Italian premiere for a show that made it into the Music Biennale programme thanks to Bill Dietz’s research. Glia had been performed only once, at the presence of late American artist and composer Maryanne Amacher, an avid experimenter who had no plans for a rearrangement of the piece, but in this occasion, she considered the audience as integral part of the performance. In particular, the audience’s individual auditory systems are scrutinized by Amacher—and in turn by Dietz, who used to be her assistant. Dietz showed interest in the study of the interaction between electronic and acoustic elements of a concert that is a musical installation for an audience that is free to move about the orchestra.
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