La Chambre des Jeux Sonores

solo electric guitar


Setola di Maiale

“...Ricerca sul suono a 360 gradi con una chitarra elettrica, che trova l'esplosione dei grandi suoni saturi e il solletico di piccoli click parassiti. Spontanea propensione all'improvvisazione che qui trova, finalmente, legame con mondi che per anni si sono continuati a definire ‘radicali’, senza tuttavia capire mai pienamente il senso di tale definizione”(Michele Coralli, Altre Musiche)


“...Con questo lavoro si è messa a ‘giocare’ con delle partiture scritte appositamente per lei da cinque compositori che hanno affidato il risultato della loro ricerca all’estro compositivo di una musicista che riesce ad interpretare e trasmettere la difficile arte della contemporaneità musicale elaborando degli schemi del tutto innovativi di pura astrazione ipnotica” (Mirco Salvadori, Rockerilla)


“...Siamo dalle parti della scultura sonora dove la rinuncia a un'imprevedibilità intrinseca si compie solo dimenticandola per immergersi nel processo, ossia nel lavoro minuto e cieco su tutto il corpo dello strumento, fra le schegge e la polvere sonore che qui Novaga sgretola e solleva e di cui controlla ogni atomo con un senso dell'ordine fermissimo, a volte paradossale” (Dalla Bona, Musica Jazz)

















This album presents five compositions (by the same number of composers) written specifically for Alessandra, a disc that takes the listener on a journey that focus on the contemporary electric guitar and the sensitivity of a great guitarist out of the ordinary! Her notes: "I consider La Chambre Des Jeux Sonores almost like the attempt to create a new language. I have asked five composers to write for me pieces for electric guitar. Rather than a traditional musical notation, I asked for graphic scores that dealt with the idea of “sound” and required a large margin of improvisation on my part. The result were the following five pieces: they by far surpass anything that I could have expected. Travis Just, a composer based in New York and active in the downtown scene, is a dear friend: International Hash Ring is the third work he has written for me. His music is always very powerful and it encourages the performer to place herself in a very special psychological state. He often requires, like in this case, to perform an extremely dense series of actions with the aid of a chronometer. This specific piece is wild stream of “sound gestures” and of frequent, extremely quick, pre-planned effect changes. Performing it is a trance-like experience, and for a performer listening back to a recording creates a radically different impression. In order to preserve the materiality of the sound, in this recording I decided to keep all the “messy” acoustic elements, such as the clack of the pedals. Paula Matthusen is another American composer. I had been interested in her music for a while and last summer I had a chance to perform with her in New York. She wrote for me this wonderful piece, Collaborating Objects, in which she explores sound and electromagnetic interferences – especially in relation to the guitar, used both as instrument and as electromagnetic tool. Paula is a very active composer and performer and she just won the Prix de Rome. I've been sharing a number of musical experiences with Sandro Mussida for a while. In Memoria is, in his own words, “Beyond all reason and reasoning, the sound appeal sto the dimension of Remembrance. The technology, however, can only offer the service of Memory. Memory and Remembrance are related: one, called, returns the other in the proper time”. Vittorio Zago is perhaps the most academic of the composers in this collection. After listening to some of his work I approached him to ask whether he would write something for me. The result was Erosive Raindrops. The score is not printed on paper but it consists instead of a video piece in which the composer