(Avant-Prog/Classical) Opus Avantra/Alfredo Tisocco - Omega 4 CD Collector's Boxset - 2003, WavPack (iso.wv), lossless

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It seems it was yesterday when for the first time, long ago in 1972, I played the first Moog Synthesizers. In a eyeuink, life leapt from one generation to another, and the new one brought machines. A sort of mystery!

Viaggio Arcano Metafisico" (Arcane Metaphysical Trawl) is a full-immersion into the sounds of the past through the machines of the future. I captured the sensations and librations of the musicians and handled them as I pleased; it was nearly a sueet tiolen-ce flavored and nourished by the power the alien computer gave me each time I made a request.

The mystery is mealed by getting the fruits of science, reaching up to the skin of the artist, eieti more, grasping the librations transmitted to the fingers which play the instruments. But what about the soul? It is deep inside, it cannot be touched.

Music is aliie, the soul is expressed by the complex modulations of a song (mice or instruments) characterized only by the musician's personality'. A melody shous the passion, thoughts and psychophysical uorld of the artist.

It is a fantastic sensation to select the living sounds, to modify' and use them rhythmically and finally make them fly into the space of the score, blending them into a new shade of color, granting new shape and vitality to the piece of music.

I stand in need of the free singing ” the melody which like a prayer
leads to the metaphysical mystery. So Danza Arcana" (Arcane Dance) comes to light uith an obsessiie rhythm, in a continuous "crescendo" sustained in the "a solo" up to the finale in “moto per-petuo”.

Full of energy in Mysterious Japanese Suite" I look for a new experience of life in the mysterious meditations of the oriental uorld.

How can I arrange a piano score uith more than 100.000 musical notes! I find an International complexity a spasmodic research for an indescribable mental stability.

I am able to handle myself. But is it “yesterday" or was it "aposteriori"? It is as if time had stopped! The present passes by linked to ephemeral life or physical necessities, but metaphysics uiden your sight from the inner part of mind, nourishing the uish to grow up arid the conscience of the sound as a “bridge" betueen your earthly reality and your spirit. A presumption of the "mealed truth ” or a scientific comiction?

Yes, there is only one metamorphosis, but I was in the “celestial dust" at the time and I uill still be there in the future as in Lirica

Metafisica" (Metaphysical Melody).

Ballads have always concealed an intense spirit and in the popular songs ue can find the strength, the happiness of life, which is not present in the individual piece of music.

Here the Ballata ” (Ballad) is simple but mysterious as in the text. Danza Arcana (Aicane Dance) is the necessaiy progression of transformation and eiolution. A whisper, a breath, a scream, a lament, they' are all different shades of the expression which the spirit sets free and unconsciously brings into surface as life signals, inebriating the artist uith an intense rhythm uith a nearly ritual "a solo ", then mysteriously everything vanishes.
I am at Meditazione Trascendentale (Transcendental Meditation) as a safe rescue and a link uith the spirit that finds its vital lymph in the rightful testimony.

A huge amount of sounds stored in the computer stimulates me to choose a melody sometimes uith parsimony, sometimes at ease it casts intense colors into the music of an “OPUS AVANTRA ” captured, controlled and "cloned", I am dumbstruck in front of it (maybe is nothing) but the way is marked, the author becomes the master of the performance, he rescues the “Canto Lirico" as the memory of the creative freedom.

Alfredo Tisocco

=====================
Booklet info

A musical idea

An opera like that of OPUS AVANTRA isn't born out of chance. It is the fusion of several components of different origins, all matching.

It's a big idea: “Our musical ensemble is born out of the need to come over the musical impasse of today, as it divides music into different and uncommunicating genres”.

With these words, Alfredo Tisocco (musician, pianist composer and director), Giorgio Bisotto (art philosopher) and Donella Del Monaco (vocalist) began their MANIFESTO, in the true tradition of the best cultural avant-gardes of the '900s like futurism, dada, surrealism, etc.

