo “All'armi pensieri”

Antonio Vivaldi (1678 - 1741)
Concerto per Organo in Re Maggiore dai concerti“L’estro armonico”
Allegro , Larghetto , Presto

Benedetto Marcello (1686 - 1739)
“Salmo Quarantesimosesto” per Soprano e Organo

Alessandro Scarlatti (1660 - 1725)
da Sette arie per Soprano , Tromba e Organo 1. Si suoni la tromba 2. Mio tesoro per te moro 3. Rompe e sprezza

Giovanni Bonaventura Viviani (1638-1692) Sonata N°2 per Tromba e Organo Tomaso Albinoni (1671 - 1750)

Concerto per Tromba e Organo in Mi bemolle Maggiore Grave , Allegro , Andante , Presto Alessandro Melani (1639 - 1703) Cantata per Soprano , Tromba e Organo “Quai bellici accenti ascolti , mio core”

Italian Baroque trio

A trumpet player in a big theatre

Modern Pity

Lunar Dream-Africa

Animo Paesaggi Sonori
Influences:
The course of study that has led us to develop Animo Paesaggi Sonori is extremely varied and is influenced, consciously or not, by various figures of musicians and composers: John Cage, Karlheinz Stockhausen, Pauline Oliveros, Tran Quang Hai, Alexander Lonquich, Markus Stockhausen.

Giardino silenzioAnimo Paesaggi Sonori was born from receptive listening, with attention for the energy flows of the body, a sort of ‘somatic listening’, which encompasses both a listening inwardly to the sensations and movements of the body as well as a listening with the entire body. We interact with spaces and sounds by listening to the resonance that a place or an interaction generates within us, physically. There is no search of interpretation , it’s just listening, possibly without filters, of what we perceive physically: breath, distribution of body weight, stress, comfort, discomfort, heaviness, lightness, etc. We observed that  spontaneous movements are qualitatively different from those which are intentional, and are surprisingly in harmony with the surrounding environment. At that point, the body becomes a photographic film on which emotions, sounds, sensations are imprinted and simultaneously translated into action. Then, as we watched the video recordings of our experimentations on movement, we found ourselves to be able to perceive, at a later date, the memory of our nervous and emotional experiences. So, we decided to draw out, from this kind of vibration, the sounds that we have freely associated with the images of the shoots by using our spontaneous movements as music score. The approach and the study of a specific musical language is the result of a physiological requirement: it’s not only a cognitive-experimental need. The encounters with people and knowledge that preceded our research, gave us the key to understand something that had already autonomously manifested , but of which we did not understand the nature or shape.

 

specchio

“Everything in the world has its own spirit which can be released by setting it into vibration.” Oskar Fischinger

The complexity of the language of each single human being is the result of countless contributions that belong to the human race and of which each of us is the depositary.Often, in fact, it happens to hear a phenomenon of “sympathetic resonance” whenever we find a topic that interests and enraptures us , as if to study it would not be nothing more than a medium to gain a deeper insight of ourselves.This happened during the workshop on Schumanns Kinderszenen conducted by Alexander Lonquich, as well as during the exploration of overtone singing with Tran Quang Hai, Cage’s silence, whereby studing the timbre experimentation and analysis made by K. Stockhausen, the “Deep Listening” by Oliveros, the “Intuitive Music” M.Stockhausen and many others yet to be discovered.

Applications:

Animo Paesaggi Sonori , having as a starting point the listening of the performers body, his sensory perception of a smooth motion, is particularly suited to relate to architectural spaces , landscapes and people.  At the same time lays the foundation for a study on the timbre and on the musical syntax. The use of electronic equipment to produce and process sounds, combined with the use of acoustic instruments and vocals, offers a large cultural basin from which to draw inspiration by connecting to near and far cultures.
The use of gesture mapping technologies facilitates and enables the real-time interaction with the performance event. The dynamics of the gesture, in itself, offers, by photographing its evolution , an approach to a graphic transposition that builds a bridge between visual art and musical score. The video documentation (also in realtime through web streaming) of the performance approaches users towards an immersive participation , rich in perceptual stimuli , which can be opened to an interaction (either in real time or deferred) enriching the performance and the study experience with knowledge and stimuli coming from different points of view and different cultural backgrounds .

Animo Paesaggi Sonori is definitely a starting point for journey across urban and natural landscapes, exploring human expression and relationships through sound and movement.

Animo paesaggi sonori-a dark dress

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Max Di Carlo