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Sylvano Bussotti Cycle De Creations SYLVANO BUSSOTTI CYCLE DE CREATIONS MUSIQUE VIVANTE DIEGODIRECTION MASSON KATHERINE CIESINSKI- GIANNI PALA-CONTINI ANDRE BATTEDOU- CAMILLE LE PRINCE - AURIO TOMICICH OPERA-COMIQUE LUNDI 11 DECEMBRE 1989 GRAND THEATRE DE GENEVE MERCREDI 13 DECEMBRE 1989 Document de communication du Festival d'Automne à Paris - tous droits réservés CYCLE DE CREATIONS SYLVANO BUSSOTTI Né à Florence le 1er octobre 1 931 dans une famille SYLVANO BUSSOTTI d'artistes(sonfrèreRenzo etson oncle Tono BUSSOTTIOPERABALLET Zancanaro sont peintres et exercent sur lui, ainsi que INTEGRALE SADE lepoèteAldoBraibanti,uneinfluencetrès extraits de concerts 1 966-1 989 importante),SylvanoBussotti a l'enfancedes surdoués :à l'âge de quatre ans,il commence à sur une idée de Rocco apprendre le violon et vers six ans, il compose ses poème de Enzo Fileno Carabba premières pièces, tout en consacrant beaucoup de musique de Sylvano Bussotti temps au dessin et à la peinture. Après des classes de violon (chezMaglioni),d'harmonieetde scena prima contrepoint(chezLupi)etde piano (chez scena seconda Dallapiccola) au Conservatoire de Florence oùil terza scena entre en 1940,laguerre interrompt ses études scena quarta musicales.Illes reprend entre 1949 et 1956, en canzonetta autodidacte. En 1957, il suit à Paris l'enseignement de intermezzo drammatico Max Deutsch, rencontre Pierre Boulez et Heinz-Klaus duetto Metzger qui le mènent aux cours d'été à Darmstadt doppia ballata A) L'altro duetto oùildécouvre la similitude de certaines de ses sesta scena detta della Passion orientations avec celles de John Cage. Son activité doppia ballata B) settima scena internationale de compositeur commence avec les fiammata, dalla nona ed ultima scena exécutions de ses uvres par lepianiste David Tudor en Allemagne, puis par Cathy Berberian et KATHERINE CIESINSKI, mezzo-soprano sous la direction de Pierre Boulez à Paris. Plusieurs GIANNI PALA-CONTINI, haute-contre prix de composition et bourses lui sont décernés. ANDRE BATTEDOU, ténor CAMILLE LE PRINCE, baryton Compositeur,maisaussimetteur en scèneet AURIO TOMICICH, basse organisateur, Sylvano Bussotti a étéledirecteur artistique du Théâtre La Fenice à Venise et du ENSEMBLE MUSIQUE VIVANTE Festival Puccini à Torre del Lago (1979-81). Depuis direction DIEGO MASSON 1 988 et jusqu'à 1991, il assume la direction artistique de la musique à la Biennale de Venise. Après avoir L'ceuvre de Sylvano Bussotti a été commandée par le enseigné à l'Académie des Beaux-Arts à l'Aquila et à Festival d'Automne à Paris et la Caisse des dépôts et l'Ecole de Musique de Fiesole, Sylvano Bussotti consignations, avec le concours de l'Etat à l'occasion travaille actuellement à son projet d'enseignement de la célébration du Bicentenaire de la Révolution musique-danse-théâtre - Scuolaspettacolo Bussot- Française tioperaballet - fondé en 1984 avec le danseur Rocco à Genazzano près de Rome oùilhabite. Sylvano Coproduction Bussotti a réalisé en outre plusieurs expositions, Festival d'Automne à Paris, Caisse des dépôts et collectives et individuelles, de dessins, peintures, consignations, Grand Théâtre de Genève, Contre- partitionsgraphiques,esquissesdedécorset champs. costumes, de costumes d'opéra, etc..., la dernière étaitcelle présentée à Florence parleMaggio Le concert de Genève est réalisé avec le concours Musicale1988, auPalaisMediciRiccardi,(cf. du Ministère des Affaires étrangères -Secrétariat l'ouvrageremarquablesurl'oeuvredeBussotti d'EtatauxRelationsCulturelles Internationales L'OperadiS.Bussotti/Musica, Segno, Imagine, (Association Française d'Action Artistique). Progetto/II Teatro, Le Scene,ICostumi, réd. M. Bucci, Electa, Firenze, 1988). Depuis 1956, l'activité artistique de Sylvano Bussotti est orientée vers les spectacles de théâtre musical qui mènent au Bussottioperaballet (en 1 972 il publie son ouvrage / miel teatri / Mes théâtres / Journal Durée : environ 70 minutes secret,journal public, quelques essais,Ed. Editions Ricordi Novecento, Palermo) et à la réalisation de mises en scènes, décors et costumes pour des opéras du Instrumentation répertoire classique (Don Pas quale de Donizetti, Mezzo-soprano, haute-contre, ténor, baryton, basse. L'Incoronazione di Poppea de Monteverdi, Ottelo et Flûteetflûtepiccolo,hautbois, saxophone, cor, Barbiere di Siviglia de Rossini, Carmen de Bizet, La trombone, célesta, harpe, percussions, deux pianos, clemenza di Tito et Cosi fan tutte de Mozart, / due harmonium, violon, alto, violoncelle, contrebasse. Foscari, Simone Boccanegra de Verdi, La Fanciulla Document de communication du Festival d'Automne à Paris - tous droits réservés del West, La Bohème, Il trittico, Turandot et Tosca de hasard John Cage bouleversera le monde rigide des dessinateur et du metteur en scène Bussotti- A PROPOS DE LA