Reworking of a project commissioned by the web radio Silent Radio, this undertow of sounds-words outlines, in outcroppings of memory, the story of a non-encounter, hypothesizing a circumstantial narration that everyone must reconstruct. “It is the scenography of a present and also of a near future. of an expectation. One only expects what one perceives as approaching”. Between electroacoustic suggestions and impressionism à la John Tilbury, Turra effectively continues his very personal reductionist discourse, at the same time of style and sentimentality. Guerriero recites (a definitional approximation) her texts and they look like raft-segments of an eternal shipwrecked feminine. Listening through headphones allows you to better enter and participate in a music that is research-reconstruction of ties, of what remains of the relationship nor human. [7.8]
—BLOW UP, Italy
Nell’arte in generale e nella musica in particolare vi è un atteggiamento formalista che fa della sperimentazione un motivo di allontanamento, più che di vicinanza, tra compositore e ascoltatore.
Investigare inediti linguaggi coniugando ricerca ed emozione è fatto raro per non dire rarissimo, una qualità, che da sempre caratterizza, fortuna sua, l’opera di Luigi Turra.
Qualche settimana fa il compositore vicentino è tornato a pubblicare per l’etichetta losangelina Line di Richard Chartier, a sette anni dall’uscita dell’enigmatico “Alea”, “Ressac”, questo il titolo della sua nuova fatica da studio, si avvale in aggiunta della voce e dei testi in francese di un’altra vicentina, Belinda Guerriero. Si tratta di un’indagine ai limiti dell’astrazione, basata su un’analisi degli scritti e soprattutto dei film della regista Marguerite Duras. Ascoltato il movimento a titolo “Bouleversement”, balza all’orecchio come sia questo un esempio di Musica Seria che attinge a piene mani dalle esperienze della “musique concrète”, fagocitate da un minimalismo digitale che scompone gli elementi sonori in momenti ambientali, dunque, estetici. La collaborazione tra i due approfondisce gli studi su voce e interazione sonora compiuti nella seconda metà del Novecento dalla coppia Luciano Berio-Cathy Berberian (si ripeschi il loro apripista “Visage” per elettronica e voce su nastro del 1961).
Il lavoro di Turra-Guerriero rappresenta, al contempo, un rework di un progetto commissionato nel 2020 dall’emittente italiana Silent Radio, aprendosi al panorama desertico di un linguaggio parlato eroso, scardinato da significati immediati. “Ressac” verrà inoltre proposto come installazione sonora in alcune sedi artistiche italiane ed estere. Un’operazione intellettuale ma non ingessata, vibrante di un coraggio adamantino che richiede ascolti iterati e nessun preconcetto.
—IL GIORNALE DI VICENZA
Minimal sounds and pregnant silences, the exact measure of the gesture and the emphasis on the relationships between the elements in play. The reductionist approach at the basis of Luigi Turra’s electroacoustic experimentation remains intact, crystallizing in a new itinerary that seals the alliance activated for some years with Belinda Guerriero on record. Up until now their synergy had converged in the creation of some sound installations and the work itself proposed here is the reinterpretation of a project conceived in 2020 for Silent Radio.
“Ressac” is in fact extracted from “Les mots désaccordés + Bouleversement”, a conceptual radio drama made of words and resonances distilled and deconstructed until they become a mere detail of an indefinite action freed from any narrative canon. Indulging the habitual taste for the essential in which harmonic drops fall within a scenario of environmental echoes, rustles and vapors, Turra structures an immersive sonic environment in which the voices fit together like traces of a fragmented memory. It is to them, to their diaphanous presence, that the task of linking sounds and reverberations is entrusted, guided by the rarefied perpetration of crystalline piano tones that punctuate the development of the whole.
Hermetic and prone to elegy, the sound art proposed by the duo is akin to the imaginative power of poetic verse and knows how to expertly build a vivid listening environment, made only of what is necessary, capable of combining the ethereal with the material data in a sensory journey pervaded by inextinguishable mystery.
—Ondarock.it
It is necessary to write the words and listen to them, read them.
The sounds, only the sounds.
A sentence contained in one of the texts written by Belinda Guerriero, words that attempt a kind of summary, a presentation of this project, here revisited, created for silent Radio in 2020. In the written texts one notices erasures dedicated, reads the note to Emilio Insgrò, and there the word: conceptual, immediately thought of after listening to the three tracks, begins to take shape. The whole work unravels as a conceptual work through the reading of waits and absences cadenced by sound, sound written and heard as silent but concrete presence.
—Rockerilla, Italy