Marco Stroppa’s Music, between commitment and technology…by Alfonso Alberti

Marco Stroppa (1959) is a composer with a multi-faceted training: for him the intersections between the different art and knowledge domains are customary frequentations.
After musical experiences in various Italian conservatories, he undertook scientific studies at MIT’s Media Lab in the U.S.: computer music, cognitive psychology and artificial intelligence. And then the electronic experiences: they aren’t a mandatory condition for his music writing, but a mindset that Stroppa takes on also when composing for acoustic-only ensembles.
Recently the audience in Milano had a chance to attend to the performance of a work of his, Nous sommes l’air, pas la terre (2003-2004) for accordion and viola, where a further intersection comes to the fore. It is the intersection between music and reality: music lives in the world and reads it, reads the evil, the violence, the unavoidable – and avoidable – tragedies.
The title of the work quotes a sentence, epigraph to a book by Svetlana Aleksievic, Byelorussian journalist and writer, well known for her inquiries into some dramatic events of the Twentieth Century. In that book (Voices from Chernobyl), the author lets the survivors of the Chernobyl tragedy talk, collecting their scathing testimony…

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