Born in Rome in 1983, Clara Iannotta is particularly interested in music as an existential, physical experience - music should be seen as well as heard. This is one of the reasons why she sometimes prefers to talk about the choreography of the sound rather than about orchestration. Clara Iannotta's compositions do not tell a story, but rather develop a physiognomy. They nurture sensory spaces in which the ear, figuratively speaking, can wander and contemplate. Spaces that open up beneath a surface like the deep sea beneath the surface of the ocean. Spaces that contain something hidden that indirectly, as a reflex, reaches to the outside world.
Born in Rome in 1983, Clara Iannotta is particularly interested in music as an existential, physical experience - music should be seen as well as heard. This is one of the reasons why she sometimes prefers to talk about the choreography of the sound rather than about orchestration. Clara Iannotta's compositions do not tell a story, but rather develop a physiognomy. They nurture sensory spaces in which the ear, figuratively speaking, can wander and contemplate. Spaces that open up beneath a surface like the deep sea beneath the surface of the ocean. Spaces that contain something hidden that indirectly, as a reflex, reaches to the outside world.
9120040732301

Details

Format: CD
Label: Kairos
Rel. Date: 08/06/2021
UPC: 9120040732301

Clara Iannotta: Moult (Various Artists)
Artist: Clara Iannotta
Format: CD
New: Available $19.99
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Available Formats and Editions

DISC: 1

1. WDR Sinfonieorchester; Michael Wendeberg - MOULT (2018-19)
2. L'Instant Donné; Wilhem Latchoumia; Aurélien Azan-Zielinski - paw-marks in wet cement (ii) (2015-18)
3. Klangforum Wien; Enno Poppe - Troglodyte Angels Clank By (2015)
4. Münchener Kammerorchester; Clemens Schuldt - dead wasps in the jam-jar (ii) (2016)

More Info:

Born in Rome in 1983, Clara Iannotta is particularly interested in music as an existential, physical experience - music should be seen as well as heard. This is one of the reasons why she sometimes prefers to talk about the choreography of the sound rather than about orchestration. Clara Iannotta's compositions do not tell a story, but rather develop a physiognomy. They nurture sensory spaces in which the ear, figuratively speaking, can wander and contemplate. Spaces that open up beneath a surface like the deep sea beneath the surface of the ocean. Spaces that contain something hidden that indirectly, as a reflex, reaches to the outside world.