2021


from September 2021 to September 2022 - Artistic residence at MAD - Florence - ITALY

Thanks to curators Renata Summo-O’Connell and Valentina Gensini, I am going to « play » with 5 institutions in Florence: Murate Art District, Fine arts academy, Conservatory of Music, French Institute and the International Festival Cinema and Women.

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September 6th 2021 to setptember 22nd 2022

INSTALLATION

ARGO - music and video installation
Murate Art District
Piazza delle Murate (Florence) Italy

Argo is a generative, interactive musical composition created for the Artists & Robots exposition (Grand Palais 2018). The music is created in real time, completely programmed by algorithms that perform their calculations following functions based on semantic interpretations. The installation reacts to Jacopo Baboni Schilingi’s breathing in real time, following his use of a respiratory sensor worn 24/7 since June 2017. Based on the musical trajectories written by the composer, his breathing continues to perturb the system that regenerates itself in an automatic and continuous manner. Each day, the music is different and recomposes itself infinitely. Argo demonstrates the artistic appropriations possible when faced with current emerging technologies, and renews the imaginary relationships that we hold with technical innovations. The installation questions the relationship between Man and the machine, between the human body and that of robots, and between contingence and programming.

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October 13th, 14th & 15th 2021

THREE PEFORMANCES

TERRA - music and dance performance - conceived by Jacopo Baboni Schilingi
Département du Doubs -  collèges en scène
Dancer - Adèle Bord 
Le Russey, Pouilley-les-Vignes & Sancey-le-Grand - [France]

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TERRA is a dance and music project conceived by Jacopo Baboni Schilingi in collaboration with dancer PeiJu Chien-Pott (Taiwan). Terra is a project that uses a technology called MyAir, designed by engineer David Kuller, and also presented in another project by Jacopo Baboni Schilingi, "Argo". The dancer carries a sensor (MyAir) that allows her to detect at any time in real time the dilatation of her rib cage, the number of her breaths over time, the maximum and minimum thresholds of her breathing, the phenomena of apnoea and / or hypopnea, etc. All these parameters related to breathing are automatically translated into music data. Terra's music is thus generated in real time by the counterpoint between two musically translated breaths: that of the dancer mixed with that of the composer.

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October 15th 2021

Issue number 2 of the magazine Documents
Metaleptic manifesto of consubstantial music by Jacopo Baboni Schilingi
Documents N.2 - Paris - [France]

 

This is my second manifesto through which I declare myself an artist and not only a composer. In fact I expresse myself through concerts, performances and installations, but also through text, videos, choreography, stage plays and photography. In 20 years of production, my aesthetics have changed. In this new manifesto, I define my poetics articulated around four fundamental needs: expressing through complex structures, the search for pleasure through my work, the use of machines and the redefinition of the notion of the body in art.

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November 5th 2021

PERFORMANCE

CINERE - a part of ALIAS - a tribute to women

A project by Jacopo Baboni Schilingi
Text - Elsa Revcolevschi
Actress - Elsa Revcolevschi
Music - Jacopo Baboni Schilingi
Videos - Jacopo Baboni Schilingi and Eric Cordier
Cinema La Compagnia
Via Camillo Cavour, 50/R - Florence - Italy

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Part of the Alias project, my personal tribute to Women, which brings together five women from different artistic backgrounds, CINERE is a theatrical monologue for an actress accompanied by a violinist. The text was written by Elsa Revcolevschi, who also performs it on stage. In order to write this text, Elsa went to a convent, hoping that its calm would let the text emerge. She found herself in front of a blank page, in a single room that contained nothing but a mirror. In this neutral environment, she saw her face reflected in the mirror without being able to recognise herself, realising then that she regularly perceived her reflection as a deformed, strange or even alien echo. She named her other self "wandering". CINERE follows the journey of a woman who questions her refusal to recognise certain features of her face that may have been tarnished by family, by religious figures, trained to bend and smile, enslaved, as well as revived by traumas that forged the woman she became at the age of 22 . While, in the text, she immerses herself in her childhood imagination, daring to give life to buried fantasies, CINERE also tells the story of a woman who starts to unearth the abuse she has suffered. 
The use of video projection, which reflects the daily life of a traumatised person, as well as the music played by a violinist who becomes an authentic character during the performance, with whom the actress interacts, are fundamental within the performance.
Throughout the monologue, the actress' performance is accompanied by music generated in real time by the interpretation of physiological data linked to her breathing.

