LP (180 Gram)
Original Artwork by Giancarlo Toniutti
Numbered & signed edition of 25 ex.
Date of Publication: TBA

Giancarlo Toniutti lives in Udine from birth (1963). He started with music in 1977/78 with radical and experimental criteria regarding sound. At his very beginning often working with his friend Tiziano Dominighini (time and again under the moniker “airthrob in”), they animated a number of electroacoustic improvisations in Tiziano’s warehouse some of which has been lately documented in Counterchronology (Final Muzik, FME7, 2015). These music actions soon gave way to proper compositional works, thanks also to his studies at Venice Conservatory (electronic music course, 1982-1985) under Alvise Vidolin (who worked with Luigi Nono among others), and his personal interest in morphogenesis (cf. René Thom), generating and incorporating extended timbral and morphological investigations through the years, with the consequent publication of several of his music compositions internationally (see, or, for a list). This profound interest in morphogenesis led him to a strong material approach to sound sources and their acoustic generation, ranging from the apparently most resonantly inert sources as in *KO/USK- (1988-1995 for stones and pebbles from the world), to more traditionally distinctive instruments (both from Western and non- Western heritage), through a multitude of hand-made or discovered sonic objects, all of them considered in their structurally inherent ability to generate significant sonic phenomena, subsequently unfolded in electroacoustic entities.

Compositionally speaking this quality ostensibly emerged as a deep application of morphological and topological principles to the developmental paths of sound structures, both at the microstructural level, the generation of sound, and the macrostructural level, the generation of musical forms, as well as the mesostructural level, the most important one, the generation of inner continuous relations between layers.

In his considerable trajectory he has also collaborated with several composers, from Conrad Schnitzler to James Wyness, Siegmar Fricke, Andrew Chalk, Massimo Toniutti, Enrico Piva and others, and performed various quadraphonic concerts or displayed multilayered sound installations.

More recently he has also developed an intense interest into specific contexts of microtonality and critical bands, as marked sonic phenomena, with a certain connection to studies of musical forms like monodies (e.g. in his yet unpublished, and seeking publication, 50’ composition Bàardum Guùmuse (for your red tongue) for prepared idiophones, 2022), or these now published new pieces, specifically realized for Astres d’Or, which explore imbrication as a strategy within expanded spaces.

His other interests range from sculpture to painting, to anthropology and science, linguistics and history, narrative and theoretics, etc.
The research goes on.

disperse specie del mio sonno che mai ritornerà (2023)

side 1 – pars Gracilis

side 2 – pars Robustus

These two pieces stem from the same core, a syntactic alliance between the timbral nature of maltreated clarinet recordings and the dynamics of concrete spatial events of a pointillistic nature. Yet they followed two almost opposing evolutions. On one side the structure developed around the mingling experience of a circulation of non- linear roving clarinet forms which erratically recede into extensive stationary postludes, resulting from a diffused activity in a large space, only to come back recapitulating variations. On the other side the growth and form of dense and discrete jagged reticula of tiny plucked sounds gradually occupy space and dynamics in its curved system, where decelerated layers of low key clarinet resonances strive to embroider and enhance the acoustic field often collapsing into semi-ordered clusters, whose form operates as counterpoise to the punctual pace.

title from Subnarcosi (1973) poem by Andrea Zanzotto
this work is dedicated to my brother Gualtiero Toniutti (27.4.1961 – 31.5.2023)

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