Butch Morris - Laboratorio Novamusica: Conductions 143.1 143.2

 

Una nuova recensione di Ken Waxman su Jazzword

Butch Morris & Ensemble Laboratorio Novamusica

Conduction 142/1-143/2
Galatina Records CD 0701

True to Butch Morris’ declaration that he wants to work with more than jazz-oriented improvisers, this notable two-CD set finds the New York-based conduction pioneer performing two new ideographic-oriented pieces with the Italian Ensemble Laboratorio Novamusica (ELN).

Considering that the eight-piece Venice-based ensemble was organized more than 15 years ago with the express purpose of researching, studying and performing New music, the fit with Morris is near perfect. Still, the second of these CDs, recorded at Berlin’s Total Music Meeting (TMM) is superior to the first disc taken from a Venice concert three days earlier. On both discs, the ELN – trumpeter Ilich Fenzi, trombonist Umberto de Nigris, Cecilia Vendrasco playing different flutes, violist Piergabriele Mancuso, bassist Andrea Carlon, drummer Peter Gallo, Carlo Carratelli on upright piano and harpsichord plus director Giovanni Mancuso on piano – operates at an enviably high level following Morris’ complex system of signs and gestures. However all concerned seem particularly energized at the TMM. Perhaps it’s because of the location, or maybe it’s because a choir of bass clarinetists – Armand Angster, Peter van Bergen, Wolfgang Fuchs and Hans Koch – joins the band for the final two numbers.

An extension of Berlin-based Fuchs’ all-reeds Holz Für Europa ensemble, the four clarinet group brings an original series of antiphonal and eccentric timbres to the performances, matching the unusual textures ELN has already developed. For instance on “Conduction 143.2 Part 4”, various reed tinctures that include strained glottal harmonies and wide vibrations, alternate contrapuntally with the rubato coloration of the string and flute lines.

With the reeds as abrasively staccato as the brass and strings are harmonically legato, the tongue slaps and responsive split-tones of the clarinets’ quadruple counterpoint frequently override the forward-moving octet passages. Yet as Gallo’s drum flams and cymbal clapping re-orient the tonal centre, the result is a contrapuntal crescendo of dense, connective overtones that include strummed strings and reed expiration. “Part 5” is more of the same, with asymmetrical pizzicato plucks from the strings plus honking and spitting reed ejaculations adding to the timbre layering from Mancuso’s viola and Carratelli’s harpsichord. Eventually, the ensemble’s understated circular runs finally dissolve into silence.

On its own with Morris in Berlin, the ELN displays split-second responses to conduction cues with an improvisational virtuosity that takes in all manner of instrumental techniques. Spiccato strings snap and slide; brass is muted and chromatic; the flute shrills; the harpsichord leaps octaves; and asymmetrical drum beats thunder. There’s even a brief interlude when pianist Mancuso, bassist Carlon and drummer Gallo swing like a mainstream jazz trio, complete with keyboard fills and a walking bass line.

Then there’s “Berlin Squeaking” the 12½-minute introductory miniature at the TMM which encompasses all the characteristics of the Morris-ELN collaboration. Snaking along with ancillary tones, counter tones and overtones, often staccatissimo and fortissimo, the theme combines slurping brass triplets; sul ponticello arco and pizzicato string lines; ruffs, rebounds and cymbal splashes from the drummer; unexpected slide whistle-like textures; and high-frequency piano patterning.

Inflate the duration of “Berlin Squeaking” by a multiple of four to reflect “Conduction 143.1”, the earliest collaboration from Venice. Of high quality, but not at the same level as the subsequent Berlin meeting, this CD-long conduction perhaps reflects a familiarization process for the ensemble and Morris,

Certainly the taut and contrapuntal responses to every one of the Morris’ articulated gestures are there, with the eight players bending notes to reflect the flow of the performance. The major variation includes lengthier and more numerous silent pauses as well as steadying piano motifs, double-bass thumping and blunt cymbal and snare pressure. The unexplained slide whistle peeps are apparent, as are resonating plunger blasts from de Nigris’ trombone and Fenzi’s trumpet. Throughout, sectional divides into instrumental duos, trios and so forth, are showcased, as are the subsequent reassembling into a complete band.

At points, flying staccato strings face braying trombone lines, as rapping rubato percussion accompanies the piano(s) uncoiling and undulating cadences. Meanwhile puffing flute timbres intersect with chromatic trumpet runs. Eventually, diminutive fantasias from the pianos and other instruments take precedence along with abrupt changes in instrumental direction plus distinct, particularized repeated note clusters.

