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Steve Reich Leone D'oro Biennale Musica 2014 Conversazione Con Oreste Bossini – September 21St, 2014

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Steve Reich Leone D'oro Biennale Musica 2014 Conversazione Con Oreste Bossini – September 21St, 2014 della Biennale di Venezia IL CORPO E LA PERFORMANCE # 0 / 2015 Steve Reich Leone d'Oro Biennale Musica 2014 conversazione con Oreste Bossini – September 21st, 2014 La Biennale Musica ha conferito quest’anno il Leone d’oro alla carriera al compositore L’homme armé? L’homme armé was [singing the tune] “L’homme, l’homme, l’homme americano Steve Reich. L’onorificenza è stata consegnata al musicista il 21 settembre armé, da da da di da di”. Beautiful French folk song. And all these very important scorso dal Presidente della Biennale Paolo Baratta e dal Direttore artistico del settore composers felt obliged to make this the cantus firmus, the basis of the Mass of the Musica Ivan Fedele con una breve cerimonia, che si è svolta prima del concerto Catholic church over a period of several hundred years. Jumpin’ up to Haydn’s 104 dell’Orchestra del Teatro Petruzzelli di Bari in cui Jonathan Stockhammer ha diretto Symphony – great masterpiece from London Symphonies – [singing the tune], here is due lavori di Reich, City Life e Triple Quartet. an Austrian drinking song. Go up to Beethoven. You all know the first movement of the Beethoven’s Sixth Symphony [singing the tune], folk song again. You can’t really Nel pomeriggio Steve Reich ha incontrato il pubblico nella Sala delle Colonne di Ca’ separate Béla Bartók from the Balcanian folk music that he listened to, recorded, Giustinian, raccontando il proprio percorso artistico sollecitato dalle domande del notated, studied. And I don’t mean just his folk songs, that’s obvious, but I mean his giornalista e critico musicale Oreste Bossini. Di seguito pubblichiamo il resoconto string quartets, that is abstract music, it is impossible to say this is a folk song and this della conversazione, preceduta dall’ascolto di tre movimenti tratti da un nuovo lavoro is not. They are just part of him, he becomes at one with his music. di Reich, Radio Rewrite, registrato per l’etichetta discografica Nonesuch. Igor Stravinskij told a few fibs for political reasons, but really the truth is, if you look at Petrushka, and The Rite of Spring and The Firebird, that his music is filled – much OB Abbiamo ascoltato i primi tre movimenti di Radio Rewrite, una composizione to Stravinskij’s credit – with Russian folksongs, which he heard as a young man of del 2012 di Steve Reich. Il brano in realtà si compone di 5 movimenti, secondo course. In my country, Charles Ives was an organist, he played the organ in a church, una forma ad arco abbastanza semplice, che alterna un movimento veloce e uno and the tunes that he played were kind of like the popular songs of those days. And lento, secondo lo schema fast slow fast slow fast. Steve Reich ha usato spesso nelle sue if you listen to Three Places in New England, and other masterpieces by Charles Ives, composizioni questo tipo di simmetria formale, che per altro è stata privilegiata nella you will hear these hymn tunes appearing in his works. George Gershwin: is he one musica del Novecento da compositori come Béla Bartók per esempio. of our greatest songwriters or is he one of our greatest composers? He is both. Kurt Si potrebbe partire da qui, dal racconto di questo lavoro, uno degli ultimi - l’ultimo Weill studied composition with Busoni, he was classically trained. Time came for him s’intitola Quartet - perché ci permette di entrare agevolmente dentro il mondo to write an opera and he said, “Well, I don’t want an orchestra. I want a banjo, I want e la forma mentis per così dire di Steve Reich. Quando è circolata la notizia che trap drums, a saxophone.” “How about a big diva du jour?” “No. I know this woman Reich stava scrivendo un pezzo per la London Sinfonietta basato sulla musica dei can’t really sing, her name is Lotte Lenya, but I think she’ll do it...” Masterpiece, The Radiohead, subito qualcuno ha cominciato a commentare: “Ecco, adesso a Steve Reich Threepenny Opera... It is the Weimar Republic, and it is on the border between what piace la musica dei Radiohead!”