Elga Paoli
(La Spezia 6 Giugno 1962), pianista, compositrice, residente a Roma dal 1975. Dal suo arrivo a Roma ha preso lezioni private di pianoforte ed armonia jazz con Amedeo Tommasi, Cinzia Gizzi ed Andrea Beneventano. In seguito ha frequentato i seminari della Berklee School a Perugia ed alla Saint Louis College of Music a Roma. E‟ entrata giovanissima a far parte del gruppo “I Pandemonium” con il quale ha partecipato a numerose tournée teatrali con artisti come: Gigi Proietti, Gianni Morandi, Roberta Ferri e Renato Rascel. Ha ottenuto un contratto con la BMG per la quale ha inciso un disco di sue composizioni accompagnata dai jazzmen Roberto Gatto, Danilo Rea e Maurizio Giammarco. Ha partecipato al “Festival di Montreux” con il gruppo di Tony Esposito e Pino Daniele in qualità di vocalist e tastierista. Nel 1993 ha inciso per “Ala Bianca” il CD “Colpi di gonna”, partecipando a due edizioni del premio “Tenco” e al “Festival di Recanati”. Da questo CD Vincenzo Mollica ha scelto il brano “L‟ultimo ballo” come sigla della trasmissione televisiva “Prisma”. Maurizio Costanzo l‟ha invitata al suo show per presentare le proprie musiche dal vivo. Recentemente ha partecipato alla manifestazione in onore dello scomparso Umberto Bindi presentando una sua composizione, “Il Corpo”. Scrive soprattutto per un trio con voce: “Facile” (2005), “Il fantasma dell'amore” (2007), “Il prezzo” (2007), “Incongruenze” (2008), “Pianeta uomo” (2008), “Le ragioni” (2008), “Dream” (2009).
Elisabeth Penker
(born in 1974, in Austria), composer. She worked at Maestro Matic in Chicago and De Lane Lea in London as sound designer in film post-production. She received a doctoral fellowship from the Austrian Academy of Sciences and was university assistant at the Academy of Fine Arts (Vienna) and research fellow at the jan van Eyck Academy in Maastricht. Lectures: “ Soundtracks for Architectural Spaces” at the Art Center in Pasadena (California); Sound and Language, “Kunsthaus Graz; “Sound production for the exhibition context, “Academy of Fine Arts, Vienna. The sonic focus in her sculptural work developed from the early, text- oriented room installations and is closely connected to rhythm and language and their cultural grammar. She develops instruments from diverse materials, which are amplified with microphones. She plays her compositions on these instruments; additional compositions arise on the basis of acoustic recordings of sound, noises, motors, voices. Her instruments are interactive in an exhibition context and often part of a multi- channel sound installation.
Works: (untitled) 654321, Kunsthallen Brandts, DK (Pork Salad Press 2001), Selected Sound +Sculpture 1998-2003, Galerie 5020+ Michael Hall, Vienna ed. 100, 71 min (2003), Sound System, Salzburger Kunstverein (dvd, 2003)
Performances: Dust in the eyes of the blind with illegal Emotions Belgrade, museum of Applied Arts (Vienna), Bastardista, intro for Célia Mara’s song “Mercado modelo” Birdland (Vienna), De –Grammatical: language & Rhythm’n, Transformation, HTTP Gallery (London)
Awards: Austrian Federal Chancelery National Scholarship.
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Else Marie Pade
(born in 1924 in Ain Aarhus, Denmark), pianist and composer. She was educated as a pianist at the Kongelige Danske Musikkonservatorium in Copenhagen. She studied composition first with Vagn Holmboe, and later with Jan Maegaard, from whom she learned the twelve-tone technique. In 1954, she became the first Danish composer of electronic and concrete music. She worked with Pierre Schaeffer and Karlheinz Stockhausen. Pade was active in the resistance during the Second World War, and was interned at the Frøslev prison camp from 1944 till the end of the war. On 13 September 1944, Else Marie Pade was arrested by the Gestapo. She was sent to Frøslevlejren, where she began composing, and decided to study music. In Frøslevlejren the prisoners held song evenings to keep their spirits up. The music included Pade's songs and others arranged by Karin Brieg. These works were released on CD on the occasion of the 60th anniversary of the liberation: Songs in the Darkness: Music Frøslevlejren 1944/45. In 1952 she heard a Denmarks Radio programme on Musique concrète and its creator Pierre Schaeffer. In the same year she raid Schaeffer's book À la Recherche d'une musique concrete (On the trail of concrete music).
Selected works: A day at Bakken; Symphonie magnétophnique; Seven Circles; Darmstadt School; Grass blade; You and I and the Stars.