OPUS AVANTRA is then a musical ensemble, an open structure, as opposed to a closed group.

It’s also an open structure in art and music, where boundaries are eliminated and expression can explode fully in all its power.

These artist unite symphonic music, opera, classical, contemporary music pop, rock, jazz etc, as in the union of AVAN-t-garde and TRA-dition, to create a sort of universal music. It’s a different thing than other experiments where they united rock with classical arrangements or vice versa.

Giorgio Bisotto was an avant-gard art philosopher, in love with Stockhausen and Ligeti, Cage and Varese; Alfredo Tisocco, graduated in 1971 form the conservatory (piano and composition), was very prepared, with a passion for Erik Satie, and a great knowledge of rock and jazz; Donella Del Monaco, nephew of one of the greatest tenors (Mario Del Monaco) had an operistic cultural background and a passion for folk-music.

Opus Avantra comprised three parts: Opus (opera - work) Avan (avanguardia - vanguard) and Tra (tradition - tradition). The name summed up the movement's ideology which aimed to represent a movement of avant-garde music with its roots embedded firmly in the study and recovery of tradition.

ALFREDO TISOCCO: the musician

graduated at the Venice conservatory, Tisocco had been a pianist and a composer since 1971. He had composed a lot of songs, and some of then were released under the REBOGAS pseudonym ("Dove andro”; "Mara"; "Falsita" ecc...) or with his complete name, Gian Alfredo Tisocco.

From one of these ideas, came "Ah Douleur”, the only OPUS AVANTRA song that came form his first compositions.

In the years '71/'73 Alfredo Tisocco was also translating some Gentle Giant albums, as well as albums by Strawbs, Yes, etc.

This kind of work, allows Tisocco into the prog, music world, and brings on his influences of Gentle Giant and Jethro Tull.

Meanwhile he brings on his concert activity in Italy with a repertoire based upon Chopin e Debussy.

At the end of 1972 he meets Giorgio Bisotto and Donella Del Monaco.

GIORGIO BISOTTO: the philosopher

The most obscure element of Opus Avantra was philosopher or art director Giorgio Bisotto.

"Introspezione?" is his astonishing composition, even if he was not a technical musician in the strict sense of the word.

He may remind us of the first Brian Eno, by being a musician that's not a musician.

The concept of the first album, the non-casual order of the songs and the great live happenings, are all ideas of his. He may be regarded as the group's director.

DONELLA DEL MONACO: the voice

Donella Del Monaco graduated in Architecture and specialized in operatic singing under her father Marcello (who ran an International School of operatic singing) and her uncle, the tenor Mario Del Monaco. Alongside her repertoire as an operatic soprano, she has built a personal artistic career as a singer-composer-researcher, creating and presenting many musical-theatre works and theme-recitals drawn from her personal research, including "Le Canzoni da Battello" (Boating Songs) of 18th Century Venice (also in a theatrical version), “Cabaret Kabarett”, a theatrical recital based around the songs of A. Schoenberg for the Berlin literary cabaret, a personally reworked "Swing & Songs" dedicated to G. Gershwin, "Chansons Satie", dedicated entirely to Erik Satie and "Folk Songs" by Luciano Berio, a work whose complexity derives from its multiform use of the voice.

She then meets and joins the people form OPUS AVANTRA, at the end of 72.

The TRIDENT period and “INTROSPEZIONE”

When the members of OPUS AVANTRA meet in late '72 they go searching for a contract. The quest ends at Salvadori's Trident label, after having been turned down by EMI and Numero Uno.

Trident, a small but daring label then disbanded, paired up Opus Avantra with other interesting bands such as Biglietto per l'Inferno, Semiramis, Dedalus, and the famous Trip.

