Biografie Nicola Buso
Biografie

Nicola Buso

  • nicola.buso@conts.it

Biografia/Biography

(English version below)

Conseguito il diploma in pianoforte, Nicola Buso si diploma in musica elettronica, si laurea in filosofia e ottiene il dottorato in musicologia. Ha seguito masterclasses di composizione e direzione d'orchestra.
Ha pubblicato articoli in riviste nazionali (Aut Aut, Diastema, Quaderni del laboratorio Mirage, Musica/tecnologia) e internazionali (DAI public, Enschede; Journal of the A. Schönberg Center, Wien); ha curato regie del suono a Asolo, Bologna, Pesaro, Ravenna, Roma, Treia (Macerata), Venezia, A Coruña, Buenos Aires, Strasburgo; sue composizioni sono state eseguite a Bologna, Brescia, Firenze, L'Aquila, Milano, Treviso, Venezia, Verona, Bydgoszczy, Berlino, Colonia, Lipsia, Boston, New York.
Ha collaborato con l'Archivio Luigi Nono (Venezia), con l'ensemble L'arsenale di Treviso. Collabora con i Laboratori Audio dell'Università di Udine. Insegna musica elettronica presso il conservatorio “G. Tartini” di Trieste.

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Biography

Born in Treviso in 1972 and, after graduating in Pianoforte, he studied Electronic Music with Alvise Vidolin in Venezia and Milano; during this period he worked closely in the Archivio Luigi Nono, and he graduated in Philosophy with a hypertextual interpretation of the Wittgenstein’s Tractactus logico-philosophicus and Heracliti fragmenta, thinking about the connection between technology and hermeneutics; at the same time he studied conducting with Ludmil Descev and Vram Tchiftchian, and composition with Wolfango Dalla Vecchia and Adriano Guarnieri, also attending masterclasses with György Ligeti and Helmut Lachenmann. He received his Ph.D. in Musicology under Prof. Angelo Orcalli at the University of Udine, with a thesis on the relationship between multichannel sound spatialisation and theatrical praxis.

In 1997 he has made his debut as composer with “Varianti” for solo piano at the Accademia Filarmonica of Bologna; in 1998 he has performed his first work for piano and electronics at the Forte Spagnolo (L’Aquila). He focused his attention on instrumental music, with or without live electronics: “Erion”, for voice and ensemble, was performed at Teatro Filarmonico of Verona in 1999, “Nahes des Todes”, at the Akademia Muzyczna in Bydgoszczy (2000), “Passio et morso secundum Lukács” for timpani and live electronics was performed at the Arena del Sole in Bologna (2001). “La pelle (sottile) del fiore”, for voice and piano, in Berlin (2001). He won the composer competition “Guido Cantelli” (Milan, 2001) with “Soli”, for large orchestra. “Dunkelblauen Haares Trauermusik” for small ensemble was performed in Leipzig (2002). “Wo sterbend die sonne”, a work for flute, violin and live electronics, was commissioned and performed by Annamaria Morini and Enzo Porta in Firenze and Köln on 2003. “Solo violoncello e cattedrale”, for cello solo was performed at Sale Apollinee of the Teatro La Fenice (Venezia, 2009), “For Patrick Kermann”, for soprano and cello was premiered at MATA festival in New York (2010).

