10heathgenerator_sine_square

Teresa at the Darmstadt Internationale Ferienkurse für Neue Musik

10heathgenerator_sine_square
Heath sine and square wave generator from WDR radio

In 1952, 1954 and 1956 Teresa Rampazzi attends the Darmstadt International Summer Courses for New Music. During the 1952 edition she has the chance to hear Herbert Eimert’s speech, where he presents the equipment from the Studio for Electronic Music of the West German Radio in Cologne. Teresa is 37 years old, she still is an avant-garde pianist, but it is a small electronic instrument (a frequency generator) that strikes her. She understands that sound synthesis is the only way to go beyond the rigidity of tonal music. In her own words:

…I arrived at electronic music exactly at its birth, listening to its cries in the large Marienhöhe concert hall, in Darmstadt. (Actually the term ‘arrived’ is not correct because we never actually arrive anywhere, we are always on our way). […] So in that [Marienhöhe] Concert Hall, for the first time Eimert showed the public a small frequency generator. Musicians looked at it suspiciously and did not attach too much importance to it. For me, that little, insidious object would certainly grow, multiply and change [1].

1952 Ferienkurse edition is also one of the most famous editions: Boulez declares the “death” of Arnold Schoenberg’s aesthetics, the new generation of composers –Luciano Berio, Pierre Boulez, Karel Goeyvaerts, Bruno Maderna, Luigi Nono, Karlheinz Stockhausen, Bernd Alois Zimmermann – starts to claim the musical world’s attention. (and Teresa is for the occasion a member of the chorus of España en el corazón by Luigi Nono) [2].

The Electronic Music Studio at Westdeutscher Rundfunk (WDR) in Cologne was founded by the composers Werner Meyer-Eppler, Robert Beyer, and Herbert Eimert. EImert was also the studios first director. To read more on Herbert Eimert and the WDR Electronic Music Studio visit 120years.net

  • [1] Teresa Rampazzi, “Piccolo discorso con Michela”, Autobiografia della musica contemporanea (Michela Mollia ed.), Cosenza, Lerici, 1979, pp. 122-126.
  • [2] Antonio Trudu, La “scuola” di Darmstadt. I Ferienkurse dal 1946 a oggi, Milano, Ricordi-Unicopli, 1992, pp. 73-82.
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Immagini Per Diana Baylon: preview on Soundcloud

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As with the spellbinding Musica Endoscopica, this issue of Immagini Per Diana Baylon – one of her three known soundtracks for art installations – helps to place Teresa as Italy’s answer to Daphne Oram; that is, a pioneering female experimenter operating in a male dominated field since the ’50s, and an artist/musician/technician who was magnetically drawn to the emerging possibilities of analogue electronics (although she would also expand into computer composition as soon as the opportunity arose).

Here is what bookmat.com says about this new issue I curated in collaboration with Die Schachtel [boomkat.com/products/immagini-per-diana-baylon]. Remastered from the original tapes, foil-blocked metallic print jacket with fold-out insert of liner notes and photographs.

You may listen to some excerpts on Soundcloud.

 


 

 

 

Diana Baylon

IMMAGINI PER DIANA BAYLON (1972): new Die Schachtel issue/album

Teresa Rampazzi’s third vinyl record with Die Schachtel (2016) contains just one music work. IMAGES FOR/IMMAGINI PER DIANA BAYLON is a stereophonic piece of 31’50”, to be played in loop during Diana Baylon’s exhibition. The music is a soundscape for the exhibition Diana Baylon, 23 November – 14 December 1972 (catalog by Lara-Vinca Masini) held at the Modern Art Gallery Il Fiore in Florence in 1972 (http://www.dianabaylon.it/mostre/). Diana Baylon (1920-2013), a friend of Rampazzi’s, was a cross-disciplinary artist from Florence who transformed various materials into figurative and, later in the ‘60s, abstract and programmatic art objects (ceramics, glass, metal, paper, paintings, graphics, jewellery).

IMMAGINI PER DIANA BAYLON was the third time that Teresa Rampazzi realized music for an exhibition. The first was also the very first experimental composition that Rampazzi and Ennio Chiggio realized in 1965, a sound collage for the opening of an exhibition of the Gruppo Enne at the International Biennale d’Arte in Venice. The second soundscape
piece, Environ (1970), was realized by Rampazzi for the presentation of a 360° round modular couch in foamed resin designed by Chiggio, presented at a furniture shop in Padova in 1970.

Vinyl Project by: Laura Zattra / Produced by: Fabio Carboni, Bruno Stucchi / Digitization and Digital Archiving: Sergio Canazza / Mastering: ‪#‎GiuseppeIelasi‬ / Design: dinamomilano.com

Diana Baylon
Diana Baylon
Teresa Rampazzi, 1955 ca

Hello world!

Welcome! This is Teresa Rampazzi’s new blog/website. The old website was created in 2006 by my brother Marco and me. We felt the need to remodel and upgrade it.

More new content will be along in the near future! Includes news and blog, Rampazzi’s biography, online material, and new research on Rampazzi’s fantastic artwork!

Stay tuned!

Laura Zattra (lazattra.wordpress.com/)

Teresa Rampazzi, 1955 ca
Teresa Rampazzi, 1955 ca