PASSION SELON X... Puccini, etc...). avant-gardistes européens. Toujours allergique aux assument véritablement la jouisance contagieuse de (Introduction et notes à un libretto d'opéra) stratégies compositionnelles de grammairiens- leur créateur. Ce sont toujours- comme le voyait in Cahiers Jean-Louis Barrault 1966-67 Les moments les plus forts dans l'oeuvre de Bussotti comptables, Sylvano Bussotti figure dès le début des Barthes dans le graphisme des partitions excentrées compositeur sont certainement : années cinquante un tournant langagier extrêmement -desfouillisordonnés de pulsions, de désirs, Avec La Passion selon X., mystère de chambre avec important, marqué par le déclin des métaphysiques d'obsessions quis'expriment en musique: tableaux vivants,il m'est arrivé d'exhiber en public, Sette fogli (1959), une collection occulte de pièces universalistes. Il choisitspontanément, dès ses graphiquement,scéniquement,spatialement ;en peu à peu, quelques stations d'un drame sans fond, pour différentes formations de chambre, débuts,lamultiplicité des stratégies composition- traits, sons, gestes, images, couleurs. privéd'action,modeste ensous-entendus, I semi di Gramsci (1962-71), poème symphonique nelles fondée sur le différend (cf. J.F. Lyotard - Le L'oeuvre multiple de l'artiste Bussotti se référant avec expressément corseté dans les formes usées de la pour quatuor à cordes et orchestre, différend, Minuit 1983), sur le conflit des différentes l'aisance du virtuose aux mythes ou aux contes, à musique de chambre mise à nu dans son action, La Passion selon Sade (1965-66),mystère de matièressignifiantesquinepeut êtretranché Racine ou à Musset, à Sade ou à Bloch, fait dire comme si c'était, selon Sade, une effervescence de chambre créé par Cathy Berberian sous la direction équitablement fauted'unerègledejugement aujourd'hui de lui ce qu'il écrivait à propos de Sade : laNature poussée par la Philosophie du Grand du compositeur à Palerme, applicable aux régimes de formation hétérogènes et "Nous ne saurons pas le penser- uniquement - en Révolutionnairevers sadélivrance.Ainsi,l'idée Rara Requiem (1969-70)pour ensemble vocal, aux genres artistiques incommensurables par leurs tant qu'artiste; tandis que Beethoven et Michelangelo d'appliquer un comportement d'alcôve à quelques choeur, guitareet violoncelle, orchestre à vents, finalités. A la pureté des structures et à la ségrégation supportent tranquillementl'aura naturelle de leur virtuoses choisis, face au public sur une estrade de piano, harpe et percussions, des genres,Bussottia toujours opposé-des génie. Il estplutôtleprototype de l'intellectuel concert, est née nécessairement d'une prédisposition Lorenzaccio (1968-72),mélodrame romantique premièresoeuvresutilisantdes dessinsetdes moderne à se profiler au-delà de l'ombre écrasante d'un Rituel pour une Passion contemporaine. Ayant dansé en hommage à Alfred de Musset, graphismes symboliques aux spectacles les plus du rebelle qui, contre murailles et barrières, projettera consommé le Péché de se référer à Sade pour Due voci (1976) pour soprano, ondes Martenot et récents en Bussottioperaballet et au premier film - son inquiétude - et sa jouissance d'artiste - dans la affermir un choix ;tisséle système de relations orchestre sur un fragment poétique de La Fontaine. opéra L'Ispirazione (en collaboration avec le cinéaste conscience de chacun". (cf. S. Bussotti -I miei teatri). musicales avec la scène,le geste, les lumières ; ayant convainculesmusiciens derevêtirdes anglais D. Jarman)-"la poétique du sentiment" lvanka Stoianova Les compositions pour orchestre qui peuvent être (c'étaitl'intitulé de ses cours à Fiesole) et la joie costumes et de se maquiller le visage et obligé la présentées enBussottioperaballet,//Catalogo è ludique de la transgression déconcertante :"Plaisir cantatrice à jouer simultanément trois personnages de femmes diversement martyrisées dans leur sexe, questo 1-1V (1976-1988), pour les oreilles, avec des larmes, devant le miroir; INTEGRALE SADE, extraits de concerts je me suis aperçu que j'avais écrit un Opéra sans joie pour les yeux, pour la bouche, joie centrale et libretto régulier. Si le libretto est fait de mots que l'on les oeuvres destinées au théâtre en Bussottiopera- plaisir, jouissance forte, tendre, douce, sombre infinie, Iln'est peut-être pas secondaire d'expliquer que le ballet : sensd'extraitpourcettepetitepartition,doit prononce(ouquel'onchante)pendantla jouissance jusqu'à la mort..." - comme Bussotti déjà représentation, alors voici deux « petites pages » Ogetto amato (Pièce de chair) (1975), mythologies en 1957 pour son Opus 2 - Deux esquisses sérielles s'entendre de manière particulière. La fragmentation, dansées, caractéristique pour ce genre de composition, par extraitesdelapartition,et quilecontiennent (A la
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