Malleable Form Revelatory Time
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februar y2019 78 ESZ news Edizioni Suvini Zerboni - Fourmonthly Newsletter Revelatory Time The first months of the year see a rich series of appointments again the five duos contribute in different ways to the and two world premieres for Ivan Fedele. On April 8 the development of the musical discourse, exchanging roles of Music Biennale Zagreb will present a monographic concert rhythmic pedal and punctuation. Finally, the last movement is e l that will include the world premiere of X-tension 2 for based on the principle of resonance and its distortion. Here e ensemble, played by the Ensembles Icarus and Cantus, who the leader is the piano (separate from the percussion) which d jointly commissioned the new work with Music Biennale explores a wide range of frequencies through pointillistic e Zagreb. X-tension 2 is a composition in four parts, each with figures that leave wakes of sound taken up by the other its own distinct character, in which the ensemble of ten instruments in three different variants: simple resonance, F musicians is treated as a set of five duos in a dialectic relation fragmentation of the sound through the violent pizzicatos n with one another: flute-clarinet, bass clarinet-bassoon, of the strings, and distortion of the sound itself». The a percussion-piano, violin-viola, cello-doublebass. The monographic concert is completed by performances of v composer explains: «The compositional strategy is based Arcipelago Möbius for clarinet in B flat, violin, cello and I New works at the on various principles of timbre morphing by means of a doublebass, Mudrā for thirteen instruments and Immagini Music Biennale heterophony that extends throughout the whole piece. da Escher for ensemble. A few days later, on April 11 , 12 Zagreb and in The different duos act in such a way as to allow the listener and 13 in the Sala Santa Cecilia of the Auditorium Parco Santa Cecilia to identify five regions of a complex map, regions that della Musica, the Orchestra of the Accademia Nazionale di counterpoint one another not only in time, but also in space, Santa Cecilia conducted by Stanislav Kochanovsky will play so that the duos are identified as variously situated sources Lexikon III (5. Multiplicity - 6. Consistenc y) for orchestra, of sound. The compositional process thus exploits a large commissioned by the same Accademia Nazionale di Santa number of “geometric” representations and mathematical Cecilia. Fedele tells us: « Lexikon III closes a cycle of proportions, both in a diachronic (duration in time) and orchestral compositions that take their starting point from synchronic sense (the interval relations that make up the two musical areas (in Lexikon I the techniques of Flemish timbre). The first part is based on an acoustic principle of counterpoint contextualized within a broadened and attack-resonance that is expanded in a fractal manner (the augmented vision; in Lexikon II the more recent concepts of “small” is reflected in the “big” and vice versa) in a lively game harmonic, inharmonic, saturated) and one extra-musical area, of cross-references, echoes and resonances. The second the American Lessons which Italo Calvino wrote in 1985 for a movement instead inhabits the low regions of the instruments series of lectures at Harvard University that he never held and develops along iterative principles that place in loops because death caught up with him beforehand: Lightness , “telluric” figures that develop inside the leading-line of the Quickness , Exactitude ,Visibility , Multiplicity and Consistency piano-percussion duo. In the third part a rhythmic ostinato in (the last of which was never fully drafted). These concepts the high registers of the instruments draws a cutting and at were, for Calvino, the qualities that would ensure the survival the same time playful profile, a tinkling sound in stark contrast of literature in the third millennium, a prophetic intuition about to the gloomy character of the previous movement. Once how and to what extent the invasion of the computer in our continues on page 2 Malleable Form A concert with a double performance for Aureliano Cattaneo shapeless form. The title Deserti refers to different aspects of on April 12 in the Salle des Concerts of the Cité de la the piece. Deserti (“deserts” in Italian) explores the idea of the Musique in Paris, during the season of the Ensemble shape of the desert: it is constantly changing due to the effect o Intercontemporain. The programme will include Corda for of the wind but seems always the same, a labyrinth that e piano and live electronics, with Sébastien Vichard at the constantly moves. Deserti is also a hidden homage to the n piano, and the world premiere of Deserti for ensemble, Italian madrigal. The structure in fact is based on a chromatic a commissioned by the Ensemble Intercontemporain, who will ascending line