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STOP I Helicopter String Quartet Di Karlheinz Stockhausen 1995-2008

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STOP I Helicopter String Quartet Di Karlheinz Stockhausen 1995-2008 STOP I IV sezione di «Play-Rew-Forward-Stop» Rassegna di video-musica a Palazzo Cini * 12 dicembre 2009 ore 17 Helicopter String Quartet di Karlheinz Stockhausen 1995-2008 Un film di Frank Schaeffer Quattro elicotteri in volo e, all’interno di ciascuno, un musicista. Una visione onirica di Karlheinz Stockhausen diventata realtà grazie all’interpretazione del Quartetto Arditti. Gli strumenti sono un violino, un secondo violino, una viola e un violoncello, ad ognuno è associato un colore: rispettivamente sono il rosso, il blu, il verde e l’arancio. L’esecuzione dura 21 minuti. “Helicopter String Quartet” è una delle sezioni dell’opera “Das Licht” che dura 29 ore e non è mai stata eseguita mai eseguita per intero. Tutto comincia quando l’elicottero decolla e il suono degli strumenti si uniforma al rumore delle eliche. I violinisti sono divisi e non si ascoltano. Le cuffie sono solo un modo per scandire il tempo. Il suono risulta da tre microfoni per ogni musicista: uno posizionato sullo strumento, uno accostato alla bocca e l’ultimo sotto le pale dell’elicottero. Composto per il quartetto Arditti, l’Helikopter Streichquartet è una delle opere più discusse degli ultimi decenni. La prima ha avuto luogo nel 1995 all’Holland Festival e comporta la esecuzione del quartetto da parte dei titolari del celebre Quartetto (Irvine Arditti, Greame Jennings, Garth Knox, Rohan de Saram) dislocati su quattro diversi elicotteri in volo: estrema rappresentazione musicale della poetica del viaggio del romantico Viandante goethiano. Nel film sono documentate le complesse preparazioni del ‘concerto’. Molte sono le riprese che colgono il compositore in atto di esplicitare il senso poetico della operazione. Girato nel 1995 il film è stato definitivamente montato nel 2008. Il regista di Helicopter String Quartet Frank Scheffer, nato a Venlo nel 1956, è un cineasta olandese, regista e produttore di documentari, in specie musicali, fra I queli molto noto è il Cobductin Mahler del 1996, film che include interpreta<ioni di Abbado, Muti, Chailly e ratte. Scheffer ha studiato all’Academy for Industrial Design di Eindhoven), al "Vrije Academie" Art College Di Den Haag ove ha avuto come maestrto Franz Zwartiesw, si èlaureato infine alla Dutch Film Academy di Amsterdam. Scheffer was schooled at the Academy for Industrial Design (Eindhoven), the "Vrije Academie" Art College in Den Haag, where he studied with the famous experimental filmmaker Frans Zwartjes and is a graduate from the Dutch Film Academy (Amsterdam). Fra i suoi primi film si ricorda Zoetrope People (1982), un documentario su Francis Ford Coppola, gli studi su Wim Wenders, Tom Waits, Vittorio Storaro, i documentariu sul Dalai Lama e altri soggetti socio culturali. Nel 1985 a diretto la music video di A Day for the band XYMOX, e trattato diversi soggetti musicali disparati.. Nel 1987 compone il corto Wagner‘s Ring, una concentrazione del in 3'50" concepito con John Cage; e anche Stoperas 1/2 sulle opere europee di John Cage. La collaborazione con Cage continua con il conceptual film Chessfilmnoise (1988), un documentario osu Cage and Elliott Carter, Time Is Music (1988), e From Zero (1995) in collaborazione con Andrew Culver. I film musicali di Scheffer rappresentano una complessica grande panoramica delle musica occidentale del XX sewcolo — dal citato Conducting Mahler (1996) sul 1995 Mahler Festival in Amsterdam con Claudio Abbado, Riccardo Chailly, Riccardo Muti and Sir Simon Rattle, ai Five Orchestral Pieces (1994) sull’opera di Arnold Schönberg diretta da Michael Gielen, al The Final Chorale (1990) silla Sinfonia per strumenti a fiato di Igor Stravinsky diretta da Reinbert de Leeuw. Si ricorda ancora un documentario su Louis Andriessen (The Road, 1997, diretto da Peter Eötvös), su Luciano Berio (Voyage to Cythera from 1999 con la Sinfonia dello stesso Berio diretta dal compositore), su Pierre Boulez (Eclat, 1993), sull’Helikopter String Quartet, 1996 di Karlheinz Stockhausen con l’ Arditti Quartet. La Storia della elettroacustica da Stockhausen a DJ Spooky and Squarepusher, è il soggetto di Sonic Acts (1998). Seguono altri film sul tema della digitalità in cinema e musica: Sonic Images (1998), Sonic Fragments / The Poetics of Digital Fragmentation (1999) e Sonic Genetics (2000). Nel1999 Scheffer produce Music for Airports, un video sulla musica di Brian Eno e su Julia Wolfe, Michael Gordon, David Lang and Evan Ziporyn. In The sprawling In the Ocean (2001), si illustrano figure della New York musicale dell’anno 2001, con Steve Reich, Philip Glass, Elliott Carter, John Cage, Brian Eno e la Bang on a Can founders. Scheffer ha lavorato su film dedicati a singoli compositori — The Present Day Composer Refuses to Die su Frank Zappa, in collaborazione con la Zappa Family trust2000 (con The Mothers of Invention, Pierre Boulez e l’ Ensemble Modern), e