In occasione del ventesimo compleanno dell'Ensemble Dissonanzen un cofanetto di grande bellezza con 5 progetti musicali registrati tra il 2003 e il 2009.

CD 1 ADAM RUDOLPH GO: ORGANIC ORCHESTRA A GLIMPSE
CD 2 MUSICA POROSA -DISSONANZEN MEETS MARKUS STOCKHAUSEN AND TARA BOUMAN
CD 3 MAN RAY SUITE
CD 4 ALCHEMIC SOUNDS – A TRIBUTE TO HARRY SMITH
CD 5 CLAUDIO LUGO-TEATRINI NAPOLETANI.

IMPORTANTE !
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DISSONANZEN: UN FESTIVAL, UN ENSEMBLE MUSICALE.

Dissonanzen nasce nel 1993 per colmare una storica lacuna delle stagioni concertistiche napoletane, ovvero sviluppare un discorso di diffusione sui linguaggi musicali contemporanei. Inizialmente rivolatasi all’esperienza delle avanguardie storiche (realizzando in prima esecuzione napoletana fondamentali opere del secondo ‘900 come Le Marteau sains Maitre di Pierre Boulez e Autotono di Sylvano Bussotti), Dissonanzen ha cominciato a sviluppare un percorso di produzione di progetti inediti attraverso l’attività dell’Ensemble Dissonanzen, tenendo ben presenti due diverse direttrici: il repertorio scritto e l’improvvisazione.

Come ente organizzatore Dissonanzen ha realizzato quindici rassegne concertistiche, per un totale di circa 150 eventi: (1993, 1994, 1997, 1998, 1999, 2000 “La macchina del tempo”, 2001/02, 2002/03, 2003/04, 2004/05, 2006, 2007-I Settimana di musica contemporanea, 2008-II Settimana di Musica contemporanea, 2009-III Settimana di Musica contemporanea, 2010-Dissonanzen alla Basilica della Pietrasanta), e due rassegne di cinema sonorizzato (Il cinema suona!), in collaborazione con l’Ente Ville Vesuviane. L’associazione Dissonanzen da sempre sviluppa rapporti di collaborazioni con le principali università partenopee (Federico II e l’Orientale), con i principali Istituti di cultura stranieri (Goethe Institut e Istituto Grenoble), con importanti centri culturali cittadini (Fondazione Morra). Dal 2006 è in atto una collaborazione con il Conservatorio “San Pietro a Majella”, e in particolare con le classi di musica elettronica e composizione, mentre nel 2009 si è sviluppata una collaborazione con l’ISMEZ (Istituto nazionale per lo sviluppo musicale nel mezzogiorno) e con il Conservatorio “S.Giacomantonio” di Cosenza.
Dissonanzen è tra i fondatori di R.It.M.O (Rete italiana musicisti organizzati) organismo che unisce tutti i principali operatori nel settore delle musiche di sperimentazione, che ha realizzato nel 2008 il Libro Bianco sulla diffusione della musica contemporanea in Italia.
'E tra i fondatori della Rete Namusica , organizzazione che mette in rete le esperienze di 9 organismi di produzione e promozione italiani e che ha al suo attivo già 5 rassegne concertistiche e il 'Namusica Festival, che si avvale del sostegno di Tassoni.
Nel corso degli anni, all’interno dell’attività dell’Associazione, si è sviluppato sempre di più il lavoro dell’ENSEMBLE DISSONANZEN, un organico cameristico nato all’interno dell’attività di produzione musicale dell’Associazione. Dal 2002 l’Ensemble ha suonato per Fondazione Premio Napoli (Teatro Mercadante), Centro di Musica Antica ’Pietà de’Turchini’ (Maggio dei Monumenti-Teatrino di Corte di Palazzo Reale), Amici della Musica di Trapani e di Modena, Musica Insieme di Bologna, Natura Déi Teatri e Festival Traiettorie di Parma, Civita Festival, Festival Musica e Filosofia di Maratea, Festival Time Zones di Bari, Festival Internazionale di Ravello, Ravenna Festival, Giovine Orchestra Genovese, Signal Festival, Festival di Salisburgo, Cantiere Internazionale d’Arte di Montepulciano, Festival Est-Ovest di Torino collaborando con musicisti quali Michel Godard, Cristina Zavalloni, Enrico Baiano, Markus Stockhausen, Agostino di Scipio, Jim Pugliese, Stefano Scodanibbio, Alvin Curran, Marco Angius, Giorgio Battistelli, Marc Ribot, Adam Rudolph.

