informal dawn from mémorisa by Sisto Palombella

an improvisation with synthaccordion looking out of my window at 5,30 in the morning... maybe it's not concrete as Schaeffer intended...

Born in Molfetta (BA), Italy, in 1962, he began playing the piano at six years, but found the sounds of the accordion in his twenties. He chose this instrument in order to play going around.
Around 1985 he attended workshops with E. Rava, F. D'Andrea and S. Lacy. He took part from the 1999 to 2001 of "Nura" group of Arab flamenco (with whom he recorded the CD "Nura"), and "X-Darawish", Italian-Greek-Palestinian group, participating in numerous ethnic music festival in Italy and abroad.
He's a scholar of music from the street; he was part of the "Caravan of Ancient and Lost Art", very active touring group in southern Italy in the '90s. He graduated from DAMS in 1989 with the thesis "Identikit of Street Musician" (first in Italy), under supervision of masters G. Stefani and R. Leydi.
Fifth year of Accordion at the Conservatory "L. Campiani" in Mantua with M.° C. Rojac.
He has collaborated with various theater groups (Masnada - BS, Teatreno - MN, A.T. Campogalliani - MN, Teatrermitage - Molfetta, Moduloesse - Giovinazzo).
In 1999 he moved permanently in Lombardy. He participates in shows of various local artists, including the storytellers of Mantua Wainer Mazza.
He teaches accordion at the "Lino Fassoli Academy" in San Gervasio Bresciano and School of Music "Mapacanto" in Cremona.
He proposes himself in solo evenings-concerts with a repertoire ranging from songs - Italian and foreign - from the 30s to the present day, or with original experiments (psycho-acoustic environmental installations, eg. "The Hidden Music") having as a reference starting the P. Glass minimal music or S. Reich and the musical-theatrical research by L. Dallapiccola. Schizofrenic? Yes, but no allucinations...

"Informal dawn" is a synthaccordion improvisation carried out at about 5.30 in the morning, while it starts to day, simply by opening the window of my studio. With a cool head, I could recognize some typical sound of dawn: little birds that greet each other in various languages, frogs, the air that warms up imperceptibly, a train in the distance, a bell tower that timidly breaks the silence, the life that begins again after the night.
When, about a month ago, I sent the song to the IFAR curator, Shaun Robert, I expressed my doubts to him about the fact that this improvisation belongs to "concrete music", which is generally made up of noises of everyday life, field recordings, pieces of radio or television broadcasts, etc. In short, little bit of music as we normally mean it, and an improvisation made by an instrument couldn't really be "concrete" as Pierre Schaeffer, its pioneer, intended. Could it be called maybe only jazz? But he reassured me by saying that my research is already in the field, and that the instrument is only a tool, it's the message that counts!

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