Scritto da:Raffaele Libero Guadagnin @ 2010.05.18.23.10.47 — Archiviato in: Letteratura
La scomparsa del poeta Edoardo Sanguineti restituisce all’Italia letteraria tutta il proprio anelato, compiaciuto, regressivo, passatista e reazionario provincialismo culturale e accademico.
Edoardo Sanguineti era stato capace di stemperare la «peste mansueta delle discipline», rendendo armonico il distonico, facendo della parola e della musica unico suono.
Aveva traversato il Labirinto disvelandone e destrutturandone la natura, ricordandoci, lucido e incrollabile nel pensiero, l’opportunisticamente obliata connessione tra ideologia e linguaggio, la fallacia di un’estetica e di un’arte solo apparentemente fini a se stesse.
Aveva individuato nella famiglia un nucleo di resistenza e, nel suo basso parlare, nel travestire e nel parodiare, un nucleo operativo.
Ha ancora senso, si chiedevano in troppi, ripercorrere il cammino delle avanguardie, come da Sanguineti propugnato?
Ora più che mai, annaspanti nella mediocrità e nella ripetizione, avvinghiati a discutibili e desuete Muse altrui per celare la mancanza delle proprie, alienati al segno di negare l’alienazione, vinti da uno sperimentalismo solo formale, dal sonno dell’ideologia, e incatenati alle pareti del Louvre, ha senso ripercorrere quel cammino, quello delle avanguardie storiche e delle neoavanguardie, quello di Edoardo Sanguineti, ha senso porsi i quesiti irrisolti e trarne la prassi per approdare a nuovi orizzonti.
Non è questa un’apologia apocrifa o un necrologio, ma un monito, «pietra fondamentale del rifiuto»: oltre ai suoi testi, testimonianza di un praticabile altro, resta di Edoardo Sanguineti il suo motto.
Ideologia e linguaggio.
Che queste parole non si perdano mai nella palude.
Vache Sharafyan (Վաչե Շարաֆյան): Devotion No. 2 (1999) for Tar, Kemanche, Dhol, Tam-Tam, Piano and string quartet.
Tar, Kemanche, Dhol are musical instruments adopted by various middle eastern cultures like Iran, Armenia, Azerbaijan, Georgia to the Indian subcontinent. Click the names to read details from wikipedia.
Scritto da:Mauro Graziani @ 2010.05.17.21.46.04 — Archiviato in: Elettroacustica
Gerd Kühr: Trans, from Revue instrumentale et electronique (2004/5 according to the composer’s site, not 2007 as stated in the video)
Austrian composer Gerd Kühr is a professor of composition at the Universität für Musik und darstellende Kunst in Graz; he also works as a conductor and once studied with Sergiu Celibidache. Kühr has also taken composition with Hans Werner Henze.
Kühr’s piece Revue instrumentale et electronique is divided into six sections. It is scored for nine spatially divided instrumental groups and electronics.
The transitions between the electronics and live sections is seamless; you are listening and you gradually realize “we are hearing electronic music now” as opposed to the live instruments. Kühr is very effective at devising novel instrumental timbres, such as the palpitating percussion and fleeting winds in the opening “Intro” and in the alien atmosphere of sustained notes in “Trans.”
Scritto da:Mauro Graziani @ 2010.05.15.00.01.25 — Archiviato in: Linux
Mi segnalano che, per tutti gli utenti linux che hanno problemi con i modem USB, tipo quelli forniti da Tiscali, Libero, Telecom e Tele2, esiste ubudsl che, nonostante sia stato eliminato dai repository di Karmic Koala (9.10) perché lo sviluppo è cessato, può ancora essere scaricato da qui.
A quanto sembra, questo package funziona con molti modem USB, ma non tutti. Al limite basta provare. Se non funziona non vi distruggerà il computer.
Per gli utenti di Lucid Lynx (10.04), invece, c’è un build recente che potete scaricare da questa pagina.