. In realtà questa è una maniera molto ingannevole he heard on the street and what he heard as a composer. di presentare le cose. La storia è un’altra. Steve Reich aveva scritto un pezzo per la The normal situation in the West is as I outlined it. When I went to music school, in London Sinfonietta, ma non era soddisfatto. Avevano provato il lavoro a Londra, ma the late 1950s and early 1960s, that window between the street and the concert hall la musica risultava troppo caotica, un complesso contrappunto per quindici strumenti had been slammed shut, I think partly as a result of Schönberg, Berg and Webern con altre parti strumentali preregistrate. Insomma, non funzionava. Nel frattempo and their followers, though there are exceptions, as Pierrot Lunaire. By and large there Reich era andato a Cracovia, per partecipare a un festival in cui il chitarrista dei was a separation, and this separation continued, maybe it began to dissolve when Radiohead, Jonny Greenwood, interpretava una delle composizioni più note di Steve Stockhausen’s picture appeared on the front of Sgt. Pepper. But this separation began Reich, Electric Counterpoint, scritta nel 1987 per Pat Metheney. Il lavoro prevede to break down in my own generation. I was born in 1936 and people like Philip Glass, una chitarra elettrica che suona dal vivo e una base preregistrata con dieci parti di Arvo Pärt, John Adams and Terry Riley were all born in roughly the same period chitarra elettrica e due parti di basso elettrico. L’interpretazione di Jonny Greenwood and here you have a situation where people want to bring in what motivated them è piaciuta molto a Steve Reich e in quell’occasione si sono conosciuti. A quel punto to become composers in the first place. What motivated me to become a composer la musica di Greenwood ha incuriosito Reich, che è andato a cercare su internet was hearing The Rite of Spring when I was 14 years old, shortly after hearing the le canzoni dei Radiohead. Un paio gli sono sembrate particolarmente interessanti, Brandenburg Concerto no. 5 and then hearing bebop musicians like Charlie Parker, Everything in its right place e Jigsaw falling into place. Reich ha preso questi due Miles Davies and drummer Kenny Clarke. I wanted to be Kenny Clarke, but it didn’t materiali musicali e li ha sviluppati, trasformandoli da canzoni per una rock band a turn out that way. Kenny Clarke was already Kenny Clarke. But this generation, my composizione per un ensemble di strumenti tradizionali come la London Sinfonietta. generation, felt that they had to bring this back into an atmosphere of, let us say, an Come si vede si tratta di un lavoro di riutilizzo dei materiali, una prassi comune fin old style that was dying, and the dying old style was basically German Romanticism. dai fin dai tempi di Bach. Mi pare che Lei abbia cercato di inserirsi nel solco di una That’s not a criticism of Schönberg, who was a great composer, neither of Boulez or tradizione molto antica, è così? Stockhausen. It is simply a fact of the way styles rise and then they decay and are SR. Yes! I think that we sometimes lose sight of the reality that in Western classical replaced by something else. It happened before, at the end of the Renaissance, for music great composers, starting at least in Middle Ages and on up through today, example, when counterpoint got so complicated that the Baroque period emerged have always, in a sense, had the window open between the concert hall and the street. with clear chords, with clear harmonies, and an ability to improvise. The same after So specifically, starting with Dufay in the Renaissance all the way up to Palestrina, Johann Sebastian Bach, who brought a style to such perfection, to such greatness you have these Missa de L’homme armé. A Mass was in the Renaissance the highest that even his sons knew that Dad has finished it, and they began something much form of composition, it was like Beethoven writing a symphony. And what is simpler, what we call homophonic music. Music with chords and melody, which leads 17 della Biennale di Venezia IL CORPO E LA PERFORMANCE # 0 / 2015 to Haydn, Mozart and Beethoven, and a whole new style of music which then goes abbastanza semplice. Reich non usa in genere un vocabolario armonico molto all the way to Wagner and to Schönberg and so on. So this is not something new. As complesso, contrappunti particolarmente complicati. Spesso lavora su rapporti tonali a matter of fact, the young composer David Lang, good friend of mine, one of the elementari, per esempio tonica, dominante, sottodominante. Questi vecchi vocaboli founders of Bang on a Can, a multi-faceted contemporary music organization based però riescono a essere recuperati in una dimensione completamente nuova, questo è in New York, once said to me “I envy you when you were born.” And what he meant l’aspetto geniale della musica di Steve Reich. Mi viene in mente quello che poco prima was that I was born at a time when it was necessary and possible to do this. You can’t Lei ha detto a proposito di Kenny Clarke, questo grande batterista, che non è stato il just say “Hey kids! Let’s have a new style of music!”, that’s childish. “Hey kids! Let’s più grande virtuoso della storia del jazz. Max Roach e Art Blakey erano sicuramente have a new religion!”, that’s not how human life works.
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