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November 2021

CD RELEASE Italian Contemporary Music for Harpsichord
Scarlet K141 by Jacopo Baboni Schilingi
Luca Quintavalle - harpsichord

Brilliant Classic production 

 

A banquet of first recordings, highly original works and composers in a new recording by one of today’s most adventurous harpsichordists. 
Scarlatti is the inspiration for an ornate elaboration of the same idiom in Scarlet K141, my last composition.
With a full introduction to all the works and composers on the album by Luca Quintavalle, the album makes an arresting introduction to the music of many composers otherwise hardly represented in the current catalogue, and a significant new volume in the library of harpsichord music. 
Scarlet K141 is a composition for harpsichord and live electronics.
It is a composition that belongs to the "highly" cycle, which means "as fast as possible".
It is a composition strongly inspired by Scarlatti's sonata K141. Actually, I was inspired by three sonatas: K18, K141 and K525. But the morphological link with K141 is much more explicit.
This composition seeks, in addition to a purely musical discourse, to enhance the performer. In the music of creation, also known as contemporary music, all too often composers submit passages that are extremely difficult to perform and whose sonic result seems disconnected from the difficulty of producing it. 
Scarlet K141 is exactly the opposite. The instrumental gestures are in themselves all idiomatic to the instrument: obstinate repeated notes, trills, tremolos, clusters. It is their concatenation that makes them particularly spectacular.
In addition to the gestures just listed, I ask Luca Quintavalle, in a section before the finale, to strike the harpsichord as if it were a percussion instrument. It is no longer a question of playing on the keyboard, but on the different wooden parts of the sound box. All these sounds are recorded in real time by the computer and I process them so that a dialogue is established between the harpsichord and the electronics. This dialogue is defined both by the reworked sounds and by a series of sounds that I have composed specifically for this composition.
For more than 14 years now, I have been writing my scores not on paper, nor on the computer, but on human bodies. Then I take photographs of these scores so that I can copy them and send them to the musicians. For Scarlet K141 I wrote about Agathe Vidal [whose photo was used for the cover]. 
In this sense Scarlet K141 represents my aesthetics [or poetics if you prefer], which is articulated around four fundamental needs: to express myself through complex structures, the search for pleasure through my work, the use of machines and the redefinition of the notion of the body in art.
Scarlet K141 is dedicated to Luca Quintavalle, to whom I owe so much: this composition bears witness to that.

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November 2021

MUSIC for the movie - TALISMANS 

Director of the film - Henry Colomer
Music by Jacopo Baboni Schilingi 
SARABAND FILMS - Paris - [France]

 

Talismans intertwines stories about signs that serve as safe-conducts: a few verses, a lullaby, an image, small viaticum that impress themselves on the memory, that link to life, to others, that put time back on track. Each of them has a material starting point, a modest but tangible support, demanding careful examination. Notes carried close to the body, on which a few words have been scribbled in phonetics; newspaper clippings deforming, through successive translations, a poem collected from the lips of a dying man, without anything being able to undermine its expressive power. Facing these traces, a hand that presents them to the light, eyes that observe them, a voice that says how and why they count. 

In Talismans short stories respond to each other around a dual recurrent theme: shipwreck and rescue. The shipwreck: the icy, shadowless glow of critical situations. The hour when there is no longer time to talk. Rescue: a ritornello, a few verses learnt by heart or scribbled on a rag of paper, the last resort in our existence governed by signs.

Words huddle between the margins of books. 
In the darkest hours, they know how to make themselves invisible.
Breaths of air laden with sounds exchanged in the night.
To remember better days, to imagine others.

 


December 2nd 2021

CONCERT

Electroacoustic interludes
Institut du monde arabe (Paris) - France

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These Interludes constitute a cycle of short electroacoustic compositions that Jacopo Baboni Schilingi will perform between each couple of composition. Based on an interactive interface, Baboni Schilingi will control the musical transformation from the end of one composition until the beginning of the following.

