Giancarlo Schiaffini is one of the best musicians I had the pleasure to interview. He plays really experimental music with great amounts of improvisation and a really innovative sound. But he has been doing this for more than 30 years now. He answered our interview.
Why did you decide to do a recording exclusively using the tuba?
How did you approach the improvisation in "Tuba Libre"? Did you develope some melody in your head and translate it to the instrument?
It is always very difficult to say how one's improvisation is generated.
There is creativity, of course, memory, reaction to what happens in and
around you, and it is not only a merely acoustic matter. So the patterns of
generation of improvisation is never straight and clear.
How is that you have put that electronic elements in "Tuba Libre"? Is
that to give a contrast with the more natural sound of the tuba?
Live electronics is another of my main instruments. The use of electronics
with Tuba or Trombone is like an extention of technical and expressive
possibility of natural instrument, like a mute or so.
How different is your approach to playing when you are playing solo than
when you play in a big band?
It must be obviously different. In a big band you are a member of an
ensemble and you are influenced by other musicians, score, obbligatos.
I read that you are self-taught...how did you learn music when you
started to play trombone and tuba?
Reading and asking here and there, playing by mind, improvising, having some
few lessons from band teachers, but just for the very beginning; then I had
to change almost everything, step by step.
How was studying in the early seventies with Stockhausen, Ligeti and
Globokar?
It was very important and exciting to come in touch with such important personalities of the Contemporary Classical Music, even if it was during a Sommer Course with 120 fellows for the general courses, 5 for trombone.
How different from your actual compositions were the ones you did with the ensemble Nuove Forme Sonore?
I still compose for Nuove Forme Sonore and for different musicians and
groups. For me it is very important to know who will perform my music, to
foresee their reactions, to know how they will (if necessary) improvise. So
it may happen that compositions of the same period result more different
than other pieces composed years apart. Then, the personal evolution, new
experiences, more informations for sure modified many respects of my way of
thinking music, but this is natural. How in particular, is hard for me to
say.
From all the bands, ensembles and composers you have played with...which
one was the one with whom you learned the most? And which one is your
favorite?
Very hard to say. One always learns playing with and listening to other
musicians, also in an inconscious way.
Why did you choose to put the titles of the songs in Spanish language?
It is an hommage to Cuba and Cuban people, so it seems someway natural.
How was your collaboration with composer Luigi Nono or with John Cage?
With John Cage I worked a few times in Italy and Germany, but just
occasionally. With Luigi Nono it was a continuous cooperation since 1980 to
1990 (when Nono died), with a great musical and human empathy.
Are you still recording and playing with the Italian Instabile
Orchestra? How is that experience?
Yes, our last CD (Litania Sibilante-ENJA) came out in September 2000. The
Orchestra is an example of how permanent can be an "Instabile" (unstable)
orchestra made up with very different soloists, improvisers, arrangers,
composers.
Which are your memories of the Gruppo Romano Free Jazz?
It was of course an historical Group; the '60s have been very important
years for the developement of music, arts, social feeling, technology, etc.
So everybody was deeply committed in al his activities. Someway the GRFJ
still acts as a trio (Schiano, Schiaffini, Tommaso)
How do you think your playing and compositional skills have evolved
since when you released your first solo record in the seventies?
Of course (I hope) they did. It is not easy to make such an evaluation for
oneself. I think that, going on with time and age, one tries less to
demonstrate his own skill and can concentrate more on particular respects of
his own world. This could happen to me.
Which advice can you give to musicians that are starting their careers
and trying to do a living with it?
Sincerely, good luck! Unfortunately every way is different and personal.
Is there something more that you want to say?
I don't think so. If you have more questions, please do .
All the best
GIANCARLO SCHIAFFINI WEBSITE: http://www.ijm.it/schiaffini.html
Interviewed by Federico Marongiu
GIANCARLO SCHIAFFINI - SELECTED DISCOGRAPHY
MARCELLO ROSA M. R. jazz! Ensemble (Horo HLL101 2, 1973)
GIANCARLO SCHIAFFINI G. S. (Horo HLL101 5, 1973)
MARIO SCHIANO On the waiting list (King NLP 110, 1974)
NUOVE FORME SONORE N. F. S. (Curci SPL 915, 1974)
MARIO SCHIANO Progetto per un inno (it ZSLT 70030, 1976)
GRUPPO DI IMPROVVISAZIONE DI NUOVA CONSONANZA Musica su schemi (Cramps CRSLP 6109, 1976 - CRSCD 109, 1990)
GRUPPO ROMANO FREE JAZZ G . R . F . J . 66/67 (Vedette VPA 8342, 1977)
COXHILL - CENTAZZO - SCHIAFFINI Moot (Ictus 0008, 1978)
TRIO SIC Pezzo (Red Records VPA 136, 1978)
TRIO SIC Altri Pezzi (Red Records VPA 137, 1978)
GIOVANNA MARINI La grande madre impazzita (Dischi del sole DS 1108/10, 1111/1, 1979)
ICP ORCHESTRA Live Soncino (Ad lib 811, 1979)
CLAUDIO FASOLI Hinterland (Edipan NPG 804, 1979)
SCHIAFFINI - IANNACCONE Memo from (Cramps 5266 212, 1980)
IMPROVISERS' SYMPOSIUM PISA '80 I. S. P. '80 (Incus 37, 1980)
GIANCARLO SCHIAFFINI A Tung Me (Orchestra MILP 70005, 1981)
GIANFRANCO PERNAIACHI G. P. (Edipan 52013, 1982)
ROBERTO OTTAVIANO Aspects (Tactus 0010, 1983)
DAMIANI - TROVESI Roccellanea (Ismez / Polis IP 26001, 1983)
PAOLO DAMIANI Flashback (Ismez / Polis IP 26002, 1984)
THE UNREPENTANT ONES T. U. O. (Fonit Cetra IJC 005, 1986)
GIANCARLO SCHIAFFINI Infernal dream (Rofo Rec. CPRr 17001, 1986)
NUOVE FORME SONORE N. F. S. (Edipan / La musica-giugno, 1986)
STEFANO SCODANIBBIO S. S. (Edipan S20/35, 1987)
EDGAR ALANDIA E. A. Edipan S20/36, 1987)
GIANCARLO SCHIAFFINI G. S. (Edipan S20/41, 1987)
GHIGLIONI - SCHIAFFINI Well, actually (