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Francesca Verunelli: In bianco e nero

für fünfsaitigen Kontrabass, Akkordeon und Elektronik

(2022)

In bianco e nero literally expresses what happens on stage, namely the transparent transition between two extremes of musical sound: on the one hand, the fully embodied instrumental sound, characterized by the physical presence of the performer and the gesture that produces the sound, and on the other hand, the totally disembodied electronic sound and the absence of the physicality of the performer and the instrument. Where the instrumental sound is produced in the light, the electronic sound is produced in the dark. One of the ideas of this work is the exploration of the opposite of mixed music: here an attempt is made to bring out the properties of instrumental sound and electronic sound by difference and by the absence or presence of an instrumental body and a musician who produces the sound with gesture. The clear separation is also expressed visually with the passage between light and darkness, between clear and obscure–without knowing if it is more obscure the instrumental corporality in its inexhaustible richness or the electronics that separates the sound from the relation of cause and effect with a gesture and an instrument physically present on stage. For this reason, what is properly electronic does not seek to be attached to an instrumental cause or to a place of radiation, but is situated at the greatest distance from the organic nature of the instrument in which also resides the organic nature of the place and of the look.

Francesca Verunelli

Francesca Verunelli (*1979 in Pietrasanta) studied composition with Rosario Mirigliano and piano with Stefano Fiuzzi at the Conservatorio Luigi Cherubini in Florence where she earned both diplomas summa cum laude. She concluded her studies in composition at the Accademia Santa Cecilia, with Azio Corghi. After moving to Paris she attended IRCAM’s training in Composition and Computer Music. She holds a PhD from PSL University (Paris Sciences & Lettres).

In 2010 at La Biennale di Venezia, she was awarded the »Leone d’argento« prize. She has been composer-in-research at Ircam and GMEM; and resident artist of the Casa de Velasquez (Madrid–2015/2016) and the Villa Médicis (Académie de France à Rome–2016/17). She was a recipient of the prestigious Composer’s Siemens Prize in 2020. In May 2022 she was awarded the 41st »Premio Abbiati della critica«.

»I am fascinated by the inexhaustible richness of the sound phenomenon in the sense that I seek to explore sound in its real and fundamentally irreducible complexity (not simplifiable, not separable into conceptual structures). Sound is not even a vehicle of something extramusical but is a manifestation of its being-in-time and part of our being-in-time. Listening is the specific connection that is made within us with this experience of time that is sound. Time, pitches, timbres, form are all nonseparable aspects of a whole experience. In this phenomenological complexity reside harmonic structures of just intonation or not, tempered or untempered, yet never abstract, that is, separate from the sound phenomenon, but constitute an important dimension of it. I am passionate about untempered harmonic spaces and spend a lot of time tuning instruments and exploring these spaces.« Francesca Verunelli

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Francesca Verunelli: In bianco e nero

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