PiGro-zia. Online homage to Pietro Grossi
Wednesday 4 May, 21.00 hrs –Tempo Reale social media channels
Works from Grossi’s discography
Live coding and live electronics by: Devid Ciampalini, Ardan Dal Rì, ETOL, Leonardo Foletto, Dago Sondervan, Andrea Valle
Introduced by: Francesco Giomi, Giovanni Mori, Paolo Somigli
On the occasion of the twentieth anniversary of Pietro Grossi’s death, Tempo Reale is organising a gathering to pay homage to this great intellectual and musician, who is still poorly understood and considered. Pietro Grossi performed the first ever “streaming” concerts, starting in 1970, first between Pisa and Rimini and then between Pisa and Paris. Furthermore, he gave a fundamental contribution that is both theoretical and practical to algorithmic music and computer music. He was also one of the first artists to practice artistic collectivism, and to implement the software practices that we now know as open source and file sharing.
Tempo Reale is therefore dedicating a live streaming artistic event to the master of computer music, with the participation of performers who have known PiGro (his self-attributed pseudonym, meaning “lazy” in Italian) both directly and through his writings and works. This event is in streaming, no longer due to the restrictions imposed due to the pandemic, but because this type of event would certainly have been the one most appreciated by our Homeartist, who would have been able to feel connected to the world without moving away from his home, in full PiGro-ness! An attitude that was already pandemic-proof and smart working-proof.
An introductory section will be dedicated to remembering Grossi’s works and thoughts, but special emphasis will also be given to his contribution to contemporary society by highlighting his most advanced ideas.
Following this, a series of musicians and visual artists will make use of digital means to express their creativity. In particular, an important role will be played by algorithmic music played using live coding, a technique that is close to Grossi’s way of thinking, as it has many points in common with the creative processes put in place by the musician throughout his career. These performances will be interspersed with excerpts from Grossi’s discography.
Introduction, with Francesco Giomi, Giovanni Mori, Paolo Somigli
Pietro Grossi, Sound Life 1 and Sound Life 11 Curva di Peano (1985)
ETOL, Battimenti reloaded. Live interpretation of the Battimenti suite, reconfigured using the live coding technique
Pietro Grossi, Battimenti (1965)
Ardan Dal Rì, live coding with TidalCycles. Permutations of changing cello samples with algorithmically generated samples.
Pietro Grossi, extract from Offerta Musicale (1966)
Devid Ciampalini, live set inspired by Grossi, using vintage computer systems
Pietro Grossi, Combinatoria and Monodia (1972)
Dago Sondervan, live coding with Sonic PI
Pietro Grossi, Capriccio n. 5 transcription for computer, Permutazioni di 5 suoni and Mixed Paganini (1968)
Leo Foletto, live coding using Kairos, a self-programmed software
Pietro Grossi, Create B, (1972-1980)
Andrea Valle, algorithmic music performance with SuperCollider
photo © Pietro Grossi, Rimembranze