The recordings for their first album began in '74 and had Tony Esposito on percussion with the group made of nine elements: Donella on the voice, Tisocco as keyboardist and director, Bisotto as art director, Mireno Tisato on sound fx, Luciano Tavella on flute, Enrico Professione and Pieregidio Spiller violins, Riccardo Perraro violoncello and Pierdino Tisato on drums.

Titled “INTROSPEZIONE" the LP is a “concept album" with a kind of “proustian” atmosphere of oneself quest. The inside of the cover sports their MANIFESTO programmatico di Opus Avantra as composed by Donella.

The group's manifesto is as follows:

Our musical ensemble was created to fulfil a need arising out of the impasse in which the musical world finds itself today.

We can indeed observe that the world of music is, today, divided into various sectors with no communication between them, tightly linked to socio-cultural layering.

This pluralism tends to reproduce itself causing ever more mystifying situations in that they avoid solving the individual's frustrating current state of atomization.

Without going into the historical origins of the contemporary situation, we observe the existence of two big sectors: ‘commercial' music, which can vary from 'canzonettas' to worse phenomena known as rock-pop, and various pseudo-avant-garde creations, to music for followers, ranging from a disheartened absolutist attachment to the various genres of the past, to an attitude of experimentation at all costs, often ending up in expediency.

We do not deny the value of certain examples of contemporary music (which we, indeed, assimilate), nor do we discount the efforts made by some pop groups (while at the same time we are free of hang-ups regarding the experiences of the past). Our intention is to recover that fundamental and essential past which was a bridge between art and people.

INTROSPEZIONE is surely one of the best albums of the latest 20 years, in the moment that it's released, of course.

On May 20 1974 at the Teatro Delle Arti in Rome, the show OPUS AVANTRA debuted with stunning success. All newspapers and magazines agree that the opera is extremely original and new in its style. Even the dresses strike the journalists: the sound technician wears a tuxedo, Alfredo Tisocco wears a strange “contemporary" dress, Tony Esposito sports a pair of denim, Giorgio Bisotto wears a magician mantel, and everyone contributes to a very magical and strange result.

But there also begin the first critics to Opus Avantra as a band not too much into politics and Tisocco is invited by the press to commit much more into politics, as it is the musical and cultural trend of the time. The Trident label then goes down the hill and Opus Avantra is looking for a new contract.

Cramps would want them, but would also want them to be much more committed politically, while Alfredo Tisocco, Donella and Giorgio Bisotto want to be and remain free.

“Suono Edizioni" then creates a small label, “SUONO RECORDS" with which they come to sign, in the end.

The SUONO period and LORD CROMWELL

From the end of ‘74 to mid ‘75 OPUS AVANTRA do a lot of live performances. The show divides into two halves, each running 45 minutes. The first part begins with AVARICE (piano solo by Alfredo Tisocco). The second half is the whole album “INTROSPEZIONE”.

Alfredo Tisocco is meanwhile composing their second album “Lord Cromwell plays suite for seven vices”.

There also are some lineup changes: Tony Esposito, is now a famous and busy session-man and goes out on his own, the Tisatos also leave OPUS AVANTRA: on drums there comes Paolo Siani (ex Nuova Idea), while Renato Zanella joins the band, introducing thus his electric guitar as a new element. Spiller, Professione and Perraro (rings) and Tavella (flute) are there also.

The production once again is by Marengo/Tisocco. Again this one is a concept album, concentrating on man's vices and on the expression of the keyboard. The voices are there, but more to act as chorus.

OPUS AVANTRA and dance: KATHARSIS

The '75 tour gives more life to the theatrical expression of the group. Alfredo Tisocco is in love with dance and when he meets choreographer Franca Della Libera he wants her group “Gruppo Italiano di Danza Libera” to be the visual expression of the music of Opus Avantra. The concerts thus pair the band to this dance ensemble and thus a ballet on stage.

Alfredo Tisocco goes on composing with this new concept in mind and thus KATHARSIS, their third albums is born. It is credited to him only, but in truth it’s played by the whole band, just as Lord Cromwell and to that album is meant to be a complement, also. Katharsis is a journey to purification, liberation and expression of the human kind.

