Atto is a radical investigation of object music by Italian composer Osvaldo Coluccino. In five works spanning thirty-eight minutes, Coluccino transforms domestic things - metal, wood, plastic, paper - into singing instruments through manipulation alone. His method is restless: resonant objects are never left in stasis or forced into their function, but provoked, bent, and recombined until an unexpected “new side” emerges. The result is a chamber palette closer to sonic sculpture than conventional performance, each track unfolding as an experiment in timbre, rhythm, and the auditory imagination.

Coluccino’s practice borders on the ritual; the pieces take shape not from pre-conceived structure, but from the “suggestions” of each object’s acoustic quality. He describes the process as an ethic-aesthetic adventure - sounds “capture” the performer, using both artist and environment as a sounding board. Individual events surface from silence in brittle, shifting patterns, producing textures of radical fragility. The performances inhabit an in-between space where neither composition nor improvisation holds sway: Coluccino’s editing and tape manipulation clarify the form, but never stifle the rawness that emerges.

Atto compels deep listening, offering music unmoored from instrument, genre, or expectation. Its beauty is ungraspable but magnetic - each object’s “voice” is unfamiliar yet touches on something elemental. Coluccino’s approach remakes the codes of chamber performance, treating the everyday as a source of poetic uncertainty and the unknown as bedrock for new musical creation.