Scritto da:Mauro Graziani @ 2010.05.12.00.44.37 — Archiviato in: Elettroacustica
And this is the second pièce from the cycle Du Cristal…à la fumée, by Kaija Saariaho.
The last sound of Du Cristal – a cello trill played sul ponticello – becomes retrospectively the first sound of its successor, …à la fumée, which features solo parts for cello and amplified alto flute in addition to large orchestra. Saariaho has commented that
to my way of thinking, Du Cristal … à la fumée is a single work, two facets of the same image, but both fully drawn in, living and independent.
The difference between the two works is already manifest in the title: crystal is a classic example of repeated order, symmetrical, tense, stable mass. Smoke, on the other hand, changes its form constantly, an unpredictable, developing state. Crystal and smoke, like order and entropy, chaos. The title is inspired by a book by Henri Atlan, Entre le cristal et la fumée (Between the Crystal and the Smoke).
The single most important element in the music of Kaija Saariaho is tone colour, attached inseparably to harmony. In this sense she can be thought of as continuing the French orchestral tradition. Her music does not, however, only feast on beautiful sounds. The starting point of composition for her comes from a carefully studied theoretical basis. The origin of her music is a single sound which she penetrates, trying to uncover its structure and the laws that govern it. With these laws, just by changing the scale, the composer builds colours, harmonics, forms, rhythms - music. This starting-point ensures that all the works of Kaija Saariaho have a strong sense of unity. Elements that seem different fit together, because they are basically born from the same source.
Rather than associate Kaija Saariaho’s music with mathematical formulae or computer programs, it is more fruitful to compare it with nature - its biological and physical models. The composer herself has spoken of arctic lights, water-lilies, crystals, spirals: forms and materials which in themselves are perfect and beautiful and create aesthetic experiences, but which offer endless grounds for even scientific study. Observation of how the inner relations of organisms are built, how they change and multiply; how forms that seem simple and natural are of endless variety when examined closely: chaos and order can be closer to each other than we first suspect.
The tensions in Kaija Saariaho’s music, its dramaturgy, are built on pairs of contrasts. One important pair of contrasts is formed by sound and noise. This is manifested, for instance, in the sonority of the cello: when the bow is moved towards the bridge, adding bow pressure, the sound breaks and turns into noise. On the flute, when you blow into the tube you can create noise (which has its own tone colour) and which changes into a sound when the air hits the mouthpiece at the right angle. In rhythm, a simple pair of contrasts is created between repetitive and irregular patterns. Gradual movement between two opposites, interpolations, create and release tensions in the same way as do chordal functions in traditional tonal music.
It is no surprise that the soloists in …a la fumée are flute and cello. These would appear to be Saariaho’s favourite instruments given that many of her solo pieces have been written for them (for the flute, Canvas, Laconisme de l’aile, NoaNoa; for the cello, Petals and Près). …a la fumée however, is not a normal double concerto, in which the solo instruments are contrasted with the orchestra. In this work, flute and cello are like microscopes with which the composer penetrates deep into her material, shedding light from different angles and changing the scale.
György Ligeti, with whose earlier music Kaija Saariaho’s works have certain points in common, has spoken about a phenomenon familiar to most of us. When we go up in an aeroplane, we do not feel ourselves in motion. At the same time, details of the scenery disappear and merge into a whole. A meadow, swarming with inner energy, changes first into fields of colour, then into a bare point in the distance. The amplification of the alto flute and the cello serves this purpose: a whisper from the flute can grow to the scale of a big orchestra, a harmonic from the cello can be outlined above the whole landscape of sound. Is not one of the meanings of music, and all art, simply this? To create illusions, presentiments of a world that could be true.
Scritto da:Mauro Graziani @ 2010.05.11.23.02.14 — Archiviato in: Vaticano
Secondo La Stampa.it di oggi, il Papa ha dichiarato che
Le sofferenze per la pedofilia nella Chiesa erano state annunciate nel Terzo segreto di Fatima, un peccato «realmente terrificante», una delle «più grandi persecuzioni» che non viene da fuori, ma «da dentro la chiesa stessa».
