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NotaPublicado: 11 Feb 2009 13:29 
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Como no soy capaz de encontrar el hilo donde hablaba de él, abro este, a ver si cuela y nuestro kepa-investigador priva-lurdo y plateado nos resuelve el caso, o al menos nos da mas pistas, por que lo que es intriga de momento hay y bastante, tras la escucha de la pieza que abre la segunda parte de cierto concierto de Düsseldorf que me ha llegado en plan anonimo...

De momento dejo aqui una foto del sospechoso, rodeado de jovenes acolitos, para abrir el expediente

Imagen


:roll:


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NotaPublicado: 11 Feb 2009 13:53 
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:roll:
A mí también me sorprendió esa foto durante mis investigaciones, porque, lo que es para niños, su música digamos que no lo es mucho?

La primera mención fue en hilo Casale, a raíz de esta grabación de un concierto del MDI Ensemble?

http://www.esnips.com/doc/4bd29ebd-a885 ... onda-Parte

? donde suena, antes que La Sabbia del tempo de Romitelli, la obra de Netti Rinascere sirena, per violino, viola e violoncello.

Luego, en el hilo romitelliano enlacé a la página del saxofonista que acaba de grabar la 2ª sección de las 4 de que se compone el largo solo de Netti que ya Marcus Weiss había grabado entero para Durian, y de la que ofrece un mp3 guarrillo (aún no sé si entero):

http://lars.mlekusch.net/sounds/sounds_dt.html

Como tampoco sé aún si suena entera esta parte en la web del sello Durian:

http://www.durian.at/cover/cover020.html

Finalmente (de momento? porque, ¿a que no diríais quién tiene en su cdteca la obra que toca el Ensemble Phoenix? Mi amigo danés, en efecto, aunque hace tiempo que está missing o no sabe, no contesta), el Kairos Quartet ofrece un mini ejemplo de Place aquí:

http://www.kairosquartett.de/web_d/repe ... n_m-r.html


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NotaPublicado: 11 Feb 2009 15:49 
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Pues habra que interrogar al cielo para confirmar las sospechas:

Richard di Santo, aqui escribió:

GIORGIO NETTI: Necessità d'Interrogare il Cielo
Durian | 020-2 | CD

Italo Calvino once wrote of the opaque, the "depths of the opaque" from which he writes, "reconstructing the map of [...] the geometrical location of the ego, of a self which the self needs to know that it is itself, the ego whose only function is that the world may continually receive news of the existence of the world, a contrivance at the service of the world for knowing if it exists." It is from this same place, these same depths, where I believe the sounds of Giorgio Netti's Necessità d'Interrogare il Cielo first found their origin. Composed by Netti, but performed and interpreted by Marcus Weiss on soprano sax, the four compositions presented here are characterized by "the roar of being alone," (as Valèry once put it), of pure emotion rising from the depths; something raw, intense, immediate. Moving slowly, with rich, sustained tones, harmonies, vibrations, rising with unfettered energy, in turns harsh or gentle against its listener, these pieces are as pure expressions of something beyond the body through which they make themselves known, that unmistakable, unavoidable, infinitely exploitable body of the sax, of its player, and beyond that, of the composer lurking in the shadows, in its depths. Often, when faced with something that has inspired such a profound and moving response from within, I will resort to strange descriptors and articulations, maybe even lacking clarity and focus, strange dream-texts where my impressions seek a narrative line, a logic, on which to trace a line and make some sense of things. The performance by Weiss is unspeakably good; sensitive, measured, faultless. Netti, born in 1963, Milan, has said that his interest lies in "the instrument as an escape point towards which a reading of the world, in sound, is directed." Whether this points to a reading of the world, or a reading of the self through the world, is something to consider, to dream about, as you escape with these sounds, vibrations, suspended harmonics, to new territories and perspectives. Visit the Durian website to read a fascinating article by Netti on his own inspirations, motivations, compositions, dreams. [Richard di Santo]


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NotaPublicado: 11 Feb 2009 17:25 
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Pues añadamos un poco más de leña al fuego, aunque no hay mucha más que la que arde, dado su breve catálogo...

giorgio netti

was born in 1963 in milano. he studied composition with sandro gorli at the g.verdi conservatory?s of milan and frequented courses at the contemporary music section of civica scuola di musica in the same city with: b.ferneyhough, g.grisey, e.nunes, w.rihm, i.xenakis .

