© 2017

Lucio Capece

Musician born in Argentina based in Berlin since 2004. He plays bass clarinet, soprano saxophone, and Sruti Box.

He plays mainly self composed and improvised music, focusing in the time experience and the perception experience as main subjects.

He works time in the research of constructing no narrative music (no start – no ending – no developments), and perception working sound in its most granular characteristics and its extremes.

Capece finished academic studies as a classical guitar player and studied the John Coltrane’s approach to saxophone playing, and classical and contemporary music in the bass clarinet, in Argentina. (Carlos Lastra, Martin Moore, Quique Sinesi, Gustavo Alsberg were some of his teachers.)

He played in Argentina for more than 10 years with the ensemble Avion Negro, relating composition and improvisation. He was part of the group as a performer and composer.

He studied his instruments also in Lyon, France in 1997 with Louis Sclavis and stayed for 9 months in New York in 2000, meeting several musicians related to improvisation and new music, and the ideas of Julius Hemphill and Anthony Braxton (Tim Berne, Hank Roberts, Marilyn Crispell, Gerry Hemingway, Jim Black, Gene Coleman).

He moved to Europe in 2002 establishing himself in Berlin in 2004. Since then he has been active in the improvised music scene, playing in Europe and Argentina. Releasing also several CDs.

In terms of instrumental playing Capece uses his own extensions and preparations. He prepares his saxophone with everyday objects (ping pong balls, water, different kinds of paper, tubes, pieces of metal, plastic bottles, bows etc.) as well as a raw feedback set where the saxophone is amplified and combined with mixers.

In the Bass Clarinet he uses mainly self created specific extended techniques, as well as a set of cardboard tubes,bows and different kind of vibrating surfaces. His instruments are somehow “corrupted” by everyday objects, found objects. The idea is not only to create interesting sounds with them but to research in the creative possibilities that everyday life provides. To consider the spaces where we live as main performers of the music.

The Sruti Box is a beautiful small Indian organ. He uses it searching in the hidden reactions of permanent sounding pitched sounds.
The different set of instruments fascinates him in terms of finding “noises” in the pitched combinations, and the pitched sounds hidden in “noises”, in the so called “concrete” material. Creating then simple polyphonies combining concrete and pitched sounds.

He considers everyday sounds as a main influence, as well as artists from other disciplines, like Robert Bresson and László Moholy-Nagy.
Capece directed in 2007 a sound-Lights-acusmatic project at the Bauhaus Archive in Berlin, performing with the “Light-Space Modulator”, the legendary kinetic sculpture built by László Moholy-Nagy in 1922-1930.

He plays mainly in the context of long term working groups.

Capece shares projects with Mika Vainio, Radu Malfatti, Toshimaru Nakamura, Axel Dorner, Kevin Drumm, Robin Hayward, Rhodri Davies, Burkhard Beins, Vladislav Delay, Lorenzo Brusci, Mattin, Julia Eckhardt, Sergio Merce, Morten Olsen and Christian Kesten, releasing CDs with several of them.

He played and shared several projects with Keith Rowe, Taku Sugimoto, Giuseppe Ielasi, Annette Krebs, Andrea Neumann, Franz Hautzinger, Domenico Sciajno, Gabriel Paiuk, Yannis Kyriakides and Sean Meehan among others, and was part of projects, as a performer, with Phill Niblock, Christian Wolff and Pauline Oliveros, with the Q-O2 Ensemble.

Capece worked with the dancer Ayara Hernandez (composing music for her solo piece “Blurry”).

See also
None Of Them Would Remember It That Way (mikroton cd 13)
Echtzeitmusik Berlin (mikroton cd 14 | 15 | 16)