Judging by past performances, Morris’ conductions are evidentially most satisfying when interpreted by an open-minded ensemble. This CD proves that the Venice-based ELN is just such a group. Plus, the addition of the reed section in Berlin results in a performance that attains exceptional resonance.

-- Ken Waxman

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Track Listing: Disc 1: Conduction 143.1: 1. Part I1 2. Part 2 3. Part 3 4. Part 4 5. Part 5 Disc 2: 1. Berlin Squeaking //Conduction 143.2: 2. Part 1 3. Part 2 4. Part 3 5. Part 4* 6. Part 5*

Personnel: Disc 1: Ilich Fenzi (trumpet); Umberto de Nigris “barone” (trombone); Cecilia Vendrasco (flutes); Piergabriele Mancuso (viola); Carlo Carratelli (upright piano); Giovanni Mancuso (piano); Andrea Carlon (bass); Peter Gallo (drums) and Butch Morris (conduction) Disc 2: same except Carratelli (harpsichord) plus Armand Angster, Peter van Bergen, Wolfgang Fuchs and Hans Koch (bass clarinets)*

February 13, 2008

 

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Martedi 5 Febbraio - ore 21

Teatro Goldoni - Venezia

 

TOTOPHONIE

Dramma sinfonico plastico moderno ( a prescindere)

 

Partitura musicale e visiva di Giovanni Mancuso

Progetto ideato e curato da Mario Perez

 

Ensemble Laboratorio Novamusica

Quartetto Novecento

Angelica Faccani . violinoconcertante

Renato Rivolta . voce recitante

 

Produzione Teatrino Groggia

 

http://www.teatrostabileveneto.it/Goldoni/goldett.asp?sku=87449

 http://totophonie.blogspot.com/

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Una nuova critica di Mario Gamba al cd Conductions 143.1 143.2

(Butch Morris e Laboratorio Novamusica)

pubblicata su Alias il 24 novembre :

 

BUTCH MORRIS CONDUCTIONS 143/1-143/2 (Galatina Records)

Questi due lavori straordinari (ma nei due cd ce n'è un terzo di pari valore) dovrebbero essere firmati anche da Giovanni Mancuso e dall'Ensemble Laboratorio Novamusica che è un po' la creatura e la comunità artistica del compositore veneziano. La Conduction 143/1 è stata registrata, dal vivo, a Venezia il 2 novembre 2004, la 143/2 solo tre giorni dopo a Berlino durante il Total Music Meeting. Ma prima della seconda performance ce n'è una, col titolo Berlin Squeaking, a opera del solo Ensemble Novamusica, che si batte in un ideale e leale duello con le Conductions per un primato di originalità e vivezza. Più giocati su uno schema e vertiginosi sviluppi, in cui ha gran parte l'iteratività, i lavori di Morris, a cui l'Ensemble risponde con meravigliosa voluttà e radicalità sonora; più giocato su schemi aperti il lavoro di Mancuso. Tutta musica in contatto con il più ampio concetto di contemporaneità, tutta musica veramente (e finalmente!) rivoluzionaria. (m.ga.)

 

 

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E' online il nuovo numero de IL MEGAFONO

 

con un articolo di Cecilia Vendrasco :

Quando la musica parla di mafia e politica

 

 

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Gran Teatro La Fenice - Sale Apollinee,

Martedì 6 novembre 2007 ore 20.30
Prime esecuzioni
Musiche di Curt Cacioppo, Stefano Bellon, Paolo Perezzani, Massimo Botter, Giovanni Mancuso
Ex Novo Ensemble

 

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da DMG Downtown Music Gallery

Newsletter August 31st, 2007

http://downtownmusicgallery.com/Main/news/Newsletter-2007-08-31.html

 

DMG EXCLUSIVE! WE HAVE JUST RECEIVED FIVE FINE DISCS FROM GIOVANNI MANCUSO'S GALATINA LABEL, OUT OF ITALY:

