Electroacustic Music Festival – Sabina elettroacustica

Third Edition – 2020

19-20-21 agosto 2020, Saint Martino’s Church, Via San Martino, Poggio Moiano (RI)

Sabina elettroacustica, in collaboration with the Municipality of Poggio Moiano and the Conservatory of music Santa Cecilia of Rome, presents the third edition of EMUfestSABINA (Electroacoustic Music Festival in Sabina)

EMUfestSABINA is an event with an international profile that intends to connect with the cultural tradition of the territory and, at the same time, bring to the audience a significant excerpt of the best world production in this sector of contemporary art music.

The event includes three evening concerts in which six nations are represented: Germany, ltaly, Portugal, Spain, the United States and Sweden:

August 19, 9:15 pm – Concert dedicated to the Poggiomoianese writer and poet Luigi Melilli on the occasion of the centenary of his birth with live music, stage action and electro-acoustic installations by Danilo Santilli based on texts by Luigi Melilli.

August 20, 9:15 pm – Live electroacoustic works by Stefano Giacomelli, Giorgio Nottoli and Danilo Santilli with live video mixing by Ubaldo Munzi and acousmatic works by James Dashow, Ragnar Grippe and Giorgio Nottoli.

August 21, 9:15 pm – Audiovisual works by Christian Banasik, Massimiliano Cerioni, Lorenzo Pagliei, João Pedro Oliveira and acousmatic works by Gregorio Jimenez, Federico Scalas and Kilian Schwoon.

The Festival will be held at the Church of San Martino, Via San Martino, Poggio Moiano (RI)

The concerts will be held in open space in compliance with the current anti-contagion regulation.

Free admission while seats last with reservation via email or whatsapp:


+​​39 3208482276

+39 3479000563

About the operas

…dans l’Espace * (2019/2020) Stefano Giacomelli, site specific live performance.

Here the two main themes: space and feedback, are explored in a context of close interaction.  Starting from an apparently simple systemic state, of pure amplification of the environmental source in itself, a close retroactive dialogue is immediately established, a condition of mutual influence testified by the sound morphology of the Larsen effect.  Space and processing system come together in the invitation to create music not for a space, but in space, exploiting every timbre and performance aspect linked to the executive circumstances.  From contact with and in the environment, even computer music finds indissoluble links with impromptu execution practices, with aesthetic choices of sound design, and with openings to performative experimentalism.

Soundings in Pure Duration N.2a (2009, rev. 2015) James Dashow, for percussive and electronic sounds

This n. 2a in the “Soundings in Pure Duration” series for electronic sounds (sometimes in combination with acoustic sounds electronically manipulated and transformed) makes use of a wide variety of pre-recorded percussion instruments many of which are of African and Latin American origin.  The electronic sounds were generated entirely by Gustavo Del Gado’s real time implementation of my Dyad System (in Max/MSP). Spatialization is of fundamental importance to the compositional conception, as both an expressive element as well as a structural determinant, particularly  the movement >in< space and the movement >of< space, in synchronization with timbral and rhythmic developments.   The sounds sometimes seem to generate space which can vary from the immediacy of close up to the huge dimensions of enormous sonic panoramas.

Broken Mind of Souls (2019) Ragnar Grippe, acousmatic

Broken Mind of Souls is a forty minute piece in three parts. The idea behind this composition is blend what we know with what we think we know. Broken Mind of  Souls is available on Apple and Spotify among others.

Yoghi Manuela * (2020) Giorgio Nottoli, acousmatic for concrete and electronic sounds

The work is created from a recording of the ujjayi breath of yoga teacher Manuela Frascarelli, to whom the piece is dedicated.  It is a meditative composition, which is based on a timbre vertical thought: many different layers are gradually added up to form a cluster of heterogeneous sounds in relation to each other.  The whole process supports the breath while it transforms and enriches itself.

per sora acqua (2019), Giorgio Nottoli e Danilo Santilli, performance for live electronics and live video mixing by Ubaldo Munzi

A continuous flow of water sound from various places in the Sabina area, made colorful and varied by the electronic processing performed live.  The sound flow develops in counterpoint with visual elements still derived from the water.

l’Aleph (1996-97) Lorenzo Pagliei, per suoni di gong (207 cm di diametro) elaborati elettronicamente

a Giorgio Nottoli, liutaio di stelle…

The Aleph was created with the sounds of a huge gong (207 cm in diameter), an incredible and wonderful sound source whose sounds make one perceive a mythological shadow because they are monstrously powerful.  In the Borges story of the same name, the protagonist of the story learns that the word Aleph indicates one of the points of the space where, without getting confused, all the points of the earth are seen from all angles.  At the end of the story he is able to see him feeling “infinite veneration, infinite pain”: “in that gigantic instant, I saw millions of pleasant or atrocious acts;  none of them surprised me as much as the fact that they all occupied the same spot, without overlap and without transparency. “  The big gong is something similar to an Aleph, a sound Aleph: it is a wonderfully infinite well of sounds, from the most delicate to the most devastating.  It is impossible to fully explore all its potential, just as it is impossible to enclose infinity in a form.

