Patricia Alessandrini’s works actively engage with the concert music repertoire, and issues of representation, interpretation, perception and memory. These works are for the most part multimedia, theatrical, and collaborative, involving elements such as live electronics, resonating and animated objects, motion capture, and interactive video.
She studied composition principally with Ivan Fedele, Paul Koonce, Tristan Murail, and Thea Musgrave, in addition to master classes with composers including Franco Donatoni, Brian Ferneyhough, Beat Furrer, Jonathan Harvey, Michael Jarrell, Philippe Manoury and Marco Stroppa. She also studied computer music and live electronics at the Conservatorio GB Martini, Bologna and the Institut de Recherche et Coordination Acoustique/Musique (IRCAM). She holds a diploma in composition from the Conservatoire Nationale de Région de Strasbourg and a PhD from Princeton University, under the direction of Scott Burnham and Perry Cook. In 2008, she received a Studentship for a second PhD at the Sonic Arts Research Centre (SARC), focussing principally on real-time applications of physical modelling.
Her compositions have been performed by ensembles including l’Ensemble InterContemporain, l’Itinéraire, Ensemble Aleph, Accroche Note, Ensemble Alternance, Ensemble SurPlus, International Contemporary Ensemble (ICE), and the Arditti Quartet, and featured at festivals including Ars Musica, Agora, Archipel, Darmstädter Ferienkurse, Festival de la Imagen, Festival en tempo real, Festival Synthèse, Musica-Strasbourg, Musikfestival Heidelberger Frühling, Rainy Days, Sonorities, Spor, and Mostly Mozart.
She was invited as Composer-in-residence of the Soundscape Festival (Italy) for 2010 and for an ICElab residency with the International Contemporary Ensemble in 2012. She has composed music for the Ballet de l’Opéra National du Rhin and collaborates with institutions including Elektromusikstudion (EMS-Stockholm), La Muse en Circuit (Paris), and Share Music Sweden. She has taught Computer-Assisted Composition at the Scuola superiore of the Accademia Musicale Pescarese, and held the post of Lecturer in Composition with Technology at Bangor University prior to taking up a Lectureship in Studio Composition at Goldsmiths, University of London in 2013.
Omaggio a Berio (Black is the Colour)
Since Berio’s death in 2003, I had wanted to write an homage to him. Omaggio à Berio (Black is the Colour) engages with the material of the Folk Songs: the entire work is based on a descending line Berio had devised as a plaintive accompaniment in the harp in the first movement of the series. The performers coax this melody from the piano in various indirect ways, as if it were a sort of harp which one did not quite know how to play.
Adagio sans quatuor, kinetic sound installation – excerpt
Excerpt from Adagio sans quatuor, kinetic sound installation by Patricia Alessandrini Instrument design: Paul Stapleton Recording of samples: Quatuor Diotima Production: IRCAM and the centquatre Technical support: Jean Lochard Emmanuel Flety Clément Lardé Premiere: Festival Agora 2010 Subsequent presentations: Sforzando Festival of the Electroacoustic Music Society (EMS) 2011, NYC International Computer Music Conference (ICMC) 2011, Huddersfield Kulturnatt, Stockholm Elektronmusikstudion, April 2012 Rainy Days 2013 Philharmonie Luxembourg
menus morceaux par un autre moi réunis for guitar and live electronics – mvmt i
Dedicated to cARRASCo + zEa = gUITAr + eLECTRONICs
Recorded at IRCAM, 2009
Mauricio Carrasco, guitar
Patricia Alessandrini, electronics
First of four movements