How Long Does The Stomach Flu Last?

TO Fünf

• March 21, 2010, h. 17.30, Torino Teatro Vittoria, Via Gramsci 4
(first performance: 11/13/2009, Riva del Garda, Conservatory Auditorium)
-TO-Fünf

Percussion (3TomTom, 5ThajGong, LogDrum, Chains, Glass),
Voice, TracciaAudioVideo

Music Maurizio Pisano
Text and Voice Paul Nori
Director Amedeo Savoia
Percussion Richard Balbinutti
Video Max Bertolai

• Prelude of tears - on the wall - Children's War Questions - The Wall II - Postlude zum Tode
• Alle fünf, all five to death with these words, after the Nazi massacres of 28 June 1944 in Riva del Garda, the system makes another attempt to extort a betrayal of five prisoners at a young age. For some of them, and many others, was the end of any age, while those who could and wanted to continue fighting, it was the moment in which they are grown up and responsible for their own safety and that of others.

Alle fünf music is over five times, as written on the walls, where the sound compared with attempts to turn back the hearts and memories, to find the courage and strength to cry. The cry for war, after all, is always ready and then, as now, often comes from an inscription on the wall, write a strong enough fire.

In Alle fünf play skins, wood, metal, glass, a voice, the bells of Riva and the stones of the fortress, questions of children about the war, rumors spread. Mp

Popular Paint Colors For Travertine Bathrooms

WAITLESSWAIT

WAITLESSWAIT, music by Maurizio Pisano for
THE MOUTHS USELESS
Simone de Beauvoir

translation directed by Paul Bignamini
Annig Raimondi
space lights Fulvio Michelazzi

Friday, March 12, 2010 - 21:00
© Editions Gallimard - Paris
premiere news and literary production in Italy
PACTA . the Theatre - Theatre ScenAperta Polo High Milanese - Egumteatro

A city of Flanders is under siege. The government decides to sacrifice "The useless mouths" the reason of state: the sick, elderly, children and women will be driven from the walls of Vaucelles and abandoned to the enemy. In the conflict between civil law and moral law, this "Antigone on the contrary" is one of the few theatrical experiences of Simone De Beauvoir, one of the leading female voices of the twentieth century.

THEATRE OSCAR
Via Lattanzio, 58 - Milan, 12 to 28 March 2010, show times: Tues - Sat 21:00, Sun 17:00
This invitation is entitled to two free tickets to confirm or infoteatro@pacta.org: tel. 02/36503740 Invitation valid until Friday, March 19, 2010

How To Strip Walnut Wood

RödKonsert

Stockholm and Vasteras, Sweden, February 21st-28th 2010

• Västerås febr.21-27

workshop Mälardalen University ,

Västerås College of Music

• Stockholm febr.25 h.17.30

Studio53 seminar & concert with

Ivo Nilsson & Jorgen Pettersson

playing Z

StockholmSaxophone Quartet
playing SaxStories

• Västerås Febr. 27 h.15.00

Concert - Little Hall

RödKonsert

Recorders Catherine Widell , Archlute Patrick Karlsson

StockholmSaxophonaQuartet: Per Hedlund , Leif Karlborg ,

Jorgen Pettersson , Sven Westerberg , Ivo Nilsson ,

Patrick Jarl Ordinary , EnsembleSON

• RödKonsert was Commissioned in 2009 by EN.DE

Project, music, and live audio-conduction Maurizio Pisano

Video shooting in collaboration with AAEmpedocle, HernanP, Öberg

RödKonsert

• RödKonsert is a vision. Scripture, pure form and sound of red, Vivaldi and, once again, the light.

• The element that joins handwriting, murals, signs, red marks on stone in total freedom, it is mostly water. It feeds the writing, after which all signs just disappear into the water, brought by the speed of travel time and the indifference towards all speeds.

• Three movements. Seven video clips. The first six are mostly dumb and also, despite the abstractness of the images in their own way narrative stories floating in the air and red, shades, burners, written reflections. The seventh
however, where the man in red wig with hair disappears scoring green water, shows references historical, geographical setting and more marked, but does not live narration tends to disappear. Floating on the water continually runs away and ends-a red-Ophelie tireless as writing with invisible beginning and end, as the music.
• Constant presence is a shadow of the Concerto in C minor for Flute and Strings by Antonio Vivaldi processed electronically now with irony now with time shifts adventurous.
interpreters are immersed in this fantastic journey and continually invent their presence, otherwise they would lose the road, being alone and without time on a street unknown. Mp

• RödKonsert is a vision. Writings, pure form and sound of “the” red, of Vivaldi, and once again of light.

• Water, in RödKonsert, unifies such different writings combined in a totally free attitude: handwritings, wall writings, urban signals, red signs on a stone.

Water is the basic element of writings, and each sign disappears in it, transported by the journey speed as well as by the priority of time on every speed.

• Three movements and seven videoclips. From 1 to 6 they are basically mute films, true stories of flying and fluctuating “reds”, fires, drafts, fadings, reflections.

The seventh clip has clear environment and hystorical references, and even if the man in red wig disappears, leaving his red sign on the green water, its core is not the narration: it is mostly looking for a disappearing attitude. Everything is escaping, turning on the next “calle” -the venetian streets- to end floating on the water as a red Ophelie, untiring as a writing, with invisible beginning or end, as a music.

• In the audiotrack we have a shadow of the Cminor concert for Recorder and Strings rv441 by Antonio Vivaldi, that is here electronically edited, sometimes ironically, someother with reckless time shiftings.

For the Interpreters this score is a sort of diving journey, they are suggested to continuously “invent” their own presence in the music: doing differently they would get lost and timeless in an unknowned calle.

mp