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Fernando Iazzetta

released February 11, 2021

[English Below]

Processos de criação possuem várias origens. Eles podem partir de estruturas prédefinidas, mas podem também se estabelecer em total independência disso: são parte de uma ciência, da qual a racionalidade nem sempre é a melhor amiga. Pessoas como Fernando Iazzetta devem saber bem o que isso significa: ele se divide em aparente harmonia na figura do criador, assim como na figura estruturadora de projetos acadêmicos de tempos e objetivos bem definidos. Mas não se trata aqui de arte ou ciência com linhas e meios rígidos de atuação e pesquisa. Na seara dos fatos puramente acústicos, área em que trabalha, não se pode prescindir da sensibilidade musical. Basta lembrar que é por analogia com as sensações psíquicas que os físicos encontraram o caminho da definição dos sons; categorias, portanto, que também importam a quem quer expressar alguma coisa em arte.

Fernando Iazzetta, nascido em São Paulo em 1966, tem formação de percussionista pela UNESP, na gloriosa classe de John Boudler. Foi quando fez parte do PIAP, grupo de percussão responsável por marcantes produções de música contemporânea no Brasil. Iazzetta destaca-se desde então como compositor, explorando, especialmente, a aplicação de recursos tecnológicos em ambientes de criação e performance musicais. Realizou doutorado em Comunicação e Semiótica na PUC-SP, onde mais tarde tornou-se docente e co-fundador do LLS – Laboratório de Linguagens Sonoras. Atualmente, é professor livre-docente do Departamento de Música da Escola de Comunicações e Artes da USP, onde coordena o LAMI – Laboratório de Acústica Musical e Informática e idealiza projetos de fôlego nas áreas de acústica de salas e de interatividade musical.

Apesar do preparo crítico e científico, nada em seu discurso deixa transparecer uma eventual rejeição ou adesão às bandeiras ideológicas do período de formação da música eletroacústica, isto é, à dicotomia musique concrete/elektronische Musik (nascida provavelmente dos conflitos franco-prussianos anteriores à invenção da lâmpada). Sua música é marcada pela sonoridade plena, pelas combinações que enganam o artificialismo sintetizado ou o extremo naturalismo e estabelecem uma comunicação imediata com o ouvinte de outras músicas. E, de acordo com essa mesma concepção estética, Iazzetta trata de enquadrar algum fragmento sonoro que chame a atenção dentro de uma conturbada e significativa soundscape, “como um fotógrafo que ‘clica’ um detalhe da nervosa cena cotidiana”. A partir daí desenvolve-se um ciclo contínuo de escuta e reelaboração dos sons, que culmina em coleções de “pequenas porções sonoras, todas elas relacionadas pela mesma origem, mas que se distanciam à medida em que vão sendo processadas”.

Outro aspecto relevante de sua música manifesta-se na presença de elementos rítmicos bem identificáveis. Sua formação instrumental transparece às vezes de forma evidente nos materiais sonoros de origem percussiva e, às vezes, de modo mais velado, em construções que, ao invés de privilegiarem os sons e as texturas que se prolongam no tempo – característica recorrente no repertório eletroacústico –, buscam movimentos mais rápidos e contrastantes que enfatizam o ritmo e a forma.

O ritmo percussivo e a prolongada experiência de escuta dos materiais sonoros trazem algum sentido corporal para as peças, uma gestualidade quase lúdica.

Este álbum traz seis obras, de um período que vai de 1998 a 2008, que compõem um mosaico em que as peças nem sempre se alinham com encaixes ajustados.

Marcos Branda Lacerda
__________________

Creative processes come from several sources. They can be preceded by well-defined structuring systems, or be totally independent: they are part of a science that is not always best friends with reason. People like Fernando Iazzetta must be quite aware of what this means: his time is shared, in apparent harmony, between musical creation and the structuring of academic projects with very precise timing and objectives. But here though the subject is not an art or science marked by strict methods of research. In the field of purely acoustic facts, the area he works with, one cannot forfeit musical sensibility. It is enough to say that physics found the way to define sounds through an analogy with psychological sensations; these categories are therefore important also for those who want to express something in art.

Fernando Iazzetta was born in São Paulo in 1966 and graduated as a percussionist in UNESP in the glorious class of John Boudler, where he participated in PIAP – a group that produced remarkable contemporary music in Brazil. He has since then been an active composer, with special emphasis on the application of technology to musical creation and performance environments.

He finished his PhD in Communication and Semiotics at PUC-SP, where he later became a professor and co-founder of the Sound Languages Laboratory (LLS). He is now associate professor at the Music Department of the School of Arts and Music in University of São Paulo, where he coordinates the Laboratory of Musical Acoustics (LAMI) and develops extensive projects in room acoustics and musical interactivity.

In spite of his critical and scientific education, you will not hear him reject or adhere to the ideological trends from the period electroacoustic music was developing, i.e. the musique concrete/elektronische Musik dichotomy (which was probably born from Franco-Prussian
conflicts before the lamp was invented…). His music is marked by full sonority and combinations that bypass synthesized artificiality or extreme naturalism, establishing immediate communication with listeners used to other styles of music. And in line with this very aesthetic concept, Iazzetta manages to frame a sound fragment that catches the ear
within a turbulent and meaningful soundscape, “like a photographer that clicks a detail in the nervous everyday scene.” From that point, a continuous cycle of listening and re-elaboration of sounds develops, culminating in collections of “small sound portions, all of them related
to the same origin but becoming more distant as they are processed.”

Another relevant aspect in his music is the presence of clearly identifiable rhythmic elements. His instrumental background is sometimes evident in the percussive materials and sometimes, less blatantly, in constructions that, instead of privileging sounds and textures that extend over time – a recurring characteristic of the electroacoustic repertoire –, look for quicker, contrasting movements that emphasize rhythm and form.

Percussive rhythm and an extended experience of listening bring some corporal meaning to the pieces and an almost playful gestural quality.

This album includes six works composed between 1998 and 2008 that form a mosaic where the pieces do not always fit perfectly.

Marcos Branda Lacerda

Ficha Técnica:
Direção Geral: Fernando Iazzetta
Direção Artística: Marcos Lacerda e Fernando Iazzetta
Gravações: Tangerina: LAMI, Pedro Paulo Kohler; Promenade: Loft Studio Köln, Ansgar Ballhorn
Masterização: Reference Mastering Studio, Homero Lotito
Apoio Técnico: Pedro Paulo Kohler
Desenho: Liliza Mendes
Projeto Gráfico: Sofia Caesar
Textos: Marcos Lacerda
Tradução: Julia Aidar
Produção: Cm7+ Produções Artísticas
Realização: LAMI

agradecimentos:
Marisa Rezende; Annita Costa Malufe

Website: bandcamp.com

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