Tonal, dodecafonical e polirhyithmia are still there but the band is more up-to-date with their notion of "TOTAL” music of OPUS AVANTRA.

STRATA

After a year dedicated to theatre (Donella) and to avant-garde music (Tisocco), OPUS AVANTRA goes back to work on their third official album.

Donella (together with Giorgio Bisotto) writes the lyrics and Tisocco, as always, the music: the title will be STRATA, and the concept is based upon the musical expression of the different parts of the human brain.

Cramps tries again to get to release the album, but some financial problems intervene and the project is only performed and promoted and announced live on stage, but never released.

That is until the end of the ‘80s when Alfredo Tisocco will open his archives and set up his small label (Artis) and decides to release an updated version of STRATA. Tisocco defines this work as: a flight through the different states of the mind, unconscious and dreaming imagination.

Solo works: DONELLA

Donella has built a personal artistic career as a singer-composer-researcher, creating and presenting many musical-theatre works and theme-recitals drawn from her personal research, including “Le Canzoni da Battello” (Boating Songs) of 18th Century Venice (also in a theatrical version), “Cabaret Kabarett ", a theatrical recital based around the songs of A. Schoenberg for the Berlin literary cabaret, a personally reworked “Swing&Songs” dedicated to G. Gershwin, ‘Chansons Satie”, dedicated entirely to Erik Satie and "Folk Songs” by Luciano Berio, a work whose complexity derives from its multiform use of the voice. In addition to the above, she researched and performed F. Nietzsche’s leader in 'Les Voyageurs', a composite theatrical work, at the Espace Cardin in Paris in 1995. The work was performed over thirty times. She has recently gone back to her research into music in the Veneto, recording the “Venexia de oro” CD, a Veneto itinerary of songs and texts from the Crusades up to the end of the last Millenium. The work is the fruit of her research and the arrangement of pieces and language from Veneto and Venetian culture, in collaboration with the poet Andrea Zanzotto, with a presentation by Alvise Zorzi. She took it to the Espace Cardin in Paris in 2000 in the form of a recital and dance with choreography by Pier Paolo Kos. In 2001 she presented her new CD “Merica Merica", dedicated to the Veneto emigration songs, an arrangement of a genre centred around the boundaries between ethnic, world and classical music.

Solo works: ALFREDO TISOCCO

Alfredo Tisocco went on to work with Franca Della Libera for some years. More music for ballet was performed by Gruppo Italiano di Danza Libera between the end of the ‘ 70s and the early ‘80s.

Tisocco also composed a number of TV soundtracks by request of the national television - RAI.

However his most active role has been in the avant-garde panorama, with groups dedicated to express the art of the happenings, like the neodadaist CAMERAVUOTA, and OMIKRON 75 of which he also was a founder member.

Tisocco thus elaborated a style and a theory of his own, proof being the great suite "RITAGLI D'ANIMA”, composed also by request of the TV, where OPUS AVANTRA lives again to its higher peaks.

ALFREDO TISOCCO: a biography

Alfredo Tisocco studies music very early with his father violinist Diletto and then with M° Beppi De Marzio.

He graduates on the piano at the Conservatorio "Benedetto Marcello” in Venezia with M° Vincenzo Pertile.

He both plays a pianist in concerts and writes music. He joins the artistic movement “Omikron 75”, the actions of “Cameravuota” of Giorgio Fabbris and founds “Opus Avantra" as composer, keyboard player and director.

He also attends the courses of Pertile, Petrassi, Stockhausen, Manzoni, Ceccato, Gaslini and Waldron.

In 1975 he releases an LP titled “Katharsis", from which some songs are used for choreographs and soundtracks on TV.

In 1985 he writes the music for the ballet of TV show “Oltre Isadora" by Franca Della Libera, (Produced by RAI TRE Venice).

