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To begin with, a definition: Interensemble is an ensemble, first of all, that is, a group of people who share passions and objectives: the passion for music, with the main objective of the search for the new. The road we have travelled is a long one. Some people in the group have changed over the years, there have been many changes, but it has remained an original nucleus of five or six founders, who have passed on to others the enthusiasm for the adventure of the new.

The inter prefix in front of the word ensemble contains many intersecting meanings and, perhaps, also something mysterious. At the beginning of the 1980s, the Ensemble Intercontemporain had already been founded in Paris for a few years, and in a certain sense we wanted to refer to the experience launched in France by Pierre Boulez. But we really wanted to cross the paths of other contemporary arts with the twisted trajectories of contemporary music. In the original nucleus of the Interensemble there were, besides instrumentalists and composers, also poets, graphic and video artists, dancers and choreographers, an architect, a mime and some computer scientists.

It is necessary to go back to 1982, when a group of elderly students and some teachers of the Conservatory of Padua felt the need to play and propose the music of today. Therefore, a series of seminars and concerts entitled "Listening to Contemporary Music" were organized. The last of these seminars was conducted by Sylvano Bussotti, who participated with a large group of students and teachers in the concert. It was a mega improvisation on the graphic score Autotono, composed by four hands of Bussotti and the painter Tono Zancanaro. A real multimedia happening, with the projection of the score on the scene.

The group of musicians who participated in that event formed the first nucleus of the Interensemble, and immediately the opportunity arose to bring that group together in a project that included an exchange of concerts with the Academy of Music in Krakow, where I had studied until a couple of years earlier. The Interensemble debuted immediately with a tour of four concerts in Poland. It has to be said that Padua at the time was not a virgin territory as far as contemporary music was concerned. At the Pollini Conservatory there had been for some years the study of Electronic Music founded by Teresa Rampazzi, one of the Italian pioneers, and the Centre of Computational Sonology of the University of Padua, founded by Alvise Vidolin and Graziano Tisato, was already a consolidated reality. What was missing was a group of instrumentalists and composers determined to produce and organize the new music.

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