booklet

danze boschive



For 4 Loop

For 4 Loop composition is composed of the sound intersection of four traces (voice-music-noise) performed as loops: a vocal part, two beating ones and a floating one. In this system coexist the recordings of natural and non-natural noises (wind, water, birds, bulldozers, wire-nettings, bottle glass, plastic, etc.), used as background music, but not played in loop.

The mentioned elements interact, without thwarting each other, as different voices in a 'casual choir', which finds its coherence in the poetic act of four parts that repeat, going around themselves.
As if they listen to each other, they shift or give way to the others, turning down their volume or even disappearing for a while, but they never really stop. The main sensation is the one of a musical object that behaves like a coherent organism, given by the performer's ability to play as a juggler of sounds.

The musical parts, that in some temporal fragments are not discernible, are still present as silence; the sound evidence, or the silence, then, depend on the interpretation.
The first playing of For 4 Loop suggested me the ancient image of a voyage on a litter, accompanied by the sound of drums and little bells. In that background, I imagined to find myself in a wood, disappearing in the middle of the trees. Like a fugue, everything seemed to go on in the contrast between subject, countersubject, development and harmonization of the different sound registers employed.

From my point of view, this composition resembles the action of painting a watercolour, which is born through improvisation and, only after a moment or two, develops in its defined shape. There are music pieces that I create from a certain project; sometimes, on the contrary, it happens to me, that I improvise and only later I get to composition.

The relationship with painting is fundamental for me; when I paint, I feel a sort of freedom and extreme potential in the painting experiment because, in this creative field, I do not perceive that I must compose a "score" for a picture, nor the need to explain it. It happens to me this way, perhaps is it a mistake? I cannot answer to this question.

Often, in my music creations, I am inclined to find a sort of "open" form, that unifies improvisation and experimentation, in order that any interpretation can surprise me.
Sometimes it can happen, that I play an experimental score only after a successful recording; it is as if I feel the necessity to prove myself that that score can originate something new. This is hard because it implies the skill to interpret and, then, to experiment once more the "sound text" that I wrote. Sometimes, the application of a technique or a simple action, that departs from the basic text, changes everything: in this sense the interpretation is, for me, synonym of experimentation.

For 4 Loop represents my personal "meeting" with what surrounds me musically. While I was composing it, the very first things that occurred to me were the ringtones, the refrains, the jingles and, most of all, the superimposition of different sound sources. But even the music past is very important to me.

I spend the most of my time listening to and studying composers of the past centuries; I could mention Classicism, Romanticism, maybe above all Baroque...
But I would like to underline that, if I express myself through the repertoire of other composers, is because my research does not tend to emulation but to persistence, continuity.