ETUDE DE SONS ** (2009) Gregorio Jiménez, acusmatico

Courts sons, longs sons.

Sons qui se déplacent….

Sons concrets, sons abstraits.

Sons qui s’approchent …….

Sons graves, sons aigus.

Sons rythmiques…

Sons brillants, sons opaques.

Etude de sons….

This piece was  comissioned by the Institute of Music Electroacosutic of Bourges (IMEB) in 2009, and It was composed in Charibde studio. It was finalist in Destellos composition contest in Argentina.

Dusk (2020) Massimiliano Cerioni, audiovisivo

“The time before night when it is not yet dark.”

Dusk is an immersive and meditative composition of drone music inspired by the colors of the terminal phase of twilight.  It was built in Amsterdam in spring 2020, in one of the maximum periods of the day in the northern hemisphere.  The dense mass of electronic timbres has a strong organic character due to its partially chaotic content, a trait that vaguely recalls a swarm of insects.  The harmonic identity of the piece places its aesthetics halfway between the austere and minimal approach of drone music and the complexity of “textural” electroacoustic music.  “Post-drone” is the term that the author adopts in this case, to describe a sound that moves too much to be a simple drone, but too little to be anything else.  Dusk is on Youtube in audiovisual format, while the song is contained together with an unpublished in an eponymous EP coming soon distributed by Cyclical Dreams in streaming, physical and digital copy.

Frammenti di un discorso rumoroso (2012) Federico Scalas, acusmatico

The title, parody of the literary work of Roland Barthes, describes the spirit with which I approached the realization of this composition, that is the full freedom in the use of certain languages ​​or of synthesis techniques and the use, even if transfigured,  of sounds and noises of concrete origin.

Things I have seen in my Dreams (2019) Joãu Pedro Oliveira, visualmusic piece

We dream… sometimes we have nightmares, or dreams that makes us sad, anguished, or simply indifferent. But occasionally, there are dreams that project in our mind images and sounds of great beauty. This piece is a recollection and variations on some of these images and sounds I remember from my dreams. It is dedicated to Mario Mary.

Umbrische Fenster (2001) Kilian Schwoon, studio su suoni elettroacustici all’aria aperta

This study was carried out for a collective project within the Musica Insieme summer festival of Panicale in Umbria, founded by Klaus Huber.  The composer Lelio Camilleri had invited several other composers to create short pieces from material recorded in Panicale.  From these natural, but also cultural sounds, I selected some fragments that appear “raw” in the piece, without changes, almost like “windows” on some sound situations.  Around them I have built rather continuous structures that modulate the perspective on these fragments, but which also create relationships with the sounds of the environment.  In particular, at the beginning and at the end, where there are long areas on the pianissimo, music opens up to interaction with the soundscape.

„Tree Blossoms IV“ (2018) Christian Banasik, audiovisual work. Video by Alexandra Korczak, Lea Wolf, Andrea Sigrist und Kerstin Rilke – HSD / PBSA, institute for image and media.

„Tree Blossoms IV“ is a kind of meta music – a composition about a film music with new generated elements on visual level. The idea based on my soundtrack for the documentary film “Baumbluetenzeit in Werder” (1929) by Wilfried Basse. This film describes an old folk festivity which took place every spring in Werder, a little town near Berlin. My original music was composed for midi- controlled grand piano and sampler. This electroaocustic piece is based on that particular soundtrack but it spreads the possibilities of atmospheric, emotional and spatial expressions. The prepared and granulated piano sounds are mixed with original voices from recordings of the 1930s and represents an abstract reminiscence of the „Threepenny Opera“ by Kurt Weill – which was already premiered in 1928 – The video projection in turn supports the course of the current music and brings a whole new dimension in this work. It’s about color gradients, rhythmical movements and atmosphere on an abstract level consisting of recordings of concrete motives, organic environments and real spaces.

* world premiere

** Italian premiere