I continued to work by myself in the studio with a first DUE landscape created by Bracci and suggested some changes in the composition. Bracci responded to the feedback, adapted the composition and sent a new audio file.
We repeated this back-and-forth procedure four to five times until DUE settled into a fixed composition.
Below you see a dialogue around a video registration of the first encounter with a second version of the composition for DUE after one round of feedback.
I sent the video of the first improvised dance sequence: "departure point" to composer and collaborator Giuliano Bracci.
Bracci watched the video and created a first landscape of sound that builds on pre-recorded instrumental and vocal materials from two of his earlier compositions: Utopia sottile for hyper organ and large ensemble (2019) and Se non in ombra e specchio (2019) for eight voices on texts by Giordano Bruno.
For the composition of DUE, Bracci worked with superimposing, cutting and filtering the pre-recorded materials and adding autonomous, digitally generated electronic musical layers.
00:39 – 00:56
Suzan: almost silence, beautiful silence. It highlights the sound of the foot on the floor
1:00
Suzan: I thought that the track was finished
Giuliano: nice that we (the audience?) don’t know if more is happening. Also this I will develop in the next sketch.
0:33 -0:45
Giuliano: nice beginning, perfect speed, immediate contact
00:45 – 00:59
Giuliano: I like a lot the change of angle of the foot. How to build a context that makes this level of detail relevant? That makes these sort of gestures more powerful?
Music is still too dense for me. I miss silences (will work on this in the next sketch)