As sound director he has been doing many concerts with live electronics: John Luther Adams, “The mathematics of Resonant bodies” (Roma, Parco della Musica, Teatro Studio, 2009), Giorgio Battistelli, “Opera sull’acqua” (Treia, 2002); Morton Feldman, “Three voices” (Strasbourg, 2011), Adriano Guarnieri, “Medea” (Venezia, 2002), “La terra del tramonto” (Torino, Lingotto, 2004), “Solo di donna” (Pesaro, Bologna, 2004), “Pietra di diaspro” (Ravenna, Roma, 2007); Luigi Nono, “Ricorda cosa ti hanno fatto in Auschwitz”, “Musica manifesto” (with Liliana Poli and Kadigia Bove, Scandicci, 2004), “La lontananza nostalgica utipica futura” (with Enzo Porta, Treviso, 2005), “Post-prae-ludium per Donau” (with Giancarlo Schiaffini, Buenos Aires, 2008), “Das Atmende Klarsein” (with Roberto Fabbriciani, Chiesa della Madonna dell'orto, Venezia, 2008), “Risonanze Erranti” (with Alvise Vidolin and André Richard, Scuola di San Rocco, Venezia, 2009), “Diario Polacco n. 2” (with Filippo Perocco, La Biennale di Venezia, 2010). He was assistant of Henri Pousseur in “Zeus joueur de flûtes” (Treviso, 2006).

After teaching in Bologna and Padova he taught courses in “live electronics” at the Conservatory of Bolzano, and in “tecniche della presa diretta” at the Fondazione Giorgio Cini in Venezia. In late 2007 he takes part in the "Conferenza GARR 2007 Network Humanitatis” (Teatro Palladium, Roma, 30 ottobre 2007) with the speech and demo “Musica e Rete: dal Live electronics al Live Coding (demo di composizione interattiva via rete)”, as musical advisor of the LoLa project, a low latency high quality audio/video transmission system for network musical performances and interaction (developed by "Tartini" Conservatory in collaboration with GARR, the Italian Research and Academic Network), conceived in 2005 and first demonstrated in public in 2010, with a piano duo concert between Tartini Conservatory in Trieste and IRCAM in Paris; the LoLa system is now deployed in a large number of institutions around the world, all connected to their national research and education network.

His interest in live coding practice is expressed both in a theoretical domain and performative, with speeches/writings and works/concerts/performances: in 2009 he partecipated in the conference "Harmonia mundi: Anima, spazio e corpo sonoro nella musica del XX e XXI secolo" (Ateneo Veneto, Venezia,7 XII 2009) with the speech “Lo spazio tra live electronics e livecoding: verso un teatro della scrittura”; he took part in the debate "Energheia Struttura, improvvisazione” (54.Biennale Musica, Auditorium Santa Margherita,Venezia, 27 IX 2010) with the speech “live coding”; he delivered his speech “Terza prattica: un troisième espace pour la musique electroacoustique?” in the conference "NPAPW-2010 Network Performing Arts Production Workshop” (IRCAM, Paris, 24 XI 2010).

He also wrote essays about live coding: “Terza partita. La musica nell’età della tecnica –un madrigale” (Firenze University Press, Firenze 2011, pp. 25-46), “Terza pratica… bobina … cinque. Lo spazio tra live electronics e live coding –verso un teatro della scrittura” (Mimesis, Milano 2011, pp. 95-111), “Epitaffio di Silicio. Traccia per improvvisazione in live coding” (Firenze University Press, Firenze 2018, pp. 15-27). He has conceived and performed “Last transition”, for piano and live coding (pf. Davide Tiso, lc. Nicola Buso,Venezia, XVII CIM, 52.Biennale Musica,16 X 2008), “Haus der Mitte”, for Voice, ensemble, live coding (voice Livia Rado, ensemble L’arsenale (dir. Filippo Perocco), lc. Nicola Buso, Venezia, CompoLab, 53.Biennale Musica, 26 IX 2009), “epitaffio di silicio”, live coding solo, (lc. Nicola Buso, Incontro con Daniel Teruggi, Laboratorio MIRAGE – Pordenone, 12 V 2017). He takes part in several edition of the festival “Generazioni elettroniche” (Laboratorio MIRAGE, Gorizia-Nova Gorica), performing in 2011 the powerdrill quartett “Die schwarze Decke” with live coding.

He teaches “Electronic Music” at the Conservatorio “G. Tartini” of Trieste since 2007 and, presently, he teaches also “Teorie e tecniche della musica contemporanea” at University of Udine – where he collaborates with the MIRAGE Lab – .