| Year: | 2023, world premiere |
|---|---|
| In collaboration with: | Scuola di musica elettronica del Conservatorio Benedetto Marcello di Venezia, Archivio Storico delle Arti Contemporanee – ASAC, www.venicesoundmap.eu - Fondazione Ugo e Olga Levi |
| Commissioned by: | La Biennale di Venezia |
| Production: | La Biennale di Venezia - CIMM, Centro Informatico Musicale Multimediale |
| In collaboration with: | Settore Cultura, Teatro del Parco - Comune di Venezia |
| Thanks to: | the students of the Conservatorio “B. Marcello” of Venice Davide Commone, Giuseppe De Benedittis, and Leonardo Zoleo, for the field recordings; Riccardo Sellan for the spatialization of the sound pictures “Venezia prima di Venezia..., Sei atti publici per tramutare la violenza in concordia, Peregrinazioni lagunari nel Sedicesimo secolo, Il cacciatore di trolley“; Fabrizia “Ippa” Zamarchi and Canottieri Giudecca; Giacomo Catarin, head of Centro tori Moruzzo (UD); Pensione per cani e gatti del guado at Pozzuolo del Friuli (UD); Tom Walker, Living Theatre, New York, NY; Giorgio Adamo for providing pile driver recordings, for kind concession of the Centro Studi Alan Lomax, Palermo, and of the Association for Cultural Equity at Hunter College, New York, NY; Valter Colle (nota.it), for permission to use excerpts from “Canzoni da battello” taken from the double CD “Cantar Venezia”; and the Archivio Storico delle Arti Contemporanee of La Biennale di Venezia. |
Music
Andrea Liberovici / Paolo Zavagna - Sounds of Venice number two
Description
Sound Of Venice Number Two, a project that originates from an apparently absurd question: how can Venice be moved to Mestre? And, if the Soprintendenza were to allow us the opportunity to transport one single “object” from the city, what would we choose? The sounds of Venice, as unique as the city that produ- ces them, will thus be the objects with which we will work in order to create a sound installation in Piazzale Divisione Acqui.
The various fixed media will consist of tableaux and will recount the history and the present of Venice through sounds representative of the city’s current reality and of its memories, not only in their original form but also by means of processed and manipulated sounds and electro-acoustic compositions.
This project draws on existing recordings from the twentieth and twenty-first centuries; for earlier epochs we have created sound objects and soundscapes inspired by paintings, documents and music scores from the historical heritage of Venice.