CNVCD006 | 12.09.2012
Der Italianische Manierismus
format: CD | packaging: digipack
duration: 53 minutes, 7 tracks
limited to 300 copies
price: 12.50 euros - shipping included
A certain line of thinking and feeling that runs from the hermetic and mannerist times from the dusk of the renaissance through the unfolding of the baroque has been very influential for me in the past few years and seems to resurface in this collection of pieces. Conceptual frameworks here are often wrapped in luscious drapery as in the case of "Rosso" or "It is an island" while compositions proceed by elongated proportions, highly stylized poses and allegoric artifices.
Der Italienische Manierismus comprises some pieces I had been widely performing live in the second half of 2011. All of these pieces came together from many live/travestied voice interventions of that period. Some reached an extremely fixed form while others progressively eschewed it in entropic improvisational metamorphoses.
Fantozzi Vs. Dalla casts precise and stylized re-enactments of the famous screams and groans of two important figures of Italian popular culture. They gave us many years of lovely output, but in my opinion their true gems were their early yells. Unfortunately Dalla passed away a few weeks after this piece was completed. I'd like to dedicate it to him.
Our positions is for Corrado Costa, an avant-garde poet from Gruppo 63, a long time associate of writers like Adriano Spatola, Giulia Niccolai, Franco Beltrametti and the great Emilio Villa.
I have been thinking about his book called "Le nostre posizioni" (Our positions) while writing the homonymous recursive text i use in the piece. Costa's "Le nostre posizioni" is a collection of adamantine and dry constructions that in my mnemonic architecture is in the same area as R.D. Laing's "Knots", - another masterpiece of self propelled recursiveness.
It is an Island is an example of "hand made convolution" or sonorous kippbild where the emotional verbalization of a landscape gets morphed into the landscape itself in the manner of Giuseppe Arcimboldo. A lateral reference to the already abused Alvin Lucier's "I am sitting in a room" has to be made although for this piece I wasn't sitting anywhere but rather hiking around the location. All the sound drawing has actively been made by hand, no FFT involved.
Sigmund Holmes and Sherlock Freud is nothing more than a madrigal soaked with reverb while Dolce Stilnox is one of many insomnia drawings. Finally Rosso, the opening number, is a study in rhythm and drapery. Although it bears no words it is inspired by the prosodic findings from a few years of music making with Trophies.
I feel no weirdness in here, just different degrees of concealment and disguise. These pieces are as much songs as they are constructions of the sonic environments that contain them. They a become a universe that eventually folds onto it's own content and devours it. They are the stuff of my solo performances, a sweet masquerade that longs for a maniera.
[ AB- Berlin 25.06.2012 ]
Das ist ein harter Knochen, um daran zu nagen. Schreibe ich jetzt einfach mal so hin. Das klingt vielleicht etwas manieriert, aber hey ... worum geht es denn hier? Alessandro Bosetti ist ein relativ junger italienischer Komponist, Baujahr 1973, der unter anderem schon Auftragsstücke für das WDR Studio Akustische Kunst abgeliefert hat. Bosetti spielt am liebsten mit Text- und/oder Vokalfragmenten, die er elektroakustisch überarbeitet, zerbröselt, neu verfugt. In einem Track ist von einem sonaren Kippbild die Rede, an anderer Stelle von Knüpfkunst. Das darf man sich in etwa so vorstellen: die Grundierung liefern durchaus betörende, minimalisierte Vokalstückchen, die durch verschiedenste Soundfetzen modifiziert, manchmal abrupt zergliedert werden. Manche Passagen auf »Der italienische Manierismus« sind überraschend gefällig, andere großartig schrill (etwa »Fantozzi vs. Dalla«) – und manches nervt ganz prächtig. Dass auch ein augenzwinkernder Humor in manchen Stücken steckt, darf bei einem Werk, das sich freiwillig der Schwülstigkeit bezichtigt, vorausgesetzt werden. Alle Stücke gehen übrigens auf Live-Performances zurück, den Namen Bosetti darf man sich also vormerken, sollte sich eine entsprechende Gelegenheit bieten.
[ Curt Cuisine ]
Le Son Du Grisli
L'intérêt qu'Alessandro Bosetti trouve à la voix et aux diverses manières de dire sa musique trouvent en Der Italienische Manierismus de fabuleux prétexte à mélanges. Chez l'Italien, le dire et le faire (le morceau-titre a beaucoup été travaillé en public en 2011) se nourrissent l'un l'autre.
