Wata Igarashi and Drew McDowall @ Auditorium San Fedele, Milan, Oct. 14, 2024

Live music offers a unique opportunity to test musical theory against practice, allowing us to experience sounds in a communal setting that, while perhaps less comfortable than our homes, enables shared emotional connections and collective enjoyment. Such was the premise of an evening at Milan's Auditorium San Fedele on Monday, October 14. 

The event began promisingly in the theater's foyer, where attendees were treated to a pre-concert listening session of Aphex Twin's seminal "Selected Ambient Works 1985-1992" (R&S, 1992). This piece, chosen by audience members through a Facebook poll, served to inaugurate the venue's new speaker system while guests enjoyed wine and conversation. 

The evening's first performer, Japanese DJ Wata Igarashi, known internationally for his live sets, unfortunately fell short of expectations. While his ambient compositions demonstrated competent use of dynamics and variations, they offered little beyond what audiences have heard since the genre's emergence in the 1970s. His most noteworthy contribution was the application of aging effects to his sounds – reminiscent of Boards of Canada's more accomplished work on "Geogaddi" (Warp, 2002) – creating a sonic equivalent of a Polaroid filter. However, the overall musical development remained predictable and lacking in innovation. 

The evening was redeemed by Drew McDowall, whose performance elevated the proceedings considerably. A veteran of influential groups like Coil and Psychic TV, McDowall presented material from his latest album "A Thread, Silvered and Trembling" (Dais Records, 2024). His setup, combining synthesizers with recorded strings, harp, and flugelhorn, created an extraordinary sonic palette that transcended conventional electronic music boundaries. 

McDowall's composition drew inspiration from Scottish funeral melodies contemporary with Carmina Burana, weaving them into a tapestry of drone music and orchestral elements. Performed in complete darkness, his set constructed an immersive soundscape of devotional, crepuscular music that was at once melancholic and powerful. Rather than merely juxtaposing elements, McDowall crafted a cohesive journey into a shadow realm of mystery and introspection, allowing listeners to explore their own inner dimensions. 

Looking ahead, the venue will host performances of Eliane Radigue's "Tryptich II" (1979) and Lorenzo Senni's "Canone Infinito Extended" from his latest Warp Records release. Reviews of these performances will follow.

Homage to Schönberg @ Camera del Lavoro, Milan, Oct. 12, 2024

In the ever-evolving landscape of music, the transition from modernity to post-modernity has been marked by groundbreaking shifts in artistic expression. As we celebrate the 150th anniversary of Arnold Schönberg's birth, we're reminded of his pivotal role in shaping contemporary classical music. This past weekend, I had the privilege of attending a concert that not only honored Schönberg but also showcased the rich tapestry of 20th and 21st-century composition. 

The Italian Associazione Culturale Secondo Maggio curated an impressive program featuring Schönberg's "Kammersymphonie No. 1 Op. 9". Completed in 1906, this piece stands as a testament to the composer's transition from tonality to dodecaphony. We experienced Anton Webern's 1921-22 arrangement for five instruments, which beautifully captured the essence of Schönberg's original vision while adapting to the practical constraints of smaller ensembles. 

The concert opened with Fausto Romitelli's "Domeniche Alla Periferia Dell'Impero" (1996), a composer that boldly experiments with elements of rock and non-classical traditions. Romitelli's composition challenged our perceptions, presenting a sonic landscape that was both magmatic and deliberately unstable. 

Two pieces particularly stood out: Goffredo Petrassi's "Tre Per Sette" (1964) and Niccolò Castiglioni's "Gymel" (1960). These works showcased the virtuosity demanded by contemporary classical music and highlighted the influence of Italian flutist Severino Gazzelloni, who also played a crucial role in shaping the American New Thing movement. 

As I listened, I couldn't help but draw parallels between the complexity of this music and the intricate world we navigate today. Contemporary classical music doesn't merely mimic historical events; it serves as a form of mental training, helping us cope with the challenges of our reality. 

Conversely, composers like Anton Webern, whose "Drei Kleine Stucke op. 11" we heard, anticipated post-post-modernity. These brief, epigrammatic pieces laid the foundation for artists like Morton Feldman, offering moments of respite in our fast-paced lives. 

A special mention must go to the Dedalo Ensemble, celebrating their 25th anniversary this year. Their impeccable execution of seven challenging pieces demonstrated not only technical proficiency but also a deep understanding of the genre. The ensemble, featuring Daniela Cima, Silvano Scanziani, Stefano Merighi, Michela Dapretto, Matteo Zurletti (see photo), and Sonia Candellone, under the direction of Mauro Bonifacio, made the sometimes daunting world of contemporary classical music accessible and engaging. 

As we consider the importance of experiencing this music live, I'm excited to announce that I'll be attending two performances this Monday. Drew McDonald, formerly of Psychic TV, will present an album blending electronic and acoustic elements. Wata Igarachi, evolving from punk and techno roots, will showcase his instrumental experimental music. 

Stay tuned for my review of these upcoming performances, as we continue to explore the diverse and exciting world of contemporary music.