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Coluccino, Osvaldo: Absum (Inexhaustible Editions)

Composer, sound artist and poet Osvaldo Coluccino in a six-part electroacoustic composition for electronics, violin and objects, the title carrying several meanings: 1) not being there, being absent, 2) being free, 3) abstaining, opposing, being alien, 4) differing, being different, 5) (regarding places) being distant, being far away, 6) being inferior.
 

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product information:


6-panel digipack with transparent tray

Label: Inexhaustible Editions
Catalog ID: ie-034
Squidco Product Code: 31968

Format: CD
Condition: New
Released: 2021
Country: Slovenia
Packaging: Digipack - 3 panel
Recorded in Italy in 1999.


Personnel:

Osvaldo Coluccino-electronics, violin, objects

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Artist Biographies:

"Osvaldo Coluccino (1963) is a composer and poet. He composed vocal, instrumental and electroacoustic music.

His compositions have been commissioned by various festivals (Teatro La Fenice di Venezia, Muziekcentrum De Bijloke Gent, Transit Festival Leuven, Venice Biennale, RAI National Symphony Orchestra, Conservatoire Royal de Bruxelles, Milano Musica (Teatro alla Scala), Angelica Festival with Orchestra del Teatro Comunale di Bologna, Compagnia per la Musica in Roma, Orchestra della Toscana in Firenze...), and have been performed in several prestigious locations around the world (Festival de Royaumont, in co-production with IRCAM-Centre Pompidou, Paris, Guildhall School Of Music & Drama, London...) and in special spaces of art and history (Egyptian Museum in Turin, Museo del Novecento in Milan, Manifesta the European Biennial of Contemporary Art, Castle of Rivoli International Museum of Contemporary Art, Ateneo Veneto Scuola Grande di San Fantin in Venezia...).

His discs have been released by the major labels for contemporary classical music (Kairos, Neos, Col legno, Die Schachtel, Another Timbre...). His works have been performed by renowned ensembles (Ensemble Recherche, Exaudi Vocal Ensemble, Nieuw Ensemble...), orchestras, conductors and soloists (Roberto Fabbriciani, Jan Michiels, Fabrizio Ottaviucci...). Important music historians and musicologists have written about his music (and reviews on Diapason, 5 diapasons, France, Gramophone, London, Takte Bärenreiter-Magazin, Germany, MusicWeb International, UK, American Record Guide, USA, Classic Voice and Amadeus, 5 stars, Italy...). His music has been broadcasted on national radios (SWR, Radio France, ORF, RAI, BR-Klassik, RTBF, VRT, Concertzender, Radio Slovenija, RTP...). Several scores are published by RAI Trade editions.

Discovered in 1990 by one of the leading literary scholars (Légion d'honneur) Stefano Agosti, Osvaldo Coluccino has also carried out an intense activity as a poet between 1987 and 2003, with published books. He also made artist books with Marco Gastini, Franco Guerzoni and Wainer Vaccari and has participated in events or works with internationally renowned artists such as John McCracken, Giulio Paolini and others. "

-Osvaldo Coluccino Website (http://osvaldocoluccino.blogspot.com/p/normal-0-14-false-false-false-it-ja-x_30.html)
8/8/2022

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track listing:


1. Absum I 3:19

2. Absum II 5:51

3. Absum III 4:04

4. Absum IV (for Blown Objects And Processing) 9:06

5. Absum V (for Two Violins And Magnetic Tape) 10:35

6. Absum VI 9:34
sample the album:








descriptions, reviews, &c.
"Absum is a Latin word that has various meanings, including: 1) not being there, being absent, 2) being free, 3) abstaining, opposing, being alien, 4) differing, being different, 5) (regarding places) being distant, being far away, 6) being inferior.

Presence of the work, absence of the author

So muffled, vapor escaping from an old coffer, so dusty and apparently, in some ways, timbrically "primordial" and yet elusive, the first three compositions of the album unfold. The following three increase the dynamism and openness of the timbre.

As always in my albums, also in Absum a journey takes place along the tracks that, joined together, make it up.

Even in this "raw" timbre paste, emblem of adherence to the roughness of life (or death), there is multiplicity and mutability: the carpet is perturbed by rivulets of inserts, wave shifts and degrees of spatial depth. The first three pieces have a more intimate, dark, slow, melancholy character; Absum IV presents asymmetrical weaves and movements mainly generated by altered puffs and airy doughs in three-dimensionality; Absum V bewitches us with metamorphic mixtures in space created by two violins that expressively and ineffably "sing" at the two opposite wings of the hall and in the distance, and by the related processings; Absum VI would seem a development of what was previously sown, it expresses a wealth of intent and then takes leave with a whirlwind closure, as if it were the final movement of a symphonic composition in which the themes or, as in our case, the stylistic elements, return, but in a fragmented way, mix each other, and then close the work in a dizzying way.

In the prevailing harmonic indeterminacy, or along this texture of the noise, it is also possible to detect a couple of "interference" according to traditional harmony, eg. in the opening of Absum II an interval of perfect fourth appears (B flat-E flat), and in the closing a repeated descending minor third (D flat-B flat). This same last interval (minor third) is repeated, but ascending, at the end of Absum III. Obviously this should not be interpreted as a retrograde (wink to the tonality) or manneristic event, but on the contrary as an emotional necessity.

"Absum", a Latin word that would mean: "despite all this, the self has nothing to do with it", "the self has 'gone out' for a moment", "there is something else that is more entitled to attend or to stay than the self"... As if to say, aiming for a sort of resistance to the centrality (arrogance) of the author and, consequently, for a certain ontological dissipation... in favor of the work itself.

It is an album that had its gestation in the mid-90s of the last century, then not so distant, in terms of aesthetics, from a certain charm of "early electronic" nor many years away from some rare high-profile electroacoustic research by classical composers in the mid-1980s. Two conservatory students, in the course of Analysis of Electroacoustic Music taught by Maestro Antonio Doro, in 2005 presented their diploma thesis on two of Absum's pieces."-Osvaldo Coluccino


6-panel digipack with transparent tray
Related Categories of Interest:


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Organized Sound and Sample Based Music
Electronic Forms
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Objects and Home-made Instruments
Electroacoustic Composition
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