Edition: VII
Bio/Studies
Maurilio Cacciatore has been student of Fabio Cifariello Ciardi and Ivan Fedele, always obtaining the best marks in Italy, Sweden and France. He is currently working toward a PhD at the Catholic University of Porto and the Academy of Music of Basel under the guidance of Erik Oña.
Career
Maurilio’s music stems out of a combination of acoustical instruments with tools for digital music. It also incorporates electromechanical objects and uses various resources of informatics.
It results in complex, multi-layered texture, presenting on the surface classical instruments and electronics, while containing an inner core of hybrid and non conventional techniques.
Beyond the conventional standard of spatialization, Maurilio Cacciatore’s loudspeaker setups explore non-coded solutions that integrate hardware and software within various musical contents.
The theatrical dimension of his works tends to integrate visual aspects and music into the score, seeking an improvement of communication among the players on stage.
He has been composer in residence at the Studios of the Ircam, the ZKM, the Muse en Circuit of Paris and the Elektronisches Studio Basel.
He is active as composer, professor and researcher in Europe, Asia, North America and Australia.
His music is published by the Edizioni Suvini Zerboni, Milan.
Notes on the Musma Composition
The cultural transition that migrations involve on the one hand testifies the tragedies of the shifting for entire ethnic groups, on the other hand creates cultural collisions sometimes fruitful sometimes lethal.
The theme of this commission and the suggestion by the Mahmoud Darwish’ poem has been the beginning to think about how to extrapolate a personal artistic path into this field.
I was looking for something abstract but still related with the feeling that every man have when moving by constriction.
The exile that my quartet lives is the passage from a well-tempered pitch system toward non-defined pitch writing; the score passes from a slavish notation to a proportional way to indicate all gestures.
The quartet lives into an ambience made by the dynamics of the “forte” but passing the time it loses progressively consistency, dynamics, weight of the bowing, at first used in a such massive way. It loses the certainty of the writing on standard stems and the correspondence between written and perceived sounds.
Combined with electronics, even the rhythmic pulsation that makes the beginning goes away.
At the middle of the work I took inspiration from the lively and rhythmic Jewish string music sound.
This is a piece that recovers a writing of the 70’s from the writing of nowadays; a sound that aims to the saturation loses the lowest frequencies, passing from the influence of the Jewish tradition. The transculturalism in music crosses the transculturalism in musicology.
The electronics has been programmed in Max with my new widget collection called MMixte.
As in other pieces of mine, I like to use minimal setup for the electronics diffusion, in this case just two loudspeakers among the musicians on stage; through this choice, I try to localize on the same place the instruments and the digital sources.
