Suono Segno Gesto Visione a Firenze 2 (2008)



More than 50 years of musical culture have taken place in Florence since the end of World War 2. This should be systematically explored.

Besides the celebrations, it is time to acknowledge that, during the 1960’s, Florence produced a “Musica d’Arte” which could retrieve perception, memory, action and performance, through a dramatic meta-language exalting the potential of emotion and atmosphere through the confrontation triggered by individual experiences, opening the way to discoveries of new creative and poetical horizons. The confrontation and dialogue with several of the historical avant-garde’s most profound sources regarding synesthesia - from Kandinsky to futurism, from Scriabin to Schoenberg and the Bauhaus - was to bring the Florentine approach to maturity. In addition to audible forms for listening, the interaction between gesture, sound and vision became sign, making music utopia.


Pietro Grossi, Giuseppe Chiari, Giancarlo Cardini, Albert Mayr, Daniele Lombardi, Marcello Aitiani, Sergio Maltagliati

P. Grossi Sound life 4 1979-1985  09:50

*G. Chiari Intervalli 2 1950-1956  04:20
*G. Chiari Intervalli 3 1950-1956  06:03
Pianoforte: Daniele Lombardi

G. Cardini Canti segreti (Sonata n. 2) 1989  13:23
Pianoforte: Giancarlo Cardini

*A. Mayr So könnte es geschehen, so oder ähnlich II 1970 07:10

*D. Lombardi Trasale Sospeso
1991  08:20
Pianoforte a 4 mani: Gabriella Morelli e Giancarlo Simonacci

*M. Aitiani Canto dell'allegrezza II 1985  06:01

*S. Maltagliati Automated Music1.02 2001  08:53

total time 64:12 *Recording world premier

Listen to excerpts and order complete CD recordings on-line >ATOPOS ATP010



<CIRCUS 8> Grossi/Maltagliati



Pietro Grossi (1917-2002) was a pioneer of computer composition and tape music, who first experimented with electronic techniques in the early sixties, having initially studied music as a cellist.

By the end of the Sixties Pietro Grossi immersed himself in the sonic possibilities afforded by programmable computer technology. For a long time he has been the head of the above-mentioned computer music division of CNUCE (Institute of the National Research Council of Pisa), carrying out researches on the following fields: computational musicology, automated composition, design of sound-synthesis systems and musical telematics.

In the middle of the Eighties, he has started a series of researches concerning computer graphics. The "Homeart" (term coined by himself) project is particularly relevant: it consists of completely automated visual processes, based on simple computer programs, where he gives space to randomness in the context of a single compositive idea, developed into many different graphic variations.

Grossi has developed the concept of “HomeArt” using Qbasic graphics. The simple instructions of each program can be modified to create various processes within a single artistic idea/composition. Grossi’s concept of art also offers a broad chromatic range that can be either used directly or modified. His later works involved automated algorithmic composition, which he extended beyond the realms of music into the visual arts.

Sergio Maltagliati has innovated upon the original programs, adapting the programming code and adding an inspired audio track as varied as the symbols and colours, involving a multiplicity of musical variations.



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<CIRCUS_8> and <CIRCUS_5.1> DVD

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Sergio Maltagliati Package (in the early 1990s)




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"never the same" audio Cd-numbered copy of limited edition