MASSIMO FALASCONE – Variazioni Mumacs

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Massimo Falascone: composition, alto & baritone saxophones, live electronics, field recordings, voice, sounds, samples, effects, noises.

The curve delineated by Variazioni Mumacs – descent, causation and contributors to be ascertained by clicking this link – starts from impressive acousmatic vistas largely established on real-life vicinity, recalling some of Lionel Marchetti’s aural landscapes (and not only because there are French-speaking voices in the fifth movement) complemented by diverse improvisations, far-flung echoes of mild-mannered nonsensicality (with a purpose) and declaimed poetry. The central subdivisions are somewhat deprived of the initial bulk and less dependent from surprising suddenness, an essential organization aiming to give more room to infinitesimal instrumental subtlety and utilization of the useful traits of broken pitches. Significant tenseness is perceived in the moments of quietude, occasionally injured by a slight propensity to restate acoustic vortexes that render the suite’s narrative just a bit difficult to follow without losing the grip on our centering amidst the ricocheting sounds. In the last tracks there’s a gradual return to reverberations typical of the quotidian – Falascone seems to hold mothers attending to their playing children particularly dear – until a ferocious free jazz discharge ends this challenging work.

Given the fractional lineaments of the music and the unevenness of its dynamics, a duration of 68 minutes could result as pretty tough to swallow for a standard exemplar of “erudite” listener gifted with the attention span of a gnat. Still, one can imagine a soundtrack for a brand of experimental theatre or, as an alternative, an exercise in the maintenance of alertness. The composition took a long time of selection and assemblage of old and new materials, and it definitely shows; this is not a crackbrained pastiche, in spite of displacing occurrences of electronic treatments, snippets of radiophonic folderol and contrastive varieties of noise. It is instead a fully fledged creature with a carefully formulated structure; someone will deem it outstanding, elsewhere it may get regarded as subsidiary stuff in comparison to the production of the “big names” in this area. This observer stands somewhere around 70% of the artistic value scale. In any case, Falascone’s conceptual sincerity is unimpeachable, his dexterity as a reedist identifiable right away.

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