Fouillant de fond en comble un saxophone qui tient pourtant du souvenir, Bosetti trouve l'inspiration : basse synthétique, voix hallucinées, guitares en peine donnent à l'ouverture des airs de bande-son de train fantôme. Après quoi d'autres samples de voix rivalisent avec les cris d'oiseaux atteints par quel mal : le théâtre qui se joue là est celui d'un délire appuyé (ses références, peut-être : Meredith Monk, Phil Minton). Par deux fois, entendons-nous que l'étrange est un art subtil dans lequel Bosetti réussit.
Ce sont ensuite des « exercices » de poésie : guitares en peine, collages abrupts, voix réenregistrées et mises en abîme, étourdissantes toujours (qu'elles imaginent une poignée de moines dévoués à Berio ou entament une lecture que des bruits divers, de plus en plus, parasitent). Etourdissantes jusqu'à en submerger Alessandro Bosetti lui-même. Qui a de quoi être fier – ne pêchant que lorsqu'il abuse des sons de synthèse.
[ Guillaume Belhomme ]
All About Jazz
Der Italienische Manierismus opens with "Rosso," and the seemingly randomness of minimalist improvisation where he draws from the breath blown (without notes) in a horn (is it Bosetti's soprano?). He then layers loops of voices into an ever increasing volume of 'noise.' Stops all with a dramatic pause, then returns with voice only. Bosetti guides listeners to consider the musicality of the noise through the vehicle of repetition. Such is the case with "Our Positions (for Corrado Costa)" where he repeatedly reads several sentences. The meanings of the words (the same words) morph with the redundancies. They express the same thought, yet intimate something else altogether. Then again, the same can be said for musical notes he chooses. "Dolce Stilnox" mixes a conversation by Valentina Picello over electronic beats and piano, generated not so much as accompaniment but interference. Often, he will merge two dissimilar events, a sampled baby, some dissonant piano, and low-end bass chords heard on "Proust." These collages or aggregations become something more than the sum of their parts, something new altogether. The disc ends with "It Is An Island (for Guiseppe Archiboldi)" Bosetti's now signature sound generation, where repeated text is accompanied by a matching harmonious notes. Instead of notes played on piano, he utilizes an assemblage of tuned crashing noise. Notes that eventually take over the text, as ocean surf pounding the shore.
[ Mark Corroto ]
Bosetti listens. Not really to what members of mankind have to say, rather to the phonemes and morphemes that occupy the interstices between hypothetical meanings. Taking morsels of authenticity – bitter or less, now and again almost satirical – and gradually chewing them, the Berlin-residing Milanese artist spits compositions in which vocals remain firmly at the centre of the "score", according to manners and procedures whose results, more often than not, push us a bit off-centre.
He mixes anti-academic gravity (for example in the acousmatic pastiche "Proust") while hinting to archetypal Italian neuroses that are not understandable for a genuine foreigner, and luckily so. A non-Italian could never imagine that a particularly bloodcurdling howl heard in "Fantozzi vs. Dalla" refers to a comic movie scene in which the former character hammers his finger during an attempt to erect a camping tent. Against an impressively mounting mass of underneath clusters, that mocking allusion becomes something of a distressed cry, seeking release from some sort of overwhelming grief.
Elsewhere, we're treated with exercises in trance-inducing repetition ("Our Positions") or permutations of freeform configurations and splinters of typically invasive nervous replies, like the small pieces of unwanted cell phone conversation we're forced to swallow on trains and buses on a daily basis ("Dolce Stilnox"). Perhaps the short madrigal soaked with reverb – Bosetti's definition – called "Sigmund Holmes And Sherlock Freud", replete with heaps of sloping voices and surrounding (pseudo?) borough noises, might be employed as the ideal pictogram of a composer who, in this occasion, doesn't let the audience know where fun ends and (moderate) tribulation begins.
At any rate, this record contains large quantities of what the house calls "great stuff". Alessandro Bosetti confirms himself as one of the few compatriots of mine gifted with the ability to send out truly consequential statements without "borrowing" from famous predecessors.
