[CP 183 CD] Mauro Bortolotti, Walter Branchi; Paesaggi Intravisti
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The sole solo release by Il Gruppo di Improvvisazione Nuova Consonanza AND post-MEV ensemble "Elettronica Viva" member Walter Branchi, "composizione elettronica realizzata in occasione della mostra "Il luogo del lavoro" XVII Triennale di Milano." with Mauro Bortolotti - a student & assistant of Pietro Grossi at the latter's Florence studio.
Branchi jointly founded the Studio R7 in 1967 w/ Franco Evangelista, Gino Marinuzzi Jr., "Syn-Ket" inventor & John Eaton collaborator Paolo "Paul" Ketoff, Egisto Macchi, and Domenico Guaccero before leaving to start his own Laboratorio Elettronico per la Musica Sperimentale (LEMS) in 1973 - his tenure in Il Gruppo from 1966 to 1975 was inarguably the ensemble's most prolific - yet from the mid-70s to the issue of this LP timed with the 1983 Milan Triennial, he issued not a peep of music, nor afterwards.
Consisting of two side-length "Partes" of climactic, dynamic Musique Concrète, the piece is at once wholly triumphant and energy-defying - long stretches of pregnant pause give way to hazy, voltaic eruptions. It's a fine slice of early 80s tape-collage that belies both Composers' backgrounds in more free-wheeling, open-ended iterative sonic languages. This Creel Pone edition reproduced the perfectly temporally apropos cover art & said's fine glossy sheen.
Branchi jointly founded the Studio R7 in 1967 w/ Franco Evangelista, Gino Marinuzzi Jr., "Syn-Ket" inventor & John Eaton collaborator Paolo "Paul" Ketoff, Egisto Macchi, and Domenico Guaccero before leaving to start his own Laboratorio Elettronico per la Musica Sperimentale (LEMS) in 1973 - his tenure in Il Gruppo from 1966 to 1975 was inarguably the ensemble's most prolific - yet from the mid-70s to the issue of this LP timed with the 1983 Milan Triennial, he issued not a peep of music, nor afterwards.
Consisting of two side-length "Partes" of climactic, dynamic Musique Concrète, the piece is at once wholly triumphant and energy-defying - long stretches of pregnant pause give way to hazy, voltaic eruptions. It's a fine slice of early 80s tape-collage that belies both Composers' backgrounds in more free-wheeling, open-ended iterative sonic languages. This Creel Pone edition reproduced the perfectly temporally apropos cover art & said's fine glossy sheen.
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