Saturday, June 15, 8 PM | The Array Space, 155 Walnut Ave
$15 or PWYC (tickets available at the door)
Renowned Italian violinist Silvia Tarozzi makes her first visit to Toronto to perform two major solo works written especially for her. The concert will feature the world premiere of Toronto-based composer Martin Arnold’s parlanno esmesurato, which involves Ms. Tarozzi singing a setting of O iubelo del core, written by the 13th century Italian poet Jacopone da Todi, while playing the violin. Ms. Tarozzi will also perform “Occam Océan II” for violin (pour Silvia) by the utterly singular French composer Éliane Radigue.
The concert is a co-production of the Istituto Italiano di Cultura, Arraymusic, and Martin Arnold.
Silvia Tarozzi is a violinist, improviser and composer. She studied violin in Bologna Italy) first with Luigi Rovighi and then with Enzo Porta with whom she went on to form a violin duo for a short period.
She then moved to Paris, where she studied with Jeanne Marie Conquer (Ensemble Intercontemporain) and Patrick Bismuth (baroque violin).
She is a member of the french Dedalus Ensemble, which has worked with many American and European composers (Christian Wolff, Alvin Lucier, Phill Niblock, Jürg Frey, Michael Pisaro, Jean-Luc Guionnet, Sebastien Roux, Catherine Lamb etc.).
As an improviser she performed in solo and with musicians as Joel Grip, Sofia Jernberg, Pierre Borel, Eve Risser, Tristan Honsinger, David S. Ware, Makoto Sato, Deborah Walker, Toma Gouband, Edoardo Marraffa, Antonio Borghini, Benjamin Duboc, Géraldine Keller, Frantz Loriot, Thollem McDonas and many others.
Her research on sound and instrumental gestures, based on her own experiences as an improviser, finds expression in several collaborations with composers as Éliane Radigue, Pauline Oliveros, Pascale Criton, Philip Corner, Tim Parkinson, Cassandra Miller, Pierre-Yves Macé, Malcolm Goldstein, Martin Arnolds.
Since 15 years she has a string duo with italian cellist Deborah Walker.
She performed in solo and in string duo in many Festival and venues: IRCAM Institute in Paris, Biennale Venezia Musica (IT), Ausland (Berlin), Oslo10 (Basel), Logos Foundation (Ghent), Center for Contemporary Art (Dijon), Angelica Festival (Bologna), the RedCat (Los Angeles), Mills College (Oackland), CalArts (Valencia), UCSB (Santa Barbara), Center for new Music (San Francisco), Banff Centre for the Arts (Canada), BBC Tectonics Festival (Glasgow), LCMF (London), Casa del lago and French Institute (Mexico City), Louth Contemporary Festival (Ireland) and many others.
Her concerts were broadcasted by France Music and BBC.
Since 2012, she coordinates the activities of the “Piccolo Coro Angelico” children choir: a permanent workshop of vocal and musical experimentation for children, held at the Centro di Ricerca Musicale – Teatro San Leonardo (Bologna, IT). The choir collaborated and/or performed musics by Giovanna Marini, Alvin Curran, Philip Corner, Malcolm Goldstein, Tristan Honsinger, Sean Bergin, Moondog, Luciano Berio and created many original compositions.
www.silviatarozzi.it
https://soundcloud.com/silviatarozzi
https://www.youtube.com/watch?v=gic1uLKRH0E
https://www.youtube.com/watch?v=79PgNfGKpog
Discography:
« P.Criton, E.Radigue, P.Oliveros, S.Tarozzi – Virgin Violin »
http://www.rermegacorp.com/mm5/merchant.mvc?Screen=PROD&Category_Code=&Product_Code=IDA028&Store_Code=RM
« Philip Corner – EXTREEMIZMS, early and late »
http://www.unseenworlds.com/
« Pascale Criton – Infra »
http://www.potlatch.fr/
« Tom Johnson – Rational Melodies »
http://www.newworldrecords.org/album.cgi?rm=view&album_id=83071
« Sebastien Roux – #Inevitable Music 5 » (coming out)
http://www.brocoli.org/
“Catherine Lamb – Prisma Interius IX” (coming out)
www.newworldrecords.org
from “Virgin Violin” CD notes:
I was very impressed with the quality of her playing and her very imaginative realizations of the images (« Thirteen Changes » is a verbal score). In January of 2012 I had the pleasure of meeting with Silvia in Venice and hearing her play Thirteen Changes in person. I liked her acoustic violin interpretation very much.
