Venezia 3 10 2009 Biennale Musica -ELETTRICO (first italian performance)
- Exit_02 Teatro alle Tese h 18.00
electric Guitar ELENA CASOLI
• ELETTRICO
Ma la chitarra elettrica, come funziona?
Ha un motorino dentro? Misteri. E’ come imbracciare un traliccio ad alta tensione.
Cadenza totale, un cadere teso e pulