In the archive of the Janacek memorial in Brno, lies a somehow odd treasure: a series of very tiny notebooks where composer Leoš Janáček used to annotate scraps of spoken language he would hear during his daily life in musical notation.Each one of those speech-melodies, as we call them today, taken roughly from 1904 till 1928, is a small sound photograph of a mundane and ephemeral situation, a fragment that let us blink into an acoustic reality long gone.
Janacek practice and obsession reminds of the contemporary habit of taking field recordings with portable devices but it was made with pen and paper much before those devices had became available. Contemporary italian composer Alessandro Bosetti has been a practitioner of the “music of speech”   himself and in his work on the notebooks he has tried to bring back to life what he has imagined to be the surrounding situation for those Janáček’s annotations using his voice and creating several electroacoustic tableaux in the setting of  the different rooms of Mies van der Rohe’s Villa Tugendhat. Conscious of having stumbled upon a listening treasure and a great poetic gesture he listen to the world (and let us listened to the world) through the ears of Leoš Janáček. Bosetti reconstructs an imaginary reality around those magical and mysterious traces tracing back a tradition of  “musique anecdotique” starting with the Brno composer and continuing with “musique concrète” composers as  Pierre Schaeffer and Luc Ferrari.