Now in 2013 there is a new electro-acoustic interpretation that seems to me to be very daring and challenging. Her violin playing is very evident with many electronic transformations taking the piece into another sound world.
With such imagination there is likely to be even more morphology of Thirteen Changes!
Pauline Oliveros, July 2013
Some reviews on Virgin Violin :
Pauline Oliveros wrote Thirteen Changes for violinist Malcolm Goldstein in 1986. That’s a beautifully balanced pairing of radical imaginations but, with the composer’s blessing, Silvia Tarozzi has now performed an alchemy of her own upon that textual score. In addition to a range of unorthodox violin voicings and vocal utterances Tarozzi makes enigmatic use of sound recordings, toys, stones and a music box while Massimo Simonini introduces subtle electronic enhancements. Tarozzi’s take on Thirteen Changes spins magic out of mystery and makes music in the process. Framing it are superb realisations of Pascale Criton’s Circle Process and Eliane Radigue’s Occam II. Criton’s piece is a microtonal tour de force, translating psychological tropisms and flashes of nerve energy into a prolonged swirl of sonic texture and colour. Occam II, a fairly recent work, is vintage Radigue : an essay in animated stasis that finds Tarozzi and her instrument in complicit figuration of the vibrational universe. A vital release, not to be missed.
The Wire UK, November 2014
…L’exploration du timbre est la grande force de cette interprète qui nous invite dans une profonde immersion dans le son tout au long de cet enregistrement. Silvia Tarozzi, interprète singulière, a su choisir un répertoire qui permet de prendre la mesure de la finesse de son jeu instrumental et la profondeur de la réflexion artistique qui l’accompagne.
Cléo Palacio-Quintin on Circuit Revue (Montréal, Quebec), September 2015
As an accomplished improviser accustomed to shaping performances in real time, Italian violinist Silvia Tarozzi often works with composers to develop pieces reflecting her interest in exploring sounds and the physical aspects of her instrument. All three performances on this new release are the result to varying extents of Tarozzi’s collaboration with their composers, and all bear the marks of the violinist’s own approach to the creation and elaboration of sounds. …
Daniel Barbiero on AvantMusicNews
Criton’s “Circle Process” (2010) is written for violin tuned in 1/16th tones…The piece seems to be about the navigation of the performer through the subtleties evoked by the tuning, pausing or forging on as she see fit, eventually ending near the starting point, though the whispers now contain more air, carry a greater respiratory character. Very impressive and a work that reveals new relationships on each listen…
(about « Occam II ») Recorded well enough that you easily hear multiple layers from the actual touch of rosined bow on strings, up through the mid-range “true” notes encountering those delightful, plaintive plucked notes to those tones you’re not sure are on the recording or only in your ears (no difference, of course). A marvelous piece of music, beautifully played.
by Brian Olewnick on olewnick.blogspot.it
Half the CD is taken up by Circle Process, the result of composer Pascal Criton and Silvia Tarozzi working in very close collaboration – and it’s pretty extraordinary. For a long time indeed, it’s not even obvious what it is you’re listening to. There’s a catalogue of extended techniques explored here, on a violin strung with four identical strings pitched a sixteenth tone apart. The production is extraordinary: minute in its detail. This really is a very exceptional…
by Chris Cutler on ReRMegacorp catalogue (UK)