This CD box set records some important steps in the life of Dissonanzen, some mo- ments of musical life belonging to its artistic itinerary, which started in Naples thanks to Marco Vitali in 1993 and pursued through the joint enthusiasm of many musicians and art- ists.This cultural journey was made possible by the commitment of the members of the as- sociation who created and performed artistic projects: Marco Cappelli, Daniele Colombo, Francesco D’Errico, Ciro Longobardi, Marco Sannini (musicians), Enzo Salomone (actor) Alessandra Petitti (dancer), and myself who have acted as President of the Association since 2000, beside performing as the flute and recorder player of the Ensemble. A special contribution was given by Claudio Lugo, who acted as artistic director and conductor of the Ensemble from 2000 to 2006, and established some guiding lines essential for our work. The recordings included in this box cover a period of about 6 years (from 2003 to 2009) and shed significant light on the relation between Dissonanzen and improvisation.The aestheti- cal key of our work consists in the meeting of different personalities, coming from diverse musical trajectories. The Ensemble Disso- nanzen has always carried out very serious work on the modern and contemporary writ- ten repertoire, while engaging with various possibilities in the area of improvisation. We have always experimented in new directions, also through our collaboration with outstand- ing guest artists belonging to different mu- sical areas (Cristina Zavalloni, Marc Ribot,
Michel Godard, Markus Stockhausen, Adam Rudolph, Alvin Curran, Stefano Scodanibbio) without choosing any strictly defined “sound”. While listening, after a few years, the projects included in this box, I must confess I felt an impression of surprise, mixed with deep joy, which I shared with Ciro Longobardi, with whom I took the responsibility of coordinating the choice of materials for this release. Not only did I think that these pieces have such vitality and value to deserve to be published all together, but also that – in the cases when they had originally been connected with im- ages (Man Ray Suite and Alchemic Sounds, but also Musica Porosa, which grew out of the projection of Antonio Biasiucci’s fascinating photos) – they could sustain bare listening, without the support of vision. I recaptured the enormous joy of making music together, by listening to one another, which I had experi- enced during our live performances. All the projects in this box (except those included in the Teatrini napoletani cd) were conceived inside the Dissonanzen concert seasons, thanks to the capacity of self-production de- veloped by this Ensemble which has remained, for the last twenty years, an independent body, drawing a steady route upon the map of con- temporary music and leaving a recognizable mark on contemporary musical production in Naples. Behind our musical work there is also great cohesion and teamwork, which have al- lowed the group to continue to produce music at such very difficult time (economically and culturally) as the present one. Improvisation
is much more than an aesthetic and musical need. It is the cultural and political message of an artistic community like ours and repre- sents one of the keys of its expression. Coming now to these five projects, they con- stitute five different ways of thinking improvi- sation. In the case of Man Ray Suite we may say that it brings together the idea of con- ceiving Man Ray’s film making as a “graphic score in movement” and Satie’s music as material for improvisation. In the case of Al- chemic Sounds, Monk’s and Gillespie’s great jazz is the starting point for a somewhat more experimental kind of improvisation, with the five members of the Ensemble performing as instrumental soloists. Also in this case the starting inspiration, provided by Harry Smith’s very colourful short films, has be- come but a memory, since music has taken over, becoming independent. Musica Porosa, which is republished here, is a project we are very fond of, because it was the first record- ing experience of the Ensemble, the result of the wonderful human and artistic meeting with Markus Stockhausen and Tara Bouman. The idea of porosity is not a pretext but a fur- ther declination of the “intuitive” character of Markus Stockhausen’s – extremely evocative, but at the same time concentrated upon the construction of a combined sound – aestheti- cal approach. Teatrini napoletani gathers to- gether a few works by Claudio Lugo, expressly written for Dissonanzen, with a strong pres- ence of a text and a para-theatrical dimension (Enzo Salomone’s actorial and reciting voice,
with its endless musical shades, Daniela Del Monaco’s and Roberta Andalò’s uncanny vocality). Finally A Glimpse offers the best studio rehearsal sessions recorded in prepa- ration of a concert with Adam Rudolph in No- vember 2009.The live recording of the concert was published in 2010 by ISMEZ, under the title of Pietrasanta Project, and is not in com- merce. It is very interesting to notice that the rehearsal sessions published here are very different, in their musical substance, from the concert. Adam Rudolph changed almost completely his approach and the direction of his work when, after rehearsing for a few days within the dry acoustics of a studio, found himself inside the wide aisles of the Basilica di Santa Maria Maggiore alla Pietrasanta: yet another demonstration of the extent to which architectonic spaces and their acoustics may deeply influence musical creation and perfor- mance.