In 1986 he composes the piano suite “Ritagli d'anima" on the poems by Antonio Bruni, released on CD and presented in various events on TV.

He also does several concerts in Europe, doing cultural, sportive and business exchanges with Eastern countries such as Russia and Romania.

Alfredo Tisocco in concert proposes both his own songs and music by Satie, Ravel, Debussy, Albeniz, Granados, Strauinsky, Gershwin, ect.

On the newspaper “IL TEMPO" of Rome on 14/07/89 journalist Enrico M. Carotenuto writes about his concert of Artis and Cramps Records in Fiuggi (10 October 1989):

"It looks like Monk and Liszt play four hands sharing the keyboard."

He also is art director of Artis and Cramps Records, coordinating all the choices and the musical trends of the whole '70/'80s catalog.

He also studies “acoustic ecology", experiments music as the “unconscious therapy", and as “science of the aviation and the socialization of the civilizations".

In his public performances he admits that contemporary artistic musical experiences are very important:

“Music is food for the mind and a stimulation of the brain for expressive liberty, going on the road of the unknown fantasies."

In 1995 he releases FERROFANIA, a symphonic Suite inspired by the poems of Antonio Bruni, as a homage to sculptor Toni Benetton.

This opera consists of elaborating and cloning the sounds of the DISKLAVIER YAMAHA matching them with the sounds of 1990 to 1993 on the sculptures of TONI BENETTON.

Debut: Costello di Pergine (Trento) 10 July 1995.

Alfredo Tisocco has also supervised the following events as art director

• Canzone d'autrice 1990 - Verona

• Concerts and shows at the Arena di Verona 1991 - 1992

• Production and releases of small orchestra "AVON TRAVEL" with “BELLOSGUARDO" 1991/96

• Festival “Cantare la voce" Demetrio Stratos CRAMPS Tolentino (Macerata) 1995 - 1996 - 1997

• CANTO DEGLI SPIRITI SOPRA LE ACQUE - Basilica di S.Marco, 4/5 November 1996, on the 30th anniversary of the high water in Venice by Italo Gomez

• Events and operas of the Gran Teatro La Fenice di Venezia from 1996 to 1999: JAZZ PER LA FENICE in villa Cordellina - Vicenza 10 April 1997 with J. Ouens - G. Cables - G. Capiozzo

Rigoletto by G. Verdi

Lucia di Lammermor by G.Donizetti

Carmen by G.Bizet - Carmina Burana by C.Orff

Romeo et Juliette by H. Berlioz

• CONCERT IN VILLA - PROMNCIA DI VICENZA 1998: with RUSSIAN STATE ORCHESTRA, Moscow

Coro del Gran Teatro LA FENICE di Venezia

ORCHESTRA E CORO di Vicenza

Orchestra TEATRO OUMPICO di Vicenza

ACCADEMIA CONCERTANTE D’ARCHl di Milano

ORCHESTRA da CAMERA di NEW YORK

• SUONI & VISIONI OMAGGIO A DEMETRIO STRATOS, Magazzini Generali di Milano 1999

• DISMA - Rimini opening concerts with AVION TRAVEL MR.NORTH 1999

• Ray CHARLES, Vicenza, 1999 and James BROWN, Milano 2000

• Harlem Gospel Choir conceit - Vicenza 5 January 2000

• “Demetrio e Dintomi " concert Vicenza w. TLM0R1A and GIUUO CAPIOZZO -29 January 2000

• Courses on “RECORD COMPANY MANAGEMENT & MUSIC INDUSTRY" 2001 University of EUROPEAN SCHOOL OF ECONOMICS.

• SFERAFONICA: sound architecture project “SERIF PERPETUA" and “ARCHIVIO EVOLUTIVO DEL SUONO" uith Federico Motterle and Renato Nobili.

