Volontà I

October 24, 2016

   
Time: 20:30
Location: Sala Accademica
Category: edited by Giorgio Netti
Duration: 46’
Sound Direction: Pasquale Citera - Marco De Martino
   
Tristan Murail C’est un jardin secret, ma soeur, ma fiancée, une source scellée, una fontaine close… • 5’00
  per viola
Iannis Xenakis Mikka • 4’25
  per violino
Pascal Dusapin Inside • 8’32
  per viola
Giorgio Netti Dalla tentazione di Sant’Antonio • 9’00
  per violino
Giacinto Scelsi Manto II • 5’10
  per viola
Helmut Lachenmann Toccatina • 4’50
  per violino
Giorgio Netti Inoltre • 17’00
  per due violini
   
mdi ensemble:  
violin Lorenzo Gentili-Tedeschi
viola Paolo Fumagalli

live streaming on radiocemat.org

Program Notes

Ho cercato di incanalare quell’energia in un percorso che la rendesse percepibile senza snaturarne l’essenza: l’energia che abita i violini di Corelli, Tartini, Vivaldi, certo non citazioni ne dirette ne indirette ma l’imprevedibile vitalità delle loro articolazioni (tremoli, arpeggi, ribattuti, sincronie e fioriture improvvise) che hanno fatto della scuola italiana, elettrica ante litteram, un irraggiungibile modello di virtuosismo strumentale; poi la tensione, il vuoto attorno e dentro alla costruzione delle frasi, le imitazioni, i pedali, la continua sovrapposizione delle corde.

Giorgio Netti

Apre il ciclo della settimana di eventi EMUFest un percorso incentrato sulla natura intima e rituale del suono. Un omaggio ai molteplici universi del contemporaneo, condotti dalla musica di Giorgio Netti. Musiche di confine che trasfigurano la natura d’origine del violino e della viola, in un cammino sospeso fra i glissandi di Xenakis, i battimenti di Scelsi, le maglie interne del suono di Murail e Dusapin, fino al concretismo strumentale di Lachenmann: differenti modalità di fare vuoto, e ripartire. Una prima volontà eseguita dall’mdi ensemble.

C’est un jardin secret, ma soeur, ma fiancée, une source scellée, una fontaine close… [1976] Founder with Gerard Grisey of spectral music, Murail uses information technology to deepen the research of analysis and synthesis of acoustic phenomena, constructing a music based on the micro-variations in the sound. C’est un jardin secret… presents this research: a thumbnail to viola crossed by multiple process, progressive transformation and ambiguity between harmony and timbre. A piece, says the composer, built around the rhythm of a heartbeat, constantly accelerated and decelerated, alive and resonant.

Mikka [1971] Considered one of the most radical exponents of the ‘900 music, the greek composer Iannis Xenakis composed the piece Mikka in 1971 and the next year performed at the Festival d’Automne de Paris. The composition is an impressive fusion of violin glissandos that focus on a subject imprinted in extreme limit of the melody word’s meaning. A bow’s sound/ singing that oscillates between sharpest sounds and brightest dynamics.

Inside [1980] Three parts divided, the composition reveals the viola’s great timbric possibilities with a restless and immersive articulations, listenable all along the piece. A important aspect of this work is the micro-variations of sound, that creates a real quarter tone dialogue between all the strings.

Dalla tentazione di Sant’Antonio [1986] I tried to reconsider the instrument starting from its memory; the memory of the fingers that played it for centuries: I tried to listen to it as the voice of other voices from which stratification and overlapping embodied the volume and the space that contain it. Each apparition is intended to gradually compose a unity, not meaning a direction but a stop: white hot state of the sound matter, it doesn’t solidify, it thickens and, suspended and close to saturation, it’s finally poured. (Quotation from the Composer)

Manto II [1967] Second movement for viola, Manto owes its name to an ancient greek prophet. Scelsi focuses the composition on the edge of acoustic beat and the liminal sides of sound. The rite is the foundation of the Composer’s aesthetics, perceptible as a real bridge/gap between immobile time and the following singing in the third movement.

Toccatina [1986] Helmut Lachenmann bequeaths a new ever changing listening perception to the musical practice. This violin study widens the horizons pointing out a new possible beyond in what we call music (G. Netti): A new instrumental sensibility starting from an idea of instrumental musique concrete, subtle and crystal clear in this short musical disclosure.

Inoltre [2005-2006] Starting from a muted blow, INOLTRE becomes a continuous attempt to bring the sound matter nearer to the pitched musical world, creating an acoustic experience coming from somewhere else. (Quotation from the Composer) This composition makes the matter white hot and in its boiling, articulations, fragments, nightmares and wanderings reappear and melting become something else. A voice-violin, a sound-man, sacred in their uniqueness, with no more articulation, tense and suspended on the extreme and guarded electric background.