The Clear Observatory (eyepiece musique)

by Massimo Toniutti

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The Clear Observatory (eyepiece musique) 55:25

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about

The sense of space remains the central pivot around which my new, long, and virtually endless musical piece develops. It's a project that encompasses three different stages: applied music, furniture music, and deep listening.
Its roots date back to 2013 when I was commissioned a sound work for a permanent installation in a museum, for which I developed its initial and fundamental core (still pulsating!). By its very nature, this music has characteristics that I love to define as "welcoming”, inviting me to revisit it over time until it became my personal 'musique d'ameublement'; it was as if I had forgotten I was its author, enjoying it purely as a listener.
But the "welcoming-space" potentials that I recognised in it also invited me to actively participate in events, and the further step was to simultaneously think in terms of listener and composer, leading me to expand the project through new 'furnishings' and an enlargement in time and space.

A loose-knit structure, discreet and slow, unfolds throughout the duration of the piece, with a fundamentally cyclical and consistent progression, not sparing some new dynamics, unexpected events, and chance. Despite the presence and richness of sound, the tension toward silence is its true driving force, generating suspended states which are what i refer to as confident waiting.

The Clear Observatory is a sort of never-ending piece, evolving from a cluster of seeds. Its sound sources (acoustic materials and field recordings) are textured and processed using a specific configuration of reverbs and delays to create this spacious 'eyepiece musique', exploring distances and those tiny signals dispersed in a landscape.

Massimo Toniutti

“For Luigi Nono, silence is part of sound, that is, an extension of sound. This is why Nono's music is so fascinating, because in the long silences of his compositions the audience has the opportunity to... almost create their own music based on what they heard with actual sounds.”

Alvise Vidolin

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released April 11, 2024

Klanggalerie gg465

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Massimo Toniutti Udine, Italy

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