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December 2nd 2021

CONCERT « hommage pour le Liban »

Under the high patronage of François Hollande, former President of the French Republic, and under the initiative of UNESCO's Li Beirut directed by Audrey Azoulay
With the support of the Arab World Institute chaired by Jack Lang

HUGE - for piano and live computer - Commissioned by Deutsche Grammophon
Pianist - Simon Ghraichy - Institut du monde arabe (Paris) - France

HUGE is a new original composition for piano and live compuetr belonging to the cycle « highly ». Highly is a cycle of compositions intended as a tribute to the music performers.Very often playing a composition of contemporary music there is a real discrepancy between virtuosity displayed during the concert and many hours of study. However, Highly is based on the pre-existing experiences of the musician, and it requires an exceptional virtuoso work.

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From 3rd to 26th December 2021

INSTALLATION 
Maillages cosmiques 2021

Generative installation by Miguel Chevalier
Conception Miguel Chevalier
Music by Jacopo Baboni Schilingi
Software: Cyrille Henry / Antoine Villeret
Technical production: Voxels Productions
Église Saint-Jean-de-Malte - Aix-en-Provence - [France]

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Maillages cosmiques 2021 is a generative virtual reality installation projected on the stone façade of the Saint-Jean-de-Malte Church in Aix-en-Provence, accompanied by music by composer Jacopo Baboni Schilingi. 30 different meshes of coloured light, superimposed on maps of the sky where imagination and science are mixed, are revealed one after the other. These large meshes form and deform, creating diversified universes that are constantly renewed. The elements attract and repel each other, creating a rhythm of expansion and contraction similar to breathing. The work underlines the architecture of the façade, notably the two octagonal towers, the tympanum decorated with trefoils and tri-lobed arches and above all the large rose of 4 metres in diameter which comes to life. A bridge is created between the high-tech gothic of the stone and the high-tech of the technology. The music is also generative. Jacopo Baboni Schilingi has recorded fragments of liturgical chants from different eras which are then processed with morphogenesis algorithms to create infinite musical variations. Light, colour and movement create a poetic of matter and elaborate a new aesthetic of the virtual. This cosmic ballet of pixels with radiant energy plunges visitors into the mysteries of the universe. This work of light creates a festive atmosphere in this holiday season.

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December 8th 2021

MONOGRAPHIC CONCERT 

Integral piano works by Jacopo Baboni Schilingi
Piano - Véronique Ngo Sach-Hien
A production by the Conservatoire de Musique, de Danse et d'Art Dramatique de Montbéliard, the EMI - Ensemble de Musique Interactive.
L’Arche - 2 Rue d’Héricourt - Bethoncourt - [France]

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I have written several compositions for solo piano and with live electronics. The piano represents the ideal instrument for experimenting with already known forms, but above all for researching new formal archetypes. After more than 35 years of production, the formal trajectories described by my piano compositions are readable. Since 1995, I have integrated live electronics into my compositions. This recital also allows us to see how my use of the computer has evolved over the years until today. Véronique Ngo Sach-Hien is an exceptional pianist who is very familiar with my repertoire, with whom she has been collaborating for many years. This recital is the fruit of our collaboration and artistic friendship.

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Janvier 12th 2022

MONOGRAPHIC CONCERT

Integral piano works by Jacopo Baboni Schilingi
Piano - Véronique Ngo Sach-Hien
A production by the Conservatoire de Musique, de Danse et d'Art Dramatique de Montbéliard - the EMI - Ensemble de Musique Interactive.
Sala del Buonumore - Conservatorio Boccherini - Florence - [Italy]

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January 18th 2022

CONCERT
In collaboration with the Institut Francais de Florence
Young soloists from the Conservatorio di Musica Cherubini
Institut Français - Piazza Ognissanti - Florence - [Italy]


Janvier 19th 2022

CONCERT

Recital for flute and live electronics
Flute - Anne Nardin
A production by the Conservatoire de Musique, de Danse et d'Art Dramatique de Montbéliard - the EMI - Ensemble de Musique Interactive.
MAD - Piazza delle Murate - Florence - [Italy] 

I have been working since 2007 on a new cycle for flute and live electronics. This cycle, dedicated to Anne Nardin, is entitled Silence. It is a series of five compositions for different transverse flutes [bass, alto, « normal » and piccolo] and live electronics. This cycle evokes the notion of silence, what precedes or follows it, the fact that absolute silence does not exist, thus exploring our images of what silence is.

