Crosscurrents in Early Electronic Music in Italy—Part 2

The Holmes Archive of Electronic Music

Episode 101

Crosscurrents in Early Electronic Music in Italy—Part 2

Playlist

Pietro Grossi, Studio Di Fonologia Musicale Di Firenze (S 2F M)

1. Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961) (1961 RAI). Pietro Grossi began experimenting with electronic sound while visiting the RAI in the early 1960s. During this time, he became fascinated with algorithmic manipulations of sine waves and produced the piece Progetto 2-3 (1961) which mathematically managed the slowly intersecting trajectories of six audio signals. This is an excerpt from the original 30-minute work. 2:56
2. Pietro Grossi, S2 F M: A1, “Primavera,” “Estate,” Autunno,’ “Inverno,’ “Alba,’ “Tramonto,’ “Notte,’ “Temporale,’ “Arcobaleno,” “Suspense N. 1,” “Suspense N. 2,” “Suspense N. 3,” “Suspense N. 4” and “Thrilling” from Electronic Soundtracks (1965 Cooper Recordes). Works composed at the Studio di Fonologia Musicale (S 2F M) in Florence. This is the first example of broadcast library music that Grossi was engaged in for many of the following years, presumably to keep his S2FM Studio funded. 9:24
3. Pietro Grossi, “Battimenti A Due Frequenze” (1965) from Battimenti (2003 Ants). From the inside cover: "94 sets of beats with 2, 3, 4, 5 frequencies taken from a catalogue of sound events that I and my collaborators have created in the electronic music studio S 2F M around the year 1965. These sound events were meant to be used for various compositional purposes. Each set of beats lasts approximately 30 seconds; they are arranged as follows: 10 sets with two frequencies, 25 with three frequencies, 31 with four frequencies, 28 with five frequencies. Listening at low level is suggested. P.G." Interestingly, this experiment in four parts required about 54 minutes to hear in total. This part is the shortest. 5:50
4. Pietro Grossi, “Collage” (1968) from Musicautomatica (2003 Die Schachtel). A change of pace from other works at this studio, this collage piece is an electroacoustic work largely based on naturally occuring sounds that have been distorted and modified. 13:52
5. Pietro Grossi, “Citta' Sommersa,” from Atmosfera & Elettronica (1972 Lupus records). Another broadcast library album of interesting, electronic atmospheres. 2:59
6. Studio Di Fonologia Musicale Di Firenze, “Mixed Paganini,” “Permutations Of Five Sounds,” “Continuous,” (1967) from GE-115 - Computer Concerto. Imagine hyour surprise if you were a recipient of this 7-inch disc that was distributed in 1967 as a New Year’s gift by Olivetti company. “Transcriptions for the central processor unit of a GE-115 computer of short excerpts of Paganini & Bach music scores and original works as well.” I chose to present side 2 of the disc which features early computer works with a flare for the rapid-fire articulation of notes by the computer. These examples vary significantly from the more traditional classical arrangements found on side 1. Realized at Studio di Fonologia musicale di Firenze (Italy). 5:04

Enore Zaffiri, Studio di Musica Elettronica di Torino (SMET)

1. Enore Zaffiri, “Musica Per Un Anno”(1968, excerpt) from Musica Per Un Anno (2008 Die Schachtel). Early work from this studio was mostly abstract and experimental. This piece is a terrific representation. All of the frequencies, their amplitude and durations were determined based on the mathematical analysis of 12 geometric figures derived around the 12 hours on a clock face. From the liner notes: “This electronic music is intended as a sound track for ambients. It develops over a duration of one year's time. The sound events change imperceptibly but continuously, in relation to the months, days, hours and minutes. Every instant has its unique music, which merges with the light, and the air of the ambient.” The original is 60 minutes long. 13:41
2. Lorenzo Ferrero, “Immigrati” (1971) from Musica Elettronica - Computer Music (1972 Compagnia Editoriale Pianeta). The third major Italian electronic music was the Studio Di Musica Elettronica located in Torino and founded in 1964 by Enore Zaffiri. This piece was recorded in 1971 after they had acquired and EMS Synthi. 6:22

Teresa Rampazzi, Gruppo Nuove Proposte Sonore (NPS), Padua

1. Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. The reverberation of this work was created by putting a loudspeaker in a stairwell. There is also the unwanted thud of a door still in the work. 5:46
2. Gruppo NPS (Rampazzi, Marega, Mazurek), “Modulo 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. Experiments on signal impulses and their changing attacks and decay. of 3:48
3. Gruppo NPS (Rampazzi, Marega), “Freq. Mod. 2” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Short bands of frequencies modulated by low-level signals abd brief, “violent impulses.” 6:26
4. Gruppo NPS (Rampazzi, Gracis), “Insiemi” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). A more lyrical, rather than systematic composition process is shown in this work. Adjectives such as calm, cathartic, and conflict were used to describe the outcome. 7:33

Opening background music: Pietro Grossi, “Unicum” from Musicautomatica (2003 Die Schachtel), excerpt.

Opening and closing sequences voiced by Anne Benkovitz.

Additional opening, closing, and other incidental music by Thom Holmes.

See my companion blog that I write for the Bob Moog Foundation.

For additional notes, please see my blog, Noise and Notations.