awards:
icoms 96, special mention casella 95 and icoms 97, klangforum workshop ?00

commisions:
elision ensemble melbourne 95
musik der jahrhunderte stuttgart 97
wittener tage fur neue musik koln 98
neue musik rumlingen basel ?00
tage fur neue musik zurich ?01

works
dalla tentazione di sant?antonio : tre voci , violin solo [13?]
d. albermann, tage fur neue musik zurich, nov. 2001

l?arcipelago, for seven players [ 25?]
klangforum wien, d. masson, dec. 2000
collegium novum, y. sughiama, tage fur neue musik zurich, nov. 2001

in un luogo superfluo, clarinet solo [ 15?]
e. molinari, akademie schloss solitude stuttgart, nov. 95

note all?empedocle, for twelve players [ 23?]
commission elision ensemble melbourn
elision ens., s. gorli, melbourn festival, nov. 98

necessità d?interrogare il cielo, cycle for sax soprano solo [ 67?]
? intuire la dispiegata forma della luce [ 18:15 ]
commission musik der jahrhunderte stuttgart 97
? affrettandosi verso il centro della luce risonante [ 20:36 ]
? silenzio dei padri [ 15:27 ]
? sottile veicolo dell?anima [ 11:50 ]
m.weiss, graz jun, chiasso oct, zurich nov02, vien 15 jan 03

avvicinamento: tre studi sul quarto centro , for saxophone quartett [ 27?]
commission wittener tage fur neue musik
xasax quartett, witten festival, april 98

due lune più in là , for five players [ 15?]
commission festival di rumlingen, basel
accanto/recherche, bludenzener tage, nov. 02

) place ( , for string quartett [ 28?]
commission tage fur neue musik zurich 2001
kairos-quartett berlin, tfnm zurich, nov. 02

rinascere sirena, for string trio [19? ]

integral revisin of note all?empedocle, for collegium novum, witten 04 [ about 25? ]

-with marcus weiss, tractatus on saxophones, for barenreiter


... y a su exigua discografía, que recordemos sólo comprende su extenso solo de saxo en 4 partes en Durian y la 2ª de ellas en el reciente disco de Zeitklang. En la web del primer sello puede leerse además esta detallada y curiosa explicación de la obra:

The roar of being alone
Slow inflow of sounds and
of cries - of the mind.
Extraordinary echo.
>From this place.

Paul Valèry

It is the specificity of the body of the instrument that interests me: the instrument as an escape point towards which a reading of the world, in sound, is directed: what attracts me is how it can be crossed by the most unexpected currents from rooted traditionalism to the most daring experimentalism with its body remaining unchanged. For me what distinguishes a musical instrument from a sound object is precisely this capacity to contain events which can be very different from one another, and, through the unity of the vibrating body, of succeeding in modulating its local specificity and managing to create an unimaginable continuity between the extremes.

Writing for solo instruments has always been a special situation, a distilled experience, on a constant knife-edge between aestheticism and pyrotechnics, two different orders of difficulty, with a few traits of continuity between them. Valèry spoke of aestheticism as exploration; I imagine this exploration radiating outwards from a centre to which it cyclically returns, renewed, only to depart even further once again, a container of Distance, possibly an exploration in which verticality rather than horizontality predominates: it is hardly worth mentioning that the Suites, the Sonatas and Partitas, some of the later Sonatas, a few Preludes, and the pyrotechnics, these too an exploration, in which technical virtuosity, coloratura, special effects and other wizardries end up no longer being restricted to the outlet of the objective instrumental economy of an ensemble or, even worse, of an orchestra: Pagannini, some of Liszt are part of contemporary experimentalism and linear exploration, attempting to take stock of a locality, rarely renewing itself from within, and which changes locality once the inventory is finished.

In this work everything began with the attraction by/towards the extremely high pitched harmonic sounds, the image in sound of a body which whittles itself down without losing its potency, transforming the mass into energy, suspended, with no direction. At that point the low frequencies of the high pitch are set up which releases many connections on which they are built which would otherwise be incomprehensible if classified by the bottom up, if, that is, we consider these connections as single separate units. The image and the practice of the high pitched sounds for me are the continuity of the column of air passing unobstructed through the instrumentalist and the instrument, a special channel leaving behind the infinite variations of mechanical traces. The harmonic sound is at the same time governed by and different from the point where it originates?: growing, moving away vertically from it, it gradually enters a no manís land where multiple origins lead to a single result.