presented three times as a kind of “spectral t t perform the piece under the direction of Matthias Pintscher. bass”. This structure refers to the beginning of Marenzio’s a The composer explains: « Deserti lasts around 22 minutes. Solo e pensoso i più deserti campi in which the soprano sings I chose mainly low instruments: two clarinets (also bass a chromatic line that serves as a horizon to the counterpoint of C clarinets) two horns, trombone, two percussion, piano, two the other voices». Various pieces by Aureliano Cattaneo can Commission from the Ensemble o violins, viola, two cellos and doublebass. Deserti is written be heard in the coming months. On February 13 at the Intercontemporain n specifically for a staged concert, called “In Between”, in which Kammermusiksaal of the Philharmonie in Berlin, Neben for at the Cité de la a there will be a light and stage dramaturgy and a visual string quartet will be played by the Cuarteto Casals; on April i Musique l installation based on the concept of the moment in which 30 in the Jagdsaal of the SWR Schwetzinger Festspiele, Rito e things are supposed to happen but have still not happened. for violin, cello and piano will be played by the Trío Arbós; r I took this idea to explore the sounds between pitch and on May 7 at the Palau de la Música in Valencia, during the u noise, to explore the dichotomy between opposite elements: Festival Ensems, Sasso nell’oceano for eight voices and A slow/fast, piano/forte, fragile/aggressive. The two main doublebass on texts taken from Antonio Gramsci’s Lettere dal musical elements are in fact contrasting: a fast and rhythmic carcere will be performed by John Eckhardt, doublebass, and figuration that step by step conquers the space and spreads the Schola Heidelberg, directed by Walter Nußbaum. Finally, from the percussion to the whole ensemble, and a flexible on May 18 in the Tonhalle Maag in Zurich, Jonathan slow movement, a kind of “primordial soup”, that sometimes Stockhammer will conduct the Collegium Novum Zürich takes shape and sometimes comes back to its liquid and in Double for ensemble. from page 1 (Ivan Fedele: Revelatory Time) daily lives, alongside the important advances in information the season of the Syntax Ensemble, in the Breaking Music Christophe Bertrand and communication technology, would represent a serious series, Maja for soprano, piano, percussion, flute, clarinet, threat to the novel and literature in general. Not by chance, violin and cello on a text by Giuliano Corti was performed Aus for viola, soprano sax, in some of his novels Calvino had imagined calculators by the soprano Valentina Coladonato and the Syntax bass clarinet and piano can that, suitably programmed, would create texts with a Ensemble directed by Pasquale Corrado. On January 25 be heard on February 26 at narrative sense, thus replacing the author. In a certain in the Sala Puccini of the Conservatorio “G. Verdi” in Milan, the Kilbourn Hall of the sense, computer assisted composition (one of the most the closing concert of a composition master class featured Eastman School of Music in advanced fields of musical research of our time) not only Donacis Ambra for flute and live electronics, Suite francese Rochester (NY), with the evokes this risk, but in many cases actualizes it, where the III for cello and Suite francese VI b for 5-string electric OSSIA New Music. On composer delegates an excessive number of options to the violin and electronics, played by soloists of the Syntax May 4 in the Kölner machine, allowing it to compose rather than being him to Ensemble, respectively Maruta Staravoitava, flute, Michele Philharmonie, Cologne, create with the aid of new technology. So the aim of this Marco Rossi, cello, and Francesco D’Orazio, electric violin. during the series “Musik der work is to emphasize, yet again, the primacy of the On February 18 at the Istituto Italiano di Cultura in Paris Zeit”, the WDR imagination through a personal declination of those there will be a monographic concert dedicated entirely to Sinfonieorchester concepts that have always been at the basis of my Fedele’s works for solo cello, played by Michele Marco conducted by Brad Lubman experience as a composer. For each of the themes (since Rossi: Suite Francese III , and the first performances of will play Mana for they actually are themes) I could have written many Partita (“Hommagesquisse”, “Threnos”, “X-Waves”, orchestra. The Ensemble variations. I limited myself to proposing the interpretations “Z-Points”) now completed with the last two movements, TaG Neue Musik Winterthur that I believe best highlight the aesthetics of my most and the Suite francese VI b in the version for cello. Another directed by Jonas Ehrler recent work; an aesthetics that proposes a concept of monographic concert will take place on February 22 at the will play Satka for flute, narration different from that of literary inspiration, but closer Accademia Filarmonica Romana.