E allora siete proprio degli idioti. Eravate stati avvisati nientemeno che dalla Madonna in persona nel lontano 1917 e non avete fatto niente!!
Scritto da:Mauro Graziani @ 2010.05.11.00.01.05 — Archiviato in: Elettroacustica
Kaija Saariaho - Du Cristal, 1989 - for large orchestra.
Du Cristal was commissioned jointly by the Los Angeles Philharmonic Orchestra and the Helsinki Festival, and it was first performed by the Finnish Radio Symphony Orchestra conducted by Esa-Pekka Salonen in September 1990.
It is scored for a standard large symphony orchestra with the addition of an important part for synthesizer, and featuring a highly prominent percussion section. None of Saariaho’s major works to date is without some kind of electronic element, and the presence of the synthesizer is significant in the light of Saariaho’s remark that she tends to the orchestra itself ‘as if it was a huge synthesizer’. The standard form of electronic synthesis is ‘additive’ - that is, each sound is created by piling innumerable pure tones upon each other.
Transferred to the medium of the orchestra, this means that it is as if each individual instrument were analogous to a pure tone in a synthesizer, merely a tiny part of a large, slowly evolving mass of sound. Thus there is no polyphony, nor any melody in the conventional sense, although the music is frequently lyrical in its gestures and the activity within the textures may momentarily suggest polyphony; the important thing to follow is the overall drift of the orchestral mass, and to relate the individual details to that.
It’s an approach which owes something to the dense, multi-layered orchestral works of György Ligeti, such as “Atmosphères and Lontano”, as well as to the so-called ’spectral-music’ of French composers Tristan Murail and Gérard Grisey, all of whom Saariaho has acknowledged as influences on her music; but her won style is nevertheless thoroughly personal and has distinctly brooding, ‘Northern’ character quite distinct from any of the afore-mentioned.
The harmonic character of Du Cristal is especially focused and clearly defined as the work is dominated by the bell-chord with which it opens. During the first seven minutes, this chord is slowly and methodically dissected: all its internal components are highlighted as its orchestration is progressively shaded and softened, although the basic character of the chord remains essentially unchanged.
There follows an eruption of some violence which breaks up the harmonic continuity of the music; a dialogue ensues between onslaughts of unpitched percussion and further bell sounds from tuned percussion and synthesizer.
After this the texture thins somewhat and the rate of harmonic change increases; melodic tissues briefly emerge on the violins and the woodwind. The increased rate of change precipitates the principal climax of the work, again featuring untuned percussion prominently: chaotic, irregular rhythms gradually merge into a hammeringly regular series of ostinatos for the full orchestra - the simplest and clearest music in the piece - and out of these the sound spectrum is gradually narrowed until a single note (a unison A flat) is heard
As this fades into filigree passages for solo strings, the music drifts closer to the harmonic world of the opening, and the original chord is itself twice restated; far from subsiding, however, the music suddenly veers back to the hammering ostinato of the climax - as if the form of the whole piece thus far had been telescoped into some two minutes. Only now can the music progress to the coda, underpinned by a series of wave-like crescendos on bass drum and synthesizer as the textures dwindle to a single cello trill.
This trill will be the starting point for second work of the cycle called …à la fumée. Saariaho took her title from a book by the French writer Henri Atlan, “Entre le cristal et la fumée”, and for her it signifies the way the same acoustic material is developed in sharply different ways in the two pieces, the turbulent energy and almost expressionist outbursts of Du Cristal subsiding into the capricious, playful double concerto of…à la fumée.
Scritto da:Mauro Graziani @ 2010.05.10.00.01.31 — Archiviato in: Strumentale
Solo for Viola d’Amore by Georg Friedrich Haas performed live by Garth Knox in Graz.
This is the second half of the piece. In the final section, the sympathetic strings are plucked and bowed directly, an unusual and striking effect. These are the second set of strings on the viola d’amore, usually not played directly, only there to resonate passively. In this piece they are amplified, and controlled by a volume pedal.
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