Claudio Parodi
(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )

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Claudio Parodi is an Italian classically-trained pianist who became both an jazz improviser as well as an electronic composer.

Horizontal Mover (Extreme, 2006), composed in 2005, ostensibly a tribute to the work of Alvin Lucier, was conceived as the first part of a series of seven, each taking as its starting point a track of Tiziano Milani's Suoni 2005. This is a typical case of process-oriented art, art that focuses on the process that it employs in order to create itself. If one does not read the composer's notes (that describe how he created the music), one will simply hear a confused hodgepodge of tinkling noises slowly metamorphosing into a whisper-like drone and finally exploding into a drilling cacophony over the course of 58 minutes. The mutations are obtained by a variant of the algorithm employed on Lucier's I Am Sitting In A Room (1981). The result seems to be even more abstract and alien than the original, and in fact might as well be a free-form improvisation on electronic devices. The main value of Parodi's work lies precisely in merging the aesthetic of improvised music and droning minimalism. His "diffusions" exhibit the traits of both, while being none (too programmed to be truly "improvised" and too turbulent to be purely "droning"). This could indeed be the starting point for a significant reevaluation of the research in sound manipulation.

Parodi did another remix of sorts with A Ritual Which Is Incomprehensible (Extreme, 2008), inspired by and dedicated to Pauline Oliveros. The delicate, smooth drones (played on a clarinet instead of Oliveros' accordion) cascade slowly like in Pachelbel's variations, intersected by small dissonant "glitchy" effects and distant electronic gurgles (apparently derived from, yet again, Milani's Suoni 2005.) The third and final movement projects more of a baroque feeling when, for a few minutes, it dispenses with the background noise, but then turns into a crescendo of pure noise, ending the "symphony" with an abrupt apocalypse. As a tribute to "deep listening" music, it feels rather misplaced, but as an attempt at fusing the aesthetic of minimalism, musique concrete and glitch music its achievement is certainly original.

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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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