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Fabrizio Nocci

Fabrizio Nocci Radio

Fabrizio Nocci | Orchestral Works

Fabrizio Nocci | Electronic Music Mix 2007 - 2011

LIVE | Fabrizio Nocci + Tetraktis + Geist, Rome

Ausstrahlung Part I (Fabrizio Nocci - Lillevan - L'arsenale)

YOU NOW HERE

NOCCI/Pashold Techno Experimenal Live Set

Ausstrahlung Part II

Ausstrahlung Part III

Ausstrahlung Part IV

LIVE | Fabrizio Nocci + Philipp Geist, Milan

LIVE | Fabrizio Nocci + Lillevan, Avellino

LIVE | Fabrizio Nocci + Lillevan, Flussi Festival

LIVE | Fabrizio Nocci + Alessandro Carbonare + Tetraktis, Torino

LIVE | Tetraktis, Fabrizio Noccis' Music, Quintiliano

LIVE | Fabrizio Nocci + Philipp Geist, Berlin

Booking

To discuss working with Nocci, please use one of the links below.

Booking & Production Management

Contact the Artist
fabrizionocci@gmail.com.com


Score Rental
ArsPublica
Edizioni Musicali coop.
Sede legale: viale XX Settembre, 177
54033 Carrara MS - Italia
info@arspublica.it

BIO

Fabrizio Nocci (December 13, 1974) is an Italian musician and composer.

Graduated at the Santa Cecilia Conservatory in Rome in the class of Maestro Matteo d’Amico, Fabrizio Nocci continued his musical career living in Dresden, New York and Berlin (where he lives today). His activity as a composer includes instrumental music, for orchestra and ensemble, experimental electronic music and electro-acoustic music. He collaborates actively with directors and video makers in the production of music for films and experimental videos. Furthermore, he writes music for theatre and dance shows. Since 2007 he collaborates, among others, with video artists such as Lillevan and Philipp Geist. He also has numerous collaborations with soloists, ensembles and orchestras: he has composed for Tetraktis percussions, the clarinetist Alessandro Carbonare, the Lviv Symphony Orchestra, ‘L’arsenale’ ensemble, the group ‘Octandre’ from Bologna and others.

His music has been performed at the Lucerne Festival of Zurich, at the ‘Teatro Lingotto’ of Turin, ‘Teatro la Pergola’ of Florence, at the Ravenna Festival, at the XXXV ‘Cantiere Musicale’ of Montepulciano, at the ‘Teatro Politeama’ of Trieste, at the ‘Goethe Institut’ of Rome and Palermo and in other theatres, auditoriums and festivals in Rome, Berlin and New York.

STYLE

Inspired by visionary composers such as Iannis Xenakis, Fabrizio Nocci presents innovative shows trying to overcome what he calls the “frame of a show”. Crossing these borders means to alter all the constituent parameters of the performance: length of the concert, space among musicians and sound sources, contextualization of atypical settings for the presentation of shows, integration with other forms of art (video art and new media), improvisation elements, interaction with the audience, electronic re-elaborations.

MUSICAL THOUGHT

A work of art must be innovative and will be considered as such only when it causes unknown sensations. Novelty is the only incorruptible and essential element which great works of art of all times have in common. And let’s not forget that, referring to art, time is totally illusory. It is hypocritical and criminal to talk about a “history of music”, this is rubbish for music critics who are as ignorant as they are vain. Art lives in the present, in the moment before the first stroke on the canvas, in the exciting and vertiginous state of mind that permeates every ‘honest’ oeuvre at its birth. Following the first ‘gesture’ the menace of routine suddenly appears, the menace of that which has already been told, of Kierkegaardian boredom, and it’s exactly this monster that the contemporary artist is called to fight against. It is not the anxious and childish search for novelty at all costs, what I’m talking about is the liking for the abyss. An equilibrist game where everything is at sea. Arts that do not face this danger are pedantic and useless.

As an author it is impossible for me to understand anything about my work, but it is my duty to explicit my ‘will’ as an artist: I want my music to be almost irritating, never conciliatory, not apt for tender hearts. My art is not for lazy audiences that refuse to be awaken from their snoring bliss. I demand the courage of suffering a slight, a sensory irritation, not only acoustic. And if this provokes the offence of the conformists, of those who seek pleasant sounds and nice emotions, so much the better.

Art is not love, ergo it is not beauty. Art is a rip on a “veil”, rape of the appearances, moment of truth. Pain. Bare flesh!

Freedom of conception, renunciation to formulas, tendency to all that is new, at the risk of not being understood, this is my true and only obligation as a composer. There is only one thing I ask myself when I am writing music: is it working or not? Music, as personality, stands out for its ‘ability’ or ‘unability’ to produce an effect.

Contemporary music must be something ‘else’, it somehow has the ‘moral’ duty to exit the logic of self-referentiality. A kind of music which only talks about itself is sterile, inoffensive, and we must put an end to this vicious circle of decadent snobs. Let’s start by eliminating what is useless, by reinterpreting space, the communion between sound, light, theatrical gesture, dance… and most of all let’s end the farce of classical concerts: stiff directors symbolizing and guiding bodies with white bow ties. Let the sound and light free, give life to a new ‘tragedy’ for contemporary shows.

www.nocci.org

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