Alfredo Tisocco: Disklavier Yamaha-Computer Project and Ensemble conductor
Donella Del Monaco: Voice
Saverio Tasca: Percussions
Andrea Crosara: Violin solo
Enrico Professione: Violin
Pieregidio Spiller: Violin
Martina Pettenon: Viola
Stefania Cavedon: Cello
Alberto Brendolin: Cello and free interpretation on theme "Lirica Metafisica”
Gianfranco Spigolon: Contrabbasso
Angelo Lora: Oboe
Alberto Crivelletto: Flute
Tammittam Percussion Ensemble: on "Danza Arcana"

Art Director: Alfredo Tisocco
Consulting: Paola Gatto
Engineer and Computer: Claudio Corradini
Engineer Assistant: Riccardo Chiumento
Cover: Ivo Mosele
Graphic Project: Giorgio Fabbris
Coordination: Paola Gatto and Alberto Brendolin

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BALLET COLLECTION" was born as an answer to the need of collecting in only one work my musical experiences for the ballet, written in the 70's early 80s. Most of these pieces are included in some ballet choreographed by Franca Della Libera; particularly OPERABACH and TICS DANCE, where the synthesizer studies are developed in tuo directions that of the “popular rock music ” and that of the “electronic one ”. The idea of “evolutive music ”, was always in my mind during the 10 as the relationship between the different experiences of compositive studies, the modem musical techniques and the use of new instruments. In fact, the schemes represent a constructive structure of the creative moment and I must admit that the coreographies of the FREE DANCE BALLEIS had a great influence on my definitive musical choices in that period. The plastic images in continuos mutation, where rhythm is broken and then consolidated in a game of shaf)es and lights, librate within the sound of the musical work.

Some pieces represent a real electronic experiment (PLASTICO ELETTRON1CO-COINCIDENZE-DANZA DELLE FREQUENZE) others the temptations of Rock music (LABIRINTI and ROCK ALFA) and the last ones, no less stimulating, were bom from the need of a complete break with the traditional compositiie formulas (TICS-LA CADUTA...DEL TEMPO-GIOCANDO DI ’CHAMP VINCI LEONARDO-TOCCA ТА За FINALE). These were the years of an intense collaboration, as a matter of fact never interrupted, uith “the quackish alchemist" of CAMERAWOTA, Giorgio Fabbris.

With him, my music found a free space and I experimented the most varied fomis of my new musical convictions. In 1975 “Giocando Duchamps Vinci Leonardo “ comes the light to be perfomwd in ACTION N. 5 by- CAMERAWOTA - 6th May 75, Piazza Dei Signori-Vicenza and some years later following this path I developed the “SUOMONOLOGOS".

PER UNA DANZATRICE (FOR A DANCER) 15.03.79 (Biblioteca di Piovene, Vicenza)

OPERAZIONE CHIRURGICA ALLA PATETICA (SURGICAL OPERATION OF PATHETIC) 18.03.79 (Teatro di Roana, Vicenza)

Alfredo Tisocco: Pianoforte, Synthesizer, organo a canne, percussioni
Luciano Tavella: Flauto, sax tenore, sax baritono
Edy De Fanti e Tammittam Percussion Ensemble Percussioni
Maurizio Filippi: Chitarra
Pieregidio Spiller ed Enrico Professione: Violini

Registrazione: Studio SENTEMO
Copertina: Ivo Mosele
Progetto Grafico: Giorgio Fabbris
Coordinamento: Alberto Brendolin e Paola Gatto

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Opus Avantra were one of a kind in the Italian musical panorama; their unique sound joined elements of avant-garde with classical music - their name was derived from Avan(t-garde) Tra(ditional). Pianist Alfredo Tisocco alternated between concerts (performing Satie, Debussy, etc) and his own compositions. This collector's box set includes two of Tisocco's solo efforts ("Ritagli d'Anima" and "Ballet Collection") along with two Opus Avantra albums ("Lyrics" and the previously unreleased "Live Concert Excerpts)