PIANETA IMMATERIALE IV

PIANETA IMMATERIALE IV

Mercoledì 16 luglio ore 14.00
MUSEO DEGLI STRUMENTI MUSICALI DELL'ACCADEMIA NAZIONALE DI SANTA CECILIA | Roma
CONCERTO ACUSMATICO
Selezione di opere di autori internazionali a cura del CRM e MA/IN Festival
Opere di Alejandro Albornoz (CL), Angélica Nocturnal (MX), Michael Ryan (IRL)

ALEJANDRO ALBORNOZ (CL)
Apenas paisaje (11'18")

ANGÉLICA NOCTURNAL (AR)
Las Moradas de la Anaconda profunda (10'41")

MICHAEL RYAN (IRL)
Machine Topographies (7'45" - 2025)

ALEJANDRO ALBORNOZ (CL) Apenas paisaje
Apenas Paisaje ("Just Landscape") is an acousmatic piece inspired by bittersweet feelings about inhabiting a space with great natural potential, yet discouraged by humanity's inability to nurture its best qualities. The work explores electronic sounds and field recordings, connecting both worlds through electroacoustic techniques. Energy and hope emerge like singing birds' fresh liveliness. The title references Chilean poet Nicanor Parra's verses from "Chile": "We think we are a country and the truth is that we are just landscape." Composed with Soundlapse project support.

ANGÉLICA NOCTURNAL (AR) Las Moradas de la Anaconda profunda
The Hidden Sanctuaries of the Deep Anaconda (The Journey of Dopatubinü) emerges from Amazon rainforest research with Hiwi and Piaroa peoples, plus museum studies reconstructing pre-Columbian instruments, recording Maya, Chimú, Inca, Aguada aerophones. The work roots in the sacred Anaconda myth—Tsawaliwali—who dwelled in sky and, wrapped in thunder, descended to Earth, becoming the Orinoco River. Dedicated to activist Indigenous leader Berta Cáceres, brutally murdered March 3, 2016, defending the sacred Gualcarque River of Honduras' Lenca people.

MICHAEL RYAN (IRL) Machine Topographies (2025)
'Every machine, in the first place, is related to a continual material flow that it cuts into. It functions like a 'bricoleur'; it is an agency of selection, of detachment, and reassembly or cutting.' — Deleuze and Guattari. 'Machines are not mechanisms. They evolve, mutate, and reconnect with different machines, which are themselves in evolution and mutation' — Gilles Deleuze. In Machine Topographies, machines appear as sonic gestures interrupting sonic terrain. These 'sonic machines' reconcile Deleuzian 'difference' with noumenal landscapes. Elements align with Bergson's 'duration spatially over time,' forming mechanistic processes evolving relationally.