BUTCH MORRIS With ENSEMBLE LABORATORIO NOVAMUSICA -Conductions 143/1 143/2 [2 CD set] (Galatina Records 701; Italy) Ensemble Laboratorio Novamusica features Cecilia Vendrasco - flutes, Ilitch Fenzi - trumpet, Umberto de Nigris - trombone, Piergabriele Mancuso on viola, Giovanni Mancuso & Carlo Carratelli on pianos, Andrea Carlon on double bass & Peter Gallo on drums. Each of these two Butch Morris conductions was recorded a few days apart in November of 2004 and each gets its own disc. Disc 1 was recorded in Venice, Italy and Disc 2 was recorded in Berlin with four guest bass clarinetists added. Ensemble Laboratorio Novamusica formed in 1991 and has specializes in Modern Classical and New Music of the 20th and 21st centuries. Butch Morris chose to work with them for good reasons.
"Conduction 143/1" is exquisitely well-recorded and superbly balanced. It feels like a mysterious dream sequence with extended flute, muted trumpet, eerie strings, delicate percussion and floating pianos. Certain phrases are repeated slowly as a web of soft waves ascends and submerges within the flow. Butch appears to be shaping the waves and layers of intricate harmonies and rhythmic schemes. Each member of the octet takes a short solo as different combinations of the players weave and interact around them. Butch does a beautiful job of focusing the octet by adding select percussive punctuation developing themes that seem to evolve organically, yet are as rich in detail and are as complex and fascinating as any New Music that I've heard.
"Conduction 143/2" was recorded three days later (11/5/04) at the Total Music Meeting in Berlin and adds four guest bass clarinetists: Wolfgang Fuchs, Hans Koch, Peter Van Bergen and Armand Angster. Disc 2 begins with an explosive piece called "Berlin Squeaking", and things often erupt intensely and move more quickly. There is some amazing interplay between the trumpet and the trombone, as both players toss ideas back and forth at an astonishing rate. This disc is just as fascinating, perhaps more exciting and not as cerebral. Butch has a distinctive way of layering different members of the octet into various sub-groups and soloists. I am occasionally reminded of Braxton's fabulous 12+1 Ensemble, in the way that the subgroups always seem inter-connected. Again, this disc is superbly recorded so that we can hear each musician and each combination just right. The final two pieces feature the four extra bass clarinet players and they add some more bluster and those great wooden-toned reed sounds. Each bass clarinetist adds another distinctive voice to the proceedings, sometimes making vocal sounds through their clarinets. It is unfortunate that the ever-incredible Butch Morris has been so under-recorded over the past few years, making each release that more welcome and important. There will also be a new CD on Rai Radio (also from Italy) sometime soon as well. In the meantime, you best check out this extraordinary treasure. - BLG
2 CD Set $32

LABORATORIO NOVAMUSICA EXPERIMENTAL UNIT - Compressione Dialettica Alla Mente / Dialectic Mind Compression (Galatina 401; Italy) Featuring Ilich Fenzi, on trumpet, Umberto de Nigris on trombone, Piergabriele Mancuso on viola, Andrea Carlon on double bass and on Giovanni Mancuso on piano & conduction. This disc was recorded in May & June of 2003 in Venice, Italy with a smaller version (a quintet) of the same ensemble that would collaborate with Butch Morris more than a year later. Similar in idea to what Butch Morris does by way of his unique hand/gesture conductions, Giovanni Mancuso also did his own hand signal conductions while playing piano at the same time. The results here are 30 shorter pieces for his superb quintet. Each piece seems to employ a different strategy or idea. Track 1 consists of a quick, tight, focused blast of spinning segments for just 60 seconds. Track 2 moves in slow motion with some mysterious, spacious and somber sounds. Rather than "pure" improv, I get the feeling that there is an underlying connection between much of what we hear from this. Since there is no percussionist, everyone else determines the rhythmic flow. Trumpeter, Ilich Fenzi, often reminds me of Taylor Ho Bynum, when he plays those quick, swirling streams of notes. On "Track 6", it sounds as if there is two songs that collide together, one slow and moody, the other with quick flashes of furious eruptions. Often one instrument will begin a phrase that is completely by another instrument, keeping things in continues motion. Perhaps not as dramatic or as focused as the better Butch Morris conductions, but there is a great deal of edge-of-your-seat action going on throughout this long (nearly 70-minute) endeavor. - BLG
CD $18