In parallel:

The interval between one sound and another can be catalogued once and for all in an abstract context, in which both sounds are considered identical in their timbre, intensity and duration; I prefer to think of the space between two sounds and its volume; I am increasingly becoming interested in the space within a sound, that space between the extremes which, eluding definition, indicates the possibility of something beyond.
I interpret the attraction which the extreme high pitched harmonics exercise upon me as the ultimate expression of this space: the entire harmonic column vibrates silently up to that point, and at that point it appears opening up into the sound, just as the whole solar system is essential to the orbit of Uranus, also, if I may dare to suggest, a reference to 7.1 in the celebrated Tractatus that which is silent, resonates.

Then there is the person, sound/human, the infinite folds of this column of air, the holes, the passages, the changing of the internal space into an infinity of special cases, traces, lumps of matter which, if considered separately, are no longer capable of preserving their origin.

I perceived the internal body of the instrument as a ritual space, the depositary of an existence of sound previously unknown to me?: the listening has blossomed into an enormous periphery which might be capable of expressing the powerful shared emptiness between and within things. At this point it was necessary to try to map out the new territories in a unified vision which might, in simplifying them, contain the different places and indicate possible relations between them: but not everything I came across interested me, only the places containing infinity within themselves, the places which are crossroads, containing Distance, to be organised into a cosmophony of frameworks and relationships, in order to rediscover that which is usually considered fortuitous. After lengthy quasi systematic research, the presumed fortuitousness was much reduced and the instrumental technique renewed. The new instrument was ready.

At the same time the quest for duration increased, which, in this case, is first and foremost an exploration of the internal instrumental space, with the successive identification of places with their area of influence, each one with their own individual orbit intersecting with that of others: a linear segment of the individual orbits was created, within a concentric representation in which everything continues to return, no longer the same, because in the meantime it has changed elsewhere.
Then there is the self stratification of the different durations, or, rather, the vertical segmentation of a single background Time, to be able to continue to remain close to them without becoming silenced by them.
Finally, from the top of the harmonic column, in continuous relationship of continuity with their poetic/physical origin, through successive filiations, the 4 parts of the cycle, the 7 places within each of these, the stanzas of each place, the metres, the durations, the depths, the attractions, the refractions, arrive. This leads to the production of general pendulum movement which, when it reaches the pentagram, slowly crystallises.
The piece becomes the instrument/sound/music which in this unity attempts to rediscover the presence (content) of the emptiness (container) from which it comes: an offering to listening, as a possibility of getting closer to perception in the absence of form.

But what is this emptiness/totality that I am pursuing?

Possibly targettibg distance: in this specific case the saxophone originates from a tradition of improvisers which is why it contains within itself a quantity of individual, soloistic souls, who have made this the way to express their vision of the world; for each of these people a different, very different style, sound. In the practice of the instrument the style is excavated more deeply day by day, it is the place, a furrow in which experience and moods flow into one another, it is the mill in which everything is ground up, transformed into a certain quality of experience. In style the individual experiences constantly refer back to the whole to be appreciated as such: J. Coltrane is always recognisable yet each of his individual improvisations is different. I read style as a single piece enormously expanded in time, a whole lifetime, whose characteristics, although relatively few, have been selected to continue to regenerate themselves.
I am thinking of the continual permutation of the sequences of characteristics on several superimposed planes: not everything is a generator in this process: attention will be the net which captures, in the flow, the key superimpositions, in some way too a memory of those which have been allowed to pass by.
In doing this I am moving closer to what I wanted the piece to be made of, the piece qua piece; it is, in fact, a part: what I was interested in was in creating a piece which would be at the same time a whole, an instrumental style, the sound/form of a self-regenerating cosmophony. The point of listening has continued to be elusive each time I thought I had pinned it down and today I think I can say that I have isolated an area within which this point has travelled. A net, a receiver, therefore not a law, rather a superimposition of totality which determines nothing if not the emotion of the possibility of a phase among these: a parabola.

Guide to listening: ìneed to interrogate the sky (about 70')
To guess the unfolded form of the light part I

... hurrying towards the centre of the resonating light part II

Silence of the fathers part III

Soft vehicle of the soul part IV
The title of the cycle is taken from 'Columbusí' by F. Hölderlin [Mandruzzato, Adelphi 769]
I, II, III, IV are respectively the fragments 145,111,16 and 20 of the Chaldaean Oracles [Tonnelli, Coliseum]

I
An exploration without purpose, following a song towards the places which will come, towards all the places simultaneously. There, the body/instrument may become a means of access to a listening which almost succeeds in transcending the ear: perceiving the different qualities of vibrating, feeling the threshold which rationally separates a sound from a light from an emotion from a memory and, through the positioning of the threshold, to sense the possible continuity between them.

