Contemporary accordion works by Claudio Jacomucci
Claudio Jacomucci’s compositions—from Infernal Circles (2005) to Co-incidences (2015)—originate from an intimate knowledge of his instrument, the accordion, characterized by a highly sophisticated feeling for its particular sound and expressive potential.
His music combines a new kind of sensibility and an empirical attitude to sonority that can be traced through all of his experience as a performer. Indeed, he has established a high profile musical practice collaborating with musicians such as Luciano Berio, Franco Donatoni, György Kurtág, Luis De Pablo, Terry Riley, David Moss, Joel Rubin, Stefano Scodanibbio, Francesco Dillon and Michel Godard.
He has concerned himself with Historically Informed Performance Practice of the Baroque Era. His Bach interpretations have been internationally admired by a wide audience and not least by Ton Koopman and Uri Caine. He’s the author of transcriptions of works which were not conceived for the accordion, from Stravinsky, Ravel, Messiaen and Ives to Andriessen and Ligeti.
He has investigated non classical music languages, especially traditional Jewish, Sardinian, Brazilian and Middle Eastern music as well as Indian classical music (Carnatic).
Having trained as an Alexander Technique teacher, he has developed a pedagogy based on psycho-physical awareness. This landmark allows him to explore new resources and develop skills that make him capable of building up articulated expressive architectures. The creative and daring collaboration with Kathleen Delaney, dancer and Alexander Technique Teacher herself, leads Jacomucci to use different media and blended languages to compose syncretic works primarily with dance, electro-acoustic music, poetry, image and video. These works are the heart of Cool Memories, the first album signed by Claudio Jacomucci as a composer.
Cool Memories reveals a personal imaginative vision that is deeply rooted in acoustic memory, the author unfolds and transposes micro-events into an amplified imagination, starting from simple clues (a sound, an image, a color, a smell, a fragment of history) recreating mysterious and evocative textures.
The use of electro-acoustic support reveals a peculiar interest in the movement of sound in space, rather than in digital processing of sound and electro-acoustic composition in itself. For this reason, Jacomucci uses pre-recorded sound along with live instruments that are often located in different points of the performing space, creating a deep acoustic space, a disorientation and a wide sound movement. These sounds are almost always concrete (insects, wood, stones, water and various materials), recorded and filtered in special ways to become almost unrecognizable. The electro-acoustic support is also used as a mirror to multiply live instruments.
performers Claudio Jacomucci (1-10, 12) | Fábio Palma, Andrzej Grzybowski, Przemek Wojciechowski (11)
Recorded at Blowout Studio (Venice) in 2016