[ Massimo Ricci ]
I'm a big fan of Alessandro Bosetti. 'Zwolfzungen' is one of my favourite experimental CDs. I've never really heard anything else like it (he travelled the world recording strange dialects and put amazing bits of music to them). He's in a league of his own I reckon. Anyway here's his new album 'Der Italianische Manierismus' which is all digipack'd up on the Con-V label and it's limited to 300 copies.
It starts off with 'Rosso' which sounds like lots of things being dragged across the pavement before some barbershop/Philip Glass repeato vocals come in and make it sound deranged. It's beguiling stuff. On to 'Fantizzi Vs Dalla' with its strange manipulated vocals that sound like damaged birds. There's the occasional hilarious scream in this tune which made me chuckle (probably shouldn't do but I'm childish).
Throughout the album there's an interesting use of vocals which are either manipulated or layered over each other (I suspect there's a lot more being done) and of course there's the occasional random shouty vocals. It's a complex sounding record and one that I could never do justice to but if you're into experimental music I'd heartily recommend checking this dude out as his use of electronics and vocal manipulation is excellent and he can string some interesting melodies together.
[ Phil ]
Der italienische, in Berlin ansässige Elektroniker, Soundmixer und Klangmagier Alessandro Bosetti koppelt auf dieser Platte auf dem Label aus Madrid mit dem deutschsprachigen Titel „Der italienische Manierismus“ ganz unmanieristisch Stücke seiner Soloperformances zu einem konstruktiven Ganzen. Kein fleckerlteppichartiges Stückwerk resultiert daraus, sondern eine Komposition, die durch Konsequenz und Logik gekennzeichnet ist. Songstrukturen treffen auf abstrakte Gebilde, Bestandteile werden gewidmet, u.a. dem Liedermacher Lucio Dalla oder, auf der Suche nach der verlorenen Zeit, das Stück mit dem schlichten Titel „Proust“. Hübsch wie anregend gerät auch die Kriminologie der Psyche in „Sigmund Holmes and Sherlock Freud“, in dieser Tonart geht es munter weiter. Immer wieder und mit Vorliebe kombiniert Bosetti seinen Soundreichtum mit dem gesprochenen und dem gesungenen Wort. Direkte oder indirekte Bezüge zu anderen Kunstformen, wie Literatur, Bildende Kunst oder Philosophie treten, manchmal unvermutet, an etlichen Stellen an die Oberfläche, wie Geysire. Vokalismen, wie man sie aus dem Jazz kennt, kommen ebenso zur Ausprägung wie blanke Rezitation, kunstvolles Gebrüll oder digital rekonstruiertes Möwengeschrei. Pluralismus und Multitude finden im Werk von Alessandro Bosetti einen adäquaten, markanten Ausdruck.
[ Felix ]
Alessandro Bosetti makes the listener often struggle with complex music with almost mathematical structures, dissonances, counter rhythms and so on. He was born in 1973 in Milan and plays several instruments. What is striking is that it is often guided by the words and the rhythm in which it is spoken. He makes music for radio, performances and installations. His latest CD "Der Italienische Manierismus" is released on the Spanish label CON-V, which focuses on independent musicians in an unconventional way to deal with sound, like Celer, Jos Smolders, John Hudak and D'Incise. This album is less complicated than the previous albums. It seems that Alessandro Bosseti focuses more on the sound and rhythm and to increase the emphasis. The CD is composed of compositions he played live in 2011. Some tracks were tightly defined, while others were created through improvisation. What I like about this album is that field-recordings and musique concrete sounds increasingly used instead of traditional musical instruments. In the song "It is an island" is the most powerful made and he uses concrete and electronic sounds and rhythmic sound curtain. In "Our Positions" he takes as a starting point the book "Le noste posizioni" of the avant-garde poet Corrado Costa. The poem is recited in a calm and rhythmic way. In the background voices and field-recordings support the poem softly. An exciting song about the position taken and is not changed. In "Dolce Stilnox" seems Bosetti?s honored recipe to apply complex musical patterns, but by the repetition and subtlety gets this piece with his calm unrest an almost meditative character, because the listener will be surprised by the small changes. With "Der Italienische Manierismus" knows Alessandro Bosetti to bridge experiment and accessibility, without losing its own identity and that is a great merit.
[ Jan-Kees Helms ]
CON-V EDITION | 2015