fabio cifariello ciardi’s electronics

games iv
video by giulio latini e silvia di domenico
music by fabio cifariello ciardi
http://www.edisonstudio.it/ciardi_files/filmati/gamesiv_extrvsmall.mov
eyes ought to force their nature to stop frantic movements [...] raving but still lucid games [... ] torn
forms, obsessively repeated [...] an unremitting recall to a fleeting reality [...] (marina antonucci)
games may be far from pleasure and close to interactions, confrontations, conflicts. that's why games iv
music is based on contacts, fugues, conquests and defeats of sonic organisms that dwell different virtual
spaces. it’s a metaphorical and surrealistic 'audio game' driven by the contrabass.
games iv was finalist at videoevento d'arte competition 2000 (torino, italy)
equipment required:
dvd player
video projector
stereo or 5.1 ch system

altri passaggi (2001-2005) 14:20

for zarb (tonbak), daf and tape
http://www.edisonstudio.it/ciardi_files/_privatefcc/04%20altri%20passaggi.mp3
i look for places inhabited by sounds and public: spaces with dinamic variables, sizes and shapes.
in altri passaggi, the creating force and "sorcerer" of the place is the large daf at the center of the stage.
its actions are commented by two zarbs on the two stage sides. the daf skin could not be immediately
awoken. therefore the piece has been intended as a gradual initiatory rite.
equipment required:
3 mics
protools system (8 ch and a good reverb needed) + 400 mb hd space

limens limine (2003) 14:27

computer music
http://www.edisonstudio.it/ciardi_files/fcc_mp3/limenslimine.mp3
limens limine has been composed at edison studio during summer 2003. musical ideas and part of sonic
materials derives from the italian translation of the following verses from juan de la crux's "coplas hechas
sobre un éxtasis de alta contemplación" and "coplas a lo divino".
the recorded voices are sonia bergamasco and my son, francesco cifariello ciardi.
equipment required:
protools system (6 ch and a good reverb needed) + 400 mb hd space
5.1 ch system

passaggi paesaggi – 15:00

per viola and electronics
http://www.edisonstudio.it/ciardi_files/fcc_mp3/pa(es)saggicmpl(st).mp3
a short excerpt:
www.edisonstudio.it/ciardi_files/popup_files/paessaggi/mp3/pa%28e%252fs%29saggi.mp3
score:
http://www.edisonstudio.it/ciardi_files/popup_files/paessaggi/partiture/passaggiscore.pdf
i look for places inhabited by sounds and public: spaces with dynamic variables, sizes and shapes.
(following information must not be printed on programs)
the viola player is supposed to play around the hall space stopping on six positions following the
indication on the score. the piece is intended to have ambiguous start and ending. it should start smoothly
from normal public noise. at the end the viola player should leave the stage passing through the hall and
leave the hall from normal public door. therefore, being the piece selected, it should be the first of the
second part of the concert or the first of the evening.
passaggi paesaggi is a commission of agon - centro armando gentilucci - fondazione dragoni
equipment required:
see enclosed score

finzioni (1991) 12:30

for violin and electronics
http://www.edisonstudio.it/ciardi_files/fcc_mp3/finz.compl.23_6_98.mp3
when i wrote finzioni i was interested in the possibility to interact with listener's common sonic
memories. that is to be able to control and shape cognitive dissonances, dialectic oppositions,
interpolations among different memory traces of melodies, rythms and timbres.
within this framework different fragments from a very well known violin repertoire have been used: the
first theme from the"danse macabre" by camille saint-saens; the first theme from "thesorcerer's
apprentice" by paul dukas; the first theme of the third movements of brahms's violin concerto; the first
theme of the third movement of brahms'violin sonata in d minor op.108; the evergreen "the man i love"
by george gershwin. despite the different semantic, all fragments join the same melodic micro-structure.
"finzioni" is the title of an anthology of short stories by jorge luis borges. usually borges astonishes the
reader with his associations between real and imaginary worlds, between things already stored in our
common memory and things which are totally new. in this same sense i imagined this music travelling
quickly, sharply through the virtual space of our memory, a virtual space simulated by the quadraphonic
reproduction system. the soloist should be possibly placed at center of hall, not on stage: the entire sonic
universe is dreamed of, created and explored by the performer, till the end when he will pass,like alice, ...
through the looking glass.
finzioni has been realized at ircam and has been awared at concorso internaz. l. russolo (varese) 1992,.
musica nova internaz competition (praha) 1993, tokyo icmc cd selection 1993
equipment required:
protools system (6 ch and a good reverb needed) + 400 mb hd space
5.1 ch system

games (1995) 13:01

for contrabass and electronics
http://www.edisonstudio.it/ciardi_files/fcc_mp3/gamescompl.mp3
sounds might be linked with the net of our autobiographical and shared memories in different ways.
many of “games iii” sounds and events apply for shared long-term memory traces: rock timbres, rock
and reggae rhythms and "licks", concrete sounds that are commonly considered as a part of a recognizable
sonic knowledge. looking at sound events in terms of mental images might be useful to grasp a part of
the listener knowledge that might stand out clearly during the listening process, even without being
directly related with musical parameters (e.g. a knowledge related with abstract concepts or with
emotions). in “games iii” i used sounds to explore the abstract concept of game. within the infinite
correlates of this concept i decided to stress the links between the idea of "games" and concepts as
"interaction", "confrontation", "conflict". “games iii” is based on "contacts", "fugues", "conquests" and
"defeats" among sonic organisms that dwell different virtual spaces. listener is intended as the main
player of a metaphorical and surrealistic "audio game".
part of "games" spatialization was realized on the workstation mars-iris controlled with the software
written by davide rocchesso, luca mozzoni e oscar ballan of centro di sonologia computazionale
(university of padua). the definitive elaboration of the piece has been realized at edison studio (roma) in
1998. games has been awared at bourges imeb competition 1998, berlin icmc selection 2000
equipment required:
protools system (6 ch and a good reverb needed) + 400 mb hd space
5.1 ch system