Davide Fasulo, a multi-instrumentalist and conductor of instrumental and vocal ensembles, and Marco Ferrari, a clarinetist and flutist, created Voi siete qui, a composition inspired by MAMbo in its entirety and by the range of sensations evoked during a visit to the gallery, emphasizing the idea of space in an art form where time typically serves as the guide.
PROTAGONISTS
Davide Fasulo and Marco Ferrari
Davide Fasulo
Davide Fasulo is a multi-instrumentalist composer, conductor of instrumental and vocal ensembles, sound designer, and producer. He collaborates with various artists to bring his compositions to life both in live performances and through studio productions, sound installations, and music for videos. He has always performed as a musician in diverse projects, ranging from jazz to early music and experimental electronic music. His current active projects include White Ear (for Last Floor Studio and Compagnia Nuove Indye), Dueventi, and La Metralli.
Marco Ferrari
Marco Ferrari, a clarinetist and flutist, focuses on the study of pre-1600 early music and the relationships between written music and oral tradition. He has performed in the stage orchestra of Peppe Barra and collaborated with artists such as Lucio Dalla, Mia Martini, Angelo Branduardi, and Aleandro Baldi. He founded and directed the ensembles Sine Nomine-Acantus, with an extensive recording and concert career in major cities around the world. He has published the book L’interpretazione della musica antica and a series of traditional Balkan music suites for Utorpheus.
COMPOSITION
Voi siete qui
Though the composition is inspired by the gallery as a whole, the spark that ignited the creativity of the two composers comes from the artwork Non parto, non resto by Alighiero Boetti. In this work, any musician might perceive a kind of musical staff, interpreting the “commas” as two distinct series of precisely indicated notes. Both the title and the work itself express an idea of presence, a concept of spatial positioning that strongly connects the viewer to the exhibited object. This led to the decision to emulate listening from a point directly in front of the artwork, achieved by sampling the reverberations of the gallery, captured from different rooms and recorded from the spot where the artwork is located. The recording used rare and unique flutes from various origins, each with a different timbre, and a cimbalom, serving as a “vanishing point” for the spatialization of the sound.