GIOVANNI MANCUSO With PIETRO TONOLO/LUCA MOSCA/RAIZ/ENSEMBLE LABORATORIO NOVAMUSICA - Alphabet Music (Galatina 302; Italy) Featuring Raiz - voice, Pietro Tonolo - sopranino, soprano & tenor saxes, Luca Mosca - upright prepared piano plus The Ensemble Laboratorio Novamusica: Cecilia Vendrasco on flute, Carlo Carratelli on pianoforte, Piergabriele Mancuso on viola, Andrea Carlon on contrabass and Giovanni Mancuso on theremin, accessories, composition & conduction. Each of the four discs that we have received from Mr. Mancuso has a different theme or idea. 'Alphabet Music' is based on the Hebrew alphabet and thus features the voice of Raiz for the second half. The title track is a long, fascinating work, well-written and carefully performed. I love the combination of flute, prepared pianoforte (a quiet harpsichord-like), piano, sopranino, soprano or tenor sax, viola, contrabass, percussion, with whistles and other odd sounds (theremin) provided by Giovanni. The music is often cautious, with lots of intricate twists and turns to deal with. This music defies categorization, since it falls between contemporary classical and modern jazz. "Aleph Beth Gymel" is for solo sopranino and it is quite Braxton-like in the way it quickly spirals for the first section, slows down and builds back up with quicker fragments. The final suite is called, "Un Der Rebe Lernt Kleyne Kinderlekh dem Alef-BeyzÉII" and features the ancient-sounding voice of Raiz chanting in Hebrew, with the somber, haunting music of Mancuso. Although the melodies that Raiz' voice sing sound like a cantor chanting somewhat, the music itself is quite different, yet it still fits together in an odd sort-of way. A grant was provided by the European Association for Jewish Culture and it seems as they have chosen well. - BLG
CD $18

GIOVANNI MANCUSO / PIETRO TONOLO / ENSEMBLE LABORATORIO NOVAMUSICA - Musica Compressa (Galatina 301; Italy) Featuring Pietro Tonolo on sopranino, soprano & tenor saxes with the Ensemble Laboratorio Novamusica: Cecilia Venrasco on flute, Umberto De Nigris on trombone, Mirko Busatto on electric guitar, Carlo Carratelli & Giovanni Mancuso on pianoforte, Fender Rhodes el. piano, harmonium & assorted stuff, Piergabriele Mancuso on viola, Andrea Carlon on contrabass and Antonio Ceravolo on percussion. This is the octet version of Mancuso's Ensemble with the great saxist, Pietro Tonolo plus an electric guitarist, Mirko Busatto added and not found on the other four discs from E.L.M. The title piece is very long and was composed in 2002-2003. It is quite an extraordinary work that consists of 22 short segments that are continuous and quick-changing. The music reminds me of a Zorn game piece that shifts quickly, yet is never too abrupt. It recalls the restless spirit of Zappa as it constantly changes and works through different combinations of instruments, often just a few at one time. Extraneous things like an alarm clock, a duck call and a whistle are used to punctuate the ever-changing flux of activity. I dig that this piece is often sparse and spacious, so that there is never too much going on at once. There appears to be no solos, yet there is a fascinating flow that holds this together. "Musica Veramente Compressa!" is a short piece that flows by quickly with kaleidoscopic layers of lines going on at once. "Lebedik un Freylekh" is a three-part piece, partially dedicated to Zappa. There is an eerie drone that runs through it, like the distant melody of wind-up jewelry box. The middle section is dedicated to Zappa and shifts quickly through complex changes but never becomes too dense. The third and final section features some charming tenor sax drifting above the somber yet constant changes below. The playful spirit of Frank Zappa hovers above this disc like a proud Mother (of Invention). - BLG
CD $18

GIOVANNI MANCUSO With ENSEMBLE LABORATORIO NOVAMUSICA - Black Film (Galatina 501; Italy) This is the most recent (2005) of five discs that we just received from pianist/composer and leader of the Ensemble Laboratorio Novamusica, Giovanni Mancuso. This also the largest version of this ensemble, a nonet with Riccardo Farnea added on "delicate megaphone". Otherwise the personnel remain the same as the octet version: features Cecilia Vendrasco - flutes, Ilitch Fenzi - trumpet, Umberto de Nigris - trombone, Piergabriele Mancuso on viola, Giovanni Mancuso & Carlo Carratelli on pianos, Andrea Carlon on double bass and Peter Gallo on drums. 'Black Film' is broken into 30 short sections, each piece seems like a series of scenes from a movie, running continuously. Giovanni has chosen a fine cast of musical characters, each one endlessly inventive. The ever-shifting combinations of players provide a web that mutates as it moves from scene to scene. The Xenakis-like ominous bent sonorities of the strings and horns are used most effectively. Most solos are short and often instruments are used more for effects, shades, colors and to reflect the changing scenery. A number of these players do stand out, though: the flutes of Cecilia Vendrasco, the viola of Piergabriele Mancuso and the double bass of Andrea Carlon. Both pianists also switch off on prepared and unprepared pianos, and create unexpected sounds with a bunch of unnamed toys, etc. Giovanni's direction or conduction always adds a focus or thread to continuous flow of events. Most often quite engaging and occasionally mesmerizing. 70+ minutes and pretty amazing throughout. - BLG
CD $18

