fbpx Biennale Musica 2017 | Hanatsu Miroir
La Biennale di Venezia

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Hanatsu Miroir

Maurilio Cacciatore (1981) Lost in Feedback for one percussionist, performer and live electronics (2014, 30’ ca.) Italian premiere
Ayako Okubo flutes
Olivier Maurel percussion
Yon Costes painting performance
Marie-Anne Bacquet set design
Raphael Siefert lighting design

Kenji Sakai (1977) Howling (10’) / Whirling (10’) (2017) world premiere - commissioned by La Biennale di Venezia, Fondation Francis et Mica Salabert, and French Ministry of Culture


This concert reveals Maurilio Cacciatore’s opera Lost in Feedback as well as the distinctive sound universe of Japanese composer Kenji Sakai, an author with a non- conformist style and theory of composition.


Lost in Feedback is a piece in which art music employs the sounds and means of techno music. It represents a creative approach to scraps of sound, controlled and removed from the rhetoric they carry with them. A sound-capture system ensures communication between the acoustic instrument and the computer, but also between the canvas the performer is using and the software. The resources on stage are enhanced by the ritual gestures of the performer and the mystery that surrounds the interaction between the percussions, the electronics and the gesture of painting. The performance is filmed and elaborated in real time by Marie Anne Baquet, borrowing the idea of audio feedback, and applying it in the form of video feedback.

The piece Howling/Whirling is divided into two movements, identified by the instrumentations used in them. Howling is based on the waving layers of the harmonics played by extremely low instruments as an arpeggio, Whirling is a kind of “collage” with instruments that complete the high register. The slow gestures in Howling are replaced by fast pulsations in Whirling. Across the two movements performed without interruption, we can see an outline from the beginning of Howling to the end of Whirling.

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Biennale Musica
Biennale Musica