Alessandro Bosetti

Alessandro Bosetti (b. 1973) is an Italian composer, jazz/avant-garde/experimental saxophonist and sound artist, currently based in Marseille or Berlin. Most of his work delves on the musicality of language and sonorous aspects of voice and verbal communication. Bosetti is a prolific radio artist and he commissioned many hybrid text-sound compositions for Radio and Electro Acoustic Music studios in Europe, historical WDR's Studio Akustische Kunst in Cologne and Studio Akustische Kunst in Berlin, among others. Since 2000 he has been a key figure at Studio Akustische Kunst. Bosetti performed and presented his live pieces for voice and electronics at such venues as GRM/undefined festival in Paris, Studio Akustische Kunst and undefined, Studio Akustische Kunst in London and many others all over Europe, Asia and US.

In 2009 he found an ensemble Trophies with drummer Tony Buck and fretless guitarist Kenta Nagai. They released 3 albums so far and tours regularly. Bosetti also wrote for various other ensembles, such as Kammerensemble Neue Musik Berlin, [url=http://www.discogs.com/artist/792414]Die Maulwerker[/url] in Berlin, Neue Vocalsolisten Stuttgart. One of his recent works Renard is a cycle of chamber pieces for guitar, clarinet and voice, commissioned by the Besançon museum of Contemporary Art in France and released on LP.

Most recent Bosetti collaborations include a duo with pianist Chris Abrahams from The Necks, composer-vocalist Jennifer Walshe and vocalists Tomomi Adachi and Amelia Cuni. In the past he collaborated live and in studio with such musicians as Sophie Agnel, Boris Baltschun, Axel Dörner, Annette Krebs, Giuseppe Ielasi, Phill Niblock, Renato Rinaldi, Bhob Rainey, Ryu Hankil, Otomo Yoshihide, Ches Smith, Taku Sugimoto, Taku Unami, Ergo Phizmiz.

In 2010, one of Bosetti's solo albums Zwölfzungen was included in The Wire’s best 15 outer limits CDs list. More recently, he was awarded the Phonurgia Nova Prize for his composition 636 in 2012 and the IDAF prize for Mask Mirror performance in 2013, in which he used software and own instruments for 'electronic ventriloquism' and reorganizing speech for musical purposes.