 

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Butch Morris and Laboratorio Novamusica

Conductions 143/1 143/2

 

 

leggi la recensione di Tom Sekowski su Gaz-Eta

BUTCH MORRIS / ENSEMBLE LABORATORIO NOVAMUSICA
Conduction 143.1 143.2
[Galatina Records, www.laboratorionovamusica.it]

In an interview from a couple of years ago with Alessandro Cassin for The Symptom [www.lacan.com], conductor Butch Morris concedes, "I was listening, after a long time to "Holy Sea" (Splasc(H) Records, 1998) my recording with Orchestra della Toscana. I worked with that ensemble just three days and it was only in the last day and a half that I really got through to them. They really raised to the occasion: we created some incredible music. Considering that the majority of them are not familiar with improvisation I am sure they must find it amazing too." A similar sort of chemistry is felt through Morris' latest series of conduction pieces that he recorded in 2004 with Italian new music group Ensemble Laboratorio Novamusica. First disc "Conduction 143.1" was recorded in Venice and features the ensemble in a tight head-to-head against Morris' tightly controlled conduction. The more demanding Morris is with the ensemble, the more they strive to rally against the directions. This controlled environment suits everyone quite well. Horn section is amazingly well versed, while string instruments – viola player Gabriele Mancuso and bassist Andrea Carlon – create a disciplined wall of sound. Pianist [and ensemble leader] Giovanni Mancuso strikes light motifs on the ivories that seem to escalate as the others raise their voices. Structures come and they fall. Nothing is permanent in the world of conductions that Morris leads. Three days after "Conduction 143.1" was performed live, Butch Morris moved northbound to Berlin to perform "Conduction 143.2" at Total Music Meeting. With the addition of some special guests, the ensemble sounds more energized. On two final parts of the piece, bass clarinet players Armand Angster, Peter van Bergen, Wolfgang Fuchs and Hans Koch add an extra layer of complexity to the proceedings. In fact, their overwhelming passion for the written material is clearly heard when they match intensity of the ensemble. Once again, Giovanni Mancuso maneuvers between the string section and the brass. Everyone knows their place in the scheme of things, but still Morris allows for ferocious outbursts of what sounds like total improvisation. It's these moments that give out the clarity of this collaboration. This is music worth living for. It's as essential as air itself. Breathe in. Breathe out.
- Tom Sekowski
http://www.gaz-eta.vivo.pl/gaz-eta/recenzje/gazeta.php?nr=56&id=s_14

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Giovanni Mancuso e il Laboratorio Novamusica nell'ultima newsletter di

UNITED MUTATIONS!

(solo per zappofili)

http://www.united-mutations.com/m/giovanni_mancuso.htm

http://www.united-mutations.com/123/big_note_files_news.htm

 

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è disponibile il numero 4 di Filigrane (a cura di Jean-Marc Chouvel)

rivista di musicologia edita da delatour, France:

Nouvelle Sensibilités (a cura di Jean-Marc Chouvel)

in questo numero:

Carlo Carratelli : La « nouvelle » complexité de l’oralité musicale

L’article essaie de situer l’importance prise par le phénomène de l’oralité musicale dans la constellation des exigences créatives actuelles, afin d’en proposer une révision conceptuelle et esthétique. En fait, grâce à l’exemple d’une expérience particulière, celle du compositeur italien Giovanni Mancuso et de son ensemble, on a envisagé la possibilité de reconsidérer le rapport entre écriture et oralité au-delà d’une opposition simplificatrice, qui réserve à la première la maîtrise de la conceptualisation et de la complexité et à la deuxième celle de l’immédiateté. L’oralité, dans notre hypothèse, ne représente pas l’effet d’une involution technique ou d’un dégagement conceptuel, mais plutôt le signe d’une sensibilité « nouvelle ».

nel cd allegato musiche di Giovanni Mancuso intepretate dal Laboratorio Novamusica

 http://revuefiligrane.free.fr/numeros/revue4/revue4_fr.htm