Label: LAMI

超傑作!!1966年サンパウロ出身、打楽器奏者としてキャリアをスタートし自国ブラジルの現代音楽グループ"PIAP"に参加、それ以降は作曲として活動を継続しているコンポーザーのFernando Iazzetta。同国の偉人Rodolfo Caesarの2ndアルバムと共に出版された、この人物初の音盤[M​u​sica Eletroac​ustica Brasileira]を入荷。パーカッショニストとしての立ち位置で構築した変速リズム満載のクールなエレクトロアコースティック・アルバムで、それだけではなく様々な風景音やエグい残響を取り入れナイトメアなサウンドスケープとして仕上げた極上の10トラック。サンパウロのレーベルLAMIからの出版作品。大推薦。







Creative processes come from several sources. They can be preceded by well-defined structuring systems, or be totally independent: they are part of a science that is not always best friends with reason. People like Fernando Iazzetta must be quite aware of what this means: his time is shared, in apparent harmony, between musical creation and the structuring of academic projects with very precise timing and objectives. But here though the subject is not an art or science marked by strict methods of research. In the field of purely acoustic facts, the area he works with, one cannot forfeit musical sensibility. It is enough to say that physics found the way to define sounds through an analogy with psychological sensations; these categories are therefore important also for those who want to express something in art.

Fernando Iazzetta was born in São Paulo in 1966 and graduated as a percussionist in UNESP in the glorious class of John Boudler, where he participated in PIAP – a group that produced remarkable contemporary music in Brazil. He has since then been an active composer, with special emphasis on the application of technology to musical creation and performance environments.

He finished his PhD in Communication and Semiotics at PUC-SP, where he later became a professor and co-founder of the Sound Languages Laboratory (LLS). He is now associate professor at the Music Department of the School of Arts and Music in University of São Paulo, where he coordinates the Laboratory of Musical Acoustics (LAMI) and develops extensive projects in room acoustics and musical interactivity.

In spite of his critical and scientific education, you will not hear him reject or adhere to the ideological trends from the period electroacoustic music was developing, i.e. the musique concrete/elektronische Musik dichotomy (which was probably born from Franco-Prussian
conflicts before the lamp was invented...). His music is marked by full sonority and combinations that bypass synthesized artificiality or extreme naturalism, establishing immediate communication with listeners used to other styles of music. And in line with this very aesthetic concept, Iazzetta manages to frame a sound fragment that catches the ear
within a turbulent and meaningful soundscape, “like a photographer that clicks a detail in the nervous everyday scene.” From that point, a continuous cycle of listening and re-elaboration of sounds develops, culminating in collections of “small sound portions, all of them related
to the same origin but becoming more distant as they are processed.”

Another relevant aspect in his music is the presence of clearly identifiable rhythmic elements. His instrumental background is sometimes evident in the percussive materials and sometimes, less blatantly, in constructions that, instead of privileging sounds and textures that extend over time – a recurring characteristic of the electroacoustic repertoire –, look for quicker, contrasting movements that emphasize rhythm and form.

Percussive rhythm and an extended experience of listening bring some corporal meaning to the pieces and an almost playful gestural quality.

This album includes six works composed between 1998 and 2008 that form a mosaic where the pieces do not always fit perfectly.

Marcos Branda Lacerda