FABIO MONNI: Campesato, Justel, Hernández | INTONAL 2026

PROGRAMME

Lílian Campesato – Eleonora (2017) / de perto (2015)

Elsa Justel – Ce monde et ailleurs (2019) / Pieza en forma de té (1999)

Alejandra Hernández – Voces (2018)

Duration: ca. 59 min

Lílian Campesato – Eleonora (2017) / de perto (2015)

In Eleonora, the live voice is the accompaniment for other voices, distant voices: the 16th-century motet attributed to Eleonora d'Este, princess, nun, and medieval musician. The extended time, the graininess, and reverberation applied to the motet and also to the accompanying voice seek to recreate an image of a woman about another who lived centuries before.

De perto is a binaural acousmatic composition created for Ricardo Basbaum's Modulo de escuta installation at A Gentil Carioca Gallery. It allows for intimate, individual listening, inviting listeners to visualize their own images rather than focus on the external world. With the performer’s sounds – breathing, steps, and mistakes – captured closely, the experience blurs the lines between sound and music, merging rehearsal with performance and error with intention.

Visit Lílian's artist website - liliancampesato.net

Elsa Justel – Ce monde et ailleurs (2019) / Pieza en forma de té (1999)

Ce monde et ailleurs seeks to depict our world as we know it, transporting us into new virtual and imaginary realms. It explores human communication from early babbling to song, reflecting on our historical environment. The work highlights the sonic diversity of our experience, mixed with sarcastic humor and moments of reflection on an uncertain future. Created in 2019 at the composer’s studio in Mar del Plata (Argentina) and commissioned by the French State (Music Office). Thanks to Roger Cochini for his collaboration (voice recordings) and his teachings and advice.

According to Justel, Pieza en forma de té is her first eight-channel composition. Suddenly, the sound editing software session, which stretched through years of work, started dripping all over the place and became blurry. Textures that used to slide nicely in the virtual stereo space got out of control. And yet, the experience of spatial listening seduced and guided her through haphazard research. Created in 1999 at Musiques & Recherches’ Métamorphoses d’Orphée studio in Ohain (Belgium) and commissioned by Musiques & Recherches. Thanks to Annette Vande Gorne.

Alejandra Hernández – Voces (2018)

Voces is a multi-channel acousmatic work based on the sound of cowbells that shapes the acoustic landscape of the mountainous regions in Cantabria, northern Spain. Within this vast landscape, a diverse range of timbres lends the space a shared language of sound codes: a language born from shepherding and the traditions of crafts that give voice to these objects. The craftsmen who are in charge of tuning these objects extract a precise sound for each one to distinguish one flock from another at great distances in the mountains. The Festival Vértice, UNAM, commissioned the piece.  

Read more about the work 'Voces' here - muac.unam.mx

Alejandra Hernández is a sound artist who materialises her compositional ideas through experimental sound research, new audio technologies, and contemporary instrumental techniques. Her compositions range from instrumental and electroacoustic music to sound art and multi-disciplinary pieces. She studied music in Mexico and Film scoring courses at Berklee College of Music, earning a scholarship and a Fulbright-García Robles grant. Since then, she has taken several workshops in contemporary music and new technologies. Her work is performed frequently at numerous international festivals and venues for contemporary music. She is currently a fellow of the prestigious SNCA Sistema Nacional de Creadores de Arte de México (National Art Creators Grant), a member of AMEE (Asociación de Música Electroacústica y Arte Sonoro), and also of Asociación Mujeres en la Música, Spain, the country where she currently resides.

Visit Alejandra's artist website - alejandrahernandez.net

Fabio Monni's artistic practice focuses on found objects as sound sources and how these can be integrated together with electronics within instrumental performances. He has a particular fascination with architectural spaces and their acoustic properties, frequently exploring the spatialisation of sound throughout space. His work as a musician exists in parallel with his professional career as a graphic illustrator and his position as a church musician in Lund, creating a multifaceted artistic identity.

Visit Fabio Monni’s artist page – fabiomonni.com

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