una esecuzione di 90-minute Zappa raccolta in Phaze II, The Big Note (2002), un terzo fil su Zappa compone una Zappa tgrilogia. Scheffer ha altresì filmato Elliott Carter nello scorrere di diversi annio; culninando l’opera in A Labyrinth of Time (2005), un suggestivo ritratto del patriarca della musica americana.Nel 2005 Scheffer ha terminato un documentario sua Tea-Opera composta da Tan Dun, with Pierre Audi (Director) and Xiu Ying Li (libretto): Tea. Filmografia di Scheffer: ZOETROPE PEOPLE 1982, 60 min. (director) AVALOKITESHVARA 1983, 58 min. (director) BGTV (VPRO, Dutch TV) 1983-84 A DAY 1985, 5 min. (director/producer) WAGNER'S RING 1987, 3'50” min. (director/producer) STOPERAS I & II 1987, 2'50” min. (director/producer) TIME IS MUSIC 1987, 60 min. (director) ETUDES SOLARES 1988, 24 min. (director/producer) OBSESSION 1989, 5 min. (director/producer) THE FINAL CHORALE 1990, 50 min. (director/producer) LANDSCAPESTUDIES I & II 1991, 5 / 7 min. (director/producer) AND THE EAREYE SEESHEARS 1992, 60 min. (director/producer) THE NATURE OF SPACE 1993, 73 min. (director/producer) ECLAT 1993, 54 min. (director/producer) FIVE ORCHESTRAL PIECES 1994, 55 min. (director/producer) LENT, VAGUE, INDECIS 1994, 10 min. (director/producer) THE HIDDEN FRONT 1995, 90 min. (director/producer) FROM ZERO, A GROUP OF FILMS 1995, 84 min. (director/producer) FROM ZERO, the DOCUMENTARY 1995, 52 min. (director/produ cer) HELICOPTER STRING QUARTET 1996, 77 min. (director/producer) CONDUCTING MAHLER 1996, 75 min. (director/producer) THE ROAD 1997, 90 min. (director/producer) SONIC ACTS 1998, 60 min. (director/producer) KONTAKTE 1998, 10 min. (director/producer) TOUCH 1998, 10 min. (director/producer) ATTRAZIONE D'AMORE 1998, 55 min. (director/producer) VOYAGE TO CYTHERA 1999, 52 min. (director/producer) EPOXY 1999, 50 min. (director/producer) MUSIC FOR AIRPORTS 1999, 48 min. (director/producer) RING 2000, 2000, 3 min. (director/producer) CHROMOSONIC 2000, 15 min. (director/producer) FRANK ZAPPA: THE PRESENT DAY COMPOSER REFUSES TO DIE 2000, 55 min. IN THE OCEAN 2001, 54 min. (director/producer) CHESSONIC 2001, 10 min. (director/producer) FROM ZERO, THE INSTALLATION 2001, (director/producer) FRANK ZAPPA – PHASE II, THE BIG NOTE 2002, 90 min (director/producer) SOMETHING OLD SOMETHING NEW IN RED GREEN AND BLUE A LABYRINTH OF MEMORY (tv version) 2003, 2x 55 minutes (director/producer) QUINTET 2004, 15 min. (director/producer) MAHLER: ICH BIN DER WELT ABHANDEN GEKOMMEN 2004, 55 min. (Director/producer) A LABYRINTH OF TIME 2004, 94 min. (director/producer) TEA 2005, 96 min. (director/producer) STREAMING PAST, PRESENT MOMENTS 2005, 6 min. (director/ producer) Scheda tecnica HELICOPTER STRING QUARTET (1992/93) for string quartet, 4 helicopters with pilots and 4 sound technicians 4 television transmitters, 4 x 3 sound transmitters auditorium with 4 columns of televisions and 4 columns of loudspeakers sound projectionist with mixing console / moderator (ad lib.) The duration is circa 21-32 minutes. On January 19, 2001 Stockhausen was awarded the German Music Edition Prize in the category of "Scores of Works of the 20th century" for the score of the HELICOPTER STRING QUARTET. The award was conferred by the Deutcher Musikverlanger-Verband e.V. (German Music Publishers' Association) Early in 1991 I received a commission from Professor Hans Landesmann, the person responsible for the concert planning of the Salzburger Festspiele, to compose a string quartet. The Arditti Quartet was to play the world première in 1994. My first reaction was - as often before in such cases - that I would not write a string quartet, because I have never separated form, content and performance practice, and the string quartet is a typical genre of the 18th century. Similarly, for 45 years, I have not written symphonies, sonatas, piano concertos, violin concertos etc. Each of my works has its own form, instrumentation, performance practice. And then I had a dream: I heard and saw the four string players in four helicopters flying in the air and playing. At the same time I saw people on the ground seated in an audio-visual hall, others were standing outdoors on a large public plaza. In front of them, four towers of television screens and loudspeakers had been set up: at the left, half-left, half-right, right. At each of the four positions one of the four string players could be heard and seen in close-up. Most of the time, the string players played tremoli which blended so well with the timbres and the rhythms of the rotor blades that the helicopters sounded like musical instruments. When I woke up, I strongly felt that something had been communicated to me which I never would have thought of on my own. I did not tell anyone anything about it Since I did not, after the dream, have any time to compose, I wrote and drew several sketches and - from the super formula - developed the HELICOPTER STRING QUARTET as the third scene of WEDNESDAY from LIGHT (LICHT), the cycle of music dramas which I have been composing since 1977.
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