DIFESA DELLA NATURA is the fifth individual compact disc by the composer Emanuel Dimas de Melo Pimenta.
A concert commissioned by the Baroness Lucrezia De Domizio Durini (RISK ARTE OGGI), DIFESA DELLA NATURA is the soundtrack of a film about Joseph Beuys' life, specially his last years in Italy and his famous project on Nature. DIFESA DELLA NATURA was launched in the Triennial of Milan, Italy, in 1998.
"First it was the
wind - something as a primal cry. Later, it was the water, the
earth and, finally, the fire - producing a totality which remit
us to an idea about the processes of the origin of things. This
was what I felt with this music. A dense music, but that unveils
lightness feelings. It has a strange and disturbing idea of time."
"From this, so, the video on that simultaneously artistic, anthropological, and environmentalist ultimate investment - recalled at the 1998 Milan Triennial - was received as title the "Difesa della Natura", in reference to his "operations" in the Italian city of Bolognano. "Difesa della Natura" also is the title of this cd by Emanuel Dimas de Melo Pimenta, with a music premiered at this homage to Beuys. And, although the composer follows the first of principles to which multimedia art must obbey - the autonomy of means practised by Cage and Cunningham, or by Varèse and Le Corbusier - it is clear that the "ecological" character of Joseph Beuys' aesthetics has spread to him. With the usual "tools" - computer (virtual reality, to be more precise) and synthesisers - he has created a work in two movements which instead of the spectral atmospheres we knew in him, he puts dense and organic sound matters, linking his music more to the earth. What is a surprise, explaining the greater attention given to rhythmic plane, with an occasional protagonism even of percussion. Undoubtedly it is digital, but completely to do with the drums that in some regions are still our planet's lingua franca Thus, a new field of action for Beuys' utopia is announced: almost at the start of the twenty-first century and the third millennium, our "return" to Nature does not necessarily exclude technological advances achieved during the period when, to use terms beloved of the German creator, they lived in rupture. The important task now is to conciliate or, rather, the reconciliation. Pimenta's music is cybernetic and virtual; it relies on chips and RAM memory, but it is inhabited. We hear voices in it, the utterances of living people hovering in the ether."
Rui Eduardo Paes (Journalist and music critic)
Emanuel Pimenta is commissioned composer for Merce Cunningham since 1986, and his pieces have been played by important musicians as John Cage, David Tudor, Takehisa Kosugi, the Manhattan Quartet, John Tilbery, Michael Pugliesi and Martha Mooke amongst others. Emanuel Pimenta received the ABM Prize in 1977, the APCA Prize in 1986 and the Lac Maggiore Prize in 1994. He was also nominated for the Rolex Prize and the Unesco Prize, in 1992 and 1993.
Pimenta was born in Sao Paulo,
Brazil, in 1957. Since 1985 he lives in Lisbon and New York,
developing several projects on music using Virtual Reality and
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