Open, with no directionality, I simply listen to the living of a world.

I would like to be the precipitate of the work of these years: finding myself alone, faced with the human precariousness of these sounds, the need to listen to them and reflecting on the reason for this need. It is a questioning of the distance which they carry within themselves ñ living nucleus ñ of the sound which appears there.
Slow. The opening of a resonant world in which nothing is lost.

II
The stability of I begins to fluctuate in a centripetal acceleration, the positions become place-qualities, a family?tree, a participating presence like manifest distance: the proliferation of this thread leads to a gradual transformation of the sound; the formation of a directionality becomes increasingly evident.

Every place fits into a chain of places which tends towards transforming the static fragmentation of the positions into a single movement. Here an alignment is attempted (Maeshowe: that ray of sunshine in the winter solstice), the search for the key common to different positions which could link up even places greatly distant from one another.
III
Those places in which the form feels something is missing, where the proof of the body is lost, the references become weaker and the space dominant: a sound which succeeds in speaking of the silence, in understanding the silence - then the breathing, like a spider with its web sailing over the emptiness.

IV
An ascending thread guided from within, the choice of form from the very beginning impacts on the continuity of a supposed frequency which displays itself by refraction in a sequence of spaces, different positions, interpretable in relation to the formal place they are crossing.

The image: there was a big tree, I could see its trunk, its base and its outline; I did not have an overall view of the tree, only trunk and trunk, the opening up of a possibility, a branch, its strength, only the initial part and the continuation of the trunk still interrupted, time and again, becoming a branch in turn and the vertical movement pushing up in the middle of the horizon, more and more in the gradual opening of the main branches, the secondary branches until a multitude of solitary angles occurred, on a knife edge between the attraction of the earth and that of the sun.

The third last, penultimate and in part the last movement of IV are perhaps the final materialisation of this trunk reached from a different approach the other way round, to the solitary angles of the trunk, the materialisation of its (invisible) strength.


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NotaPublicado: 11 Feb 2009 17:29 
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Pues te ha quedado un informe de lo mas apañado ;-) Ahora solo nos falta conseguir el disco :roll:


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NotaPublicado: 11 Feb 2009 19:26 
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Esas obras para saxofón son maravillosas y dificilísimas.

El disco de Mlekusch me lo pasaron hace poco, pero aún no lo escucho. Si todo sale como lo planeado en septiembre estrena una obra mia como interprete dentro del ensemble ;-)

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Mr. Price, Please don’t try to make things nice. All the wrong notes are right. Just copy as I have. I want it that way.

Charles Ives


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NotaPublicado: 11 Feb 2009 19:36 
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:shock: :shock: :shock: ¿¿¿¿Zelenka ha dicho maravillosas ?????? :shock: :shock: :shock: ¿¿¿¿¿¿¿¿¿A Zel le gusta algo hasta el punto de decir que es maravilloso??????

Joder, ver a un negro en la Casa Blanca es un incidente sin importancia en comparación con esto... Esto si que es histórico... :shock: :shock: :shock:


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NotaPublicado: 11 Feb 2009 19:36 
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:shock: :shock: :shock: :shock:

Lo mismo digo, si Zelenkeitor las califica de "maravillosas", una de dos: o lo son, y hasta él ha tenido que rendirse a la evidencia :risita: o la emoción de que le estrenen una obra (¡enhorabuena!) le hace estar sensiblero...

En cualquier caso, nos confirma que esos discos acabarán cayendo, claro.


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NotaPublicado: 11 Feb 2009 20:07 
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:shock: :shock: :shock: Pues si, va a resultar que tambien es humano :lol:


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NotaPublicado: 11 Feb 2009 21:01 
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Lo que va a resultar es que teneis memoria de teflón. Yo llame la atención sobre el disco de Durian hace como tres agnos. Incluso Silver me dijo, que me pedía con mucho carigno, burlandose de que mi teclado no tiene egnes, que le dijera que tal estaba el disco. :-P

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Mr. Price, Please don’t try to make things nice. All the wrong notes are right. Just copy as I have. I want it that way.

Charles Ives


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