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Janvier 20th, 21st and 22nd 2022

THREE PERFORMANCES

Rizhomatics - Scarlet

Music by Jacopo Baboni Schilingi
Performer - Agathe Vidal
A production by EMI - Ensemble de Musique Interactive.
MAD - Piazza delle Murate - Florence - [Italy]

Rhizomatics is not strictly speaking a performance, nor an installation. It is a new way of looking at creation and at the notion of the work of art itself. It is an invitation to displace our frames of reference and our habits, both to the artists (Agathe Vidal and me) and to the public, thus inaugurating a new space for encounters, debates and intimacy around this creation and anticipating the risks that, at any moment, threaten to disconnect us from one another.

Rhizomatics thus consists of a new artistic pact; it is a new paradigm, imagined in the continuity of the changes in the relationship between the work, the two artists and the public. This pact is based on a reinterpretation of the concept of the open work, of the metamorphosis of the work in contact with its audiences, whose principles Umberto Eco theorised, and whose functioning Thadeusz Kantor illustrated through his happenings, open classes and unprecedented theatrical creations.


January 28th 2022

CONCERT

Decode-II - Percussionist from the Conservatoire de musique de Châteauroux
Nuit des conservatoires - Châteauroux - France

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January 28th 2022

INSTALLATION
ARGO - generative and interactive installation

Conception: Jacopo Baboni Schilingi
Hardware and software for breathing analysis: David Kuller - MyAir company
Graphical interpretation of the data: Léo Baqué
Conservatoire de musique de Châteauroux
Nuit des conservatoires - Châteauroux - [France]

Argo is a generative, interactive musical composition created for the Artists & Robots exposition (Grand Palais 2018). The music is created in real time, completely programmed by algorithms that perform their calculations following functions based on semantic interpretations. The installation reacts to my breathing in real time, following his use of a respiratory sensor worn 24/7 since June 2017. Based on the musical trajectories written by me, my breathing continues to disrupt the system, that regenerates itself in an automatic and continuous manner. Each day, the music is different and recomposes itself infinitely. Argo demonstrates the artistic appropriations possible when faced with current emerging technologies, and renews the imaginary relationships that we hold with technical innovations. The installation questions the relationship between Man and the machine, between the human body and that of robots, and between contingence and programming.

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March 8th 2022

CONCERT/PERFORMANCE/INSTALLATION

  • ALIAS - a tribute to women by Jacopo Baboni Schilingi

  • TERRA - music and dance

  • ANIMA - music and piano

  • CINERE - music and theatre

  • MATERIA - music and video

  • STILLA - music and voice

Music and artistic direction - Jacopo Baboni Schilingi
With : Adéle Bord (dance), Véronique Ngo Sach-Hien (piano), Elsa Revcolevschi (writer/actress), Virginia Guidi and Sara Grace Craves (voices), Maya Maximovitch (video), Pauline Coutouron (stage direction).
Guillaume Antonini (violin)
Light and scenography by Eric Cordier

Festival - Saison Numérique #6
La Scène Numérique - Montbéliard - [France]

Meant as a tribute to women’s status, a cartography of the sensory world, a complex but poetic definition of its various mindsets, ALIAS is a multifaceted original project I created, in five interactive musical compositions, all played on a stage using some original stage direction processes.

The sensory force, life and death impulses, the sensual body, the cyclical madness, are all components used by the artists to define their view of femininity. These sensitive figures, constantly shifting between expressive force and unpredictable extravagance, help create this tribute, which takes the form of an ode to women through a sensory voyage, drawing the audience to the world of interactive poetry, constantly evolving in time and unique to every performance. The originality of the project lies both in the complex stage presentation (five different presentation ideas are meant to be used in those performances) and the particular care placed in highlighting the evident link between the musicality of the bodies and their sound traceability, aesthetic intentions that are found in my entire body of work. The constant back and forth rather than eliciting a simple and reductive definition of womanhood, suggests a global aesthetic vision of the issues proposed, of their presentation and representation, and above all the mystical perceptions of women, which may be unique to every individual.

These five forms of narration and representation of womanhood are all associated in their stage direction to the five elements (fire, earth, water, air and wood), following the definition used in Asian cultures. That intent in the writing is deliberate aiming at highlighting my notion around the main appeal of womanhood and its sensory territories. Close to doubt as well as certainty, to deep reflections but also madness, to anger and awakenings, these representations of women (sometimes dedicated to the performer herself) all tend towards one same colourful and complex vision of their sensory world. To highlight these unique mental categories, and these new associations between elements and the female psychological state within each chapter, new participation modes using interactive devices, are then conceived to create new stage direction modes.


April 9th 2022

CONCERT
Electric Voice

Nicholas Isherwood - voice
Jacopo Baboni Schilingi - live electronics
University Museum of Navarra
Campus Universitario - Pamplona - Navarra - [Spain]

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May 17th 2022

CONCERT

In collaboration with the Institut Francais de Florence
Young soloists from the Conservatorio di Musica Cherubini
Institut Français - Piazza Ognissanti - Florence - Italy


Mai 19th 2022

CONCERT
Electric Voice

Nicholas Isherwood - voice
Jacopo Baboni Schilingi - live electronics
MAD - Murate Art District
Piazza delle Murate - Florence - [Italy]

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from May 23rd to June 25th 2022 

PHOTO EXHIBITION
A selection of Bodyscore photo exhibition
La Boîte - Florence [Italy]

Music is alive, very much alive today. For me, this living aspect of music is fundamental, primordial even, and is strongly anchored in the present time, the very moment when the music is thought out and composed. In this very special relationship that I cultivate with living music, this instantaneousness manifests itself in me as much at the moment of composition as in the different phases of writing the score. To be a composer is above all to have music "in one's fibres", "in one's skin" as they say. To further anchor this particular relationship that the composer cultivates with the living essence of music, with its memory, I decided to literally reincarnate musical writing in the moment of living. Since 2007, I have begun to write my scores directly on the body, on the skin of living models. This is a way of literally embodying the gesture of writing in the living, a way of sacralising this gesture in the moment of writing.

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June 2022 CONCERT
Scarlet K141 by Jacopo Baboni Schilingi

Luca Quintavalle - harpsichord
Palazzo Ricci – Europäische Akademie für Musik und Darstellende Kunst
Montepulciano - [Italy]

Scarlet K141 is a composition for harpsichord and live electronics.
It is a composition that belongs to the "highly" cycle, which means "as fast as possible".
It is a composition strongly inspired by Scarlatti's sonata K141. Actually, I was inspired by three sonatas: K18, K141 and K525. But the morphological link with K141 is much more explicit.
This composition seeks, in addition to a purely musical discourse, to enhance the performer. In the music of creation, also known as contemporary music, all too often composers submit passages that are extremely difficult to perform and whose sonic result seems disconnected from the difficulty of producing it.
Scarlet K141 is exactly the opposite. The instrumental gestures are in themselves all idiomatic to the instrument: obstinate repeated notes, trills, tremolos, clusters. It is their concatenation that makes them particularly spectacular.
In addition to the gestures just listed, I ask Luca Quintavalle, in a section before the finale, to strike the harpsichord as if it were a percussion instrument. It is no longer a question of playing on the keyboard, but in the different wooden parts of the sound box. All these sounds are recorded in real time by the computer and I process them so that a dialogue is created between the harpsichord and the electronics. This dialogue is defined both by the reworked sounds and by a series of sounds that I have composed specifically for this composition.
For more than 14 years now, I have been writing my scores not on paper, nor on the computer, but on human bodies. Then I take photographs of these scores so that I can copy them and send them to the musicians. For Scarlet K141 I wrote about Agathe Vidal [whose photo was used for the cover].
In this sense Scarlet K141 represents my aesthetics [or poetics if you prefer], which is articulated around four fundamental needs: to express myself through complex structures, the search for hedonism through my work, the use of machines and the redefinition of the notion of the body in art.
Scarlet K141 is dedicated to Luca Quintavalle, to whom I owe so much, and this composition bears witness to that.

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Working on a Sonata for piano and live computer for Simon Ghraichy - November 22nd and 23rd 2022 - ROME - ITALY


Working on a trilogy for music, theatre and live computer - Carnations - Trilogie du corps - date to be definbed - FRANCE


Working on a new composition for cello and live computer for Camille Thomas - date to be defined - Paris - FRANCE


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