Eleven-Fortytwo is an artistic duo navigating the threshold between space and time, where sound and vision linger as traces. Their practice weaves the accordion (Mauro Scaggiante, Venice 1990) with electronic textures and live-coding (Luca Fattore, Venice 1990). Together, they explore new possibilities for the accordion within contemporary sonic practices.
11.42am
ANTERSELVA
Anterselva unfolds as a sonic investigation into memory and the illusion of borders—a continuous
flow through the layered, hybrid space of Rasun-Anterselva, a borderland between Italy and
Austria. Sounds and images move as parts of the same material, tracing pathways of relation
between human presence, landscape, and temporal sedimentation.
The listening experience speaks in fragments, in breaths, in erosion shaped around the echo of
the valley's ancient toponym. It then goes deep into the silent matter of glacial erratics: static and
immobile forms, yet dense with halted motion. Within this sonic space, borders dissolve and
reconfigure into new, elusive, and
never fully defined shapes.
Margherita Berlanda is one of the most relevant and polyhedric Italian accordionists, particularly devoted to research in the contemporary music field. Her drive for investigating different aesthetic and artistic expressions - with a strong performative presence - has played a central role in her personal research through contemporary music. She collaborate actively with various composers, such as Samir Odeh-Tamimi, Nikolaus Brass, Mikel Urquiza, Manuela Kerer, Anna Sowa, Farzia Fallah, Anda Kryeziu, Marco Momi, Manos Tsangaris, Mauro Lanza and Sidney Corbett. She is on stage for internationally known festivals and recorded for labels and radios such as Stradivarius, Da Vinci, Bayerische Rundfunk, Radio Svizzera Italiana, Radio Tre, Rai Suedtirol.
MARGHERITA BERLANDA
IM KLANG
is a project for solo accordion. The suggestion of the word, as well as the suggestion of vocality,
is one of the threads running through the programme. The rhythm of the concert is characterised
by a succession of chiaroscuro effects. The intention is to create a composed sound and spatial
journey, investigating the different possibilities of the solo accordion performer on stage.
Suzan Peeters is a Belgian accordionist, composer, and experimentalist. She is constantly looking for new timbres and sound textures within the accordion, pushing its acoustic spectrum to its limits. Through distortion, electroacoustic manipulations and the use of a vibrating fitness board, she is manipulating the interplay between her body and the body of her instrument.
SUZAN PEETERS
Intrigued by the electronic character of the accordion, Suzan is constantly trying to find new ways to produce sound, which totally deviates from the traditional, rustic accordionsound people are used to. She likes to create the illusion of the accordion being a synthesizer, rather than an actual accordion. These sound textures - and colors are mostly created by extensive use of the bellows, the lung of the accordion. Besides that Suzan likes to combine the accordion with electronics and make the electronic and acoustic sounds blend into each other. Suzan is focussing on contemporary and experimental music, minimalism and free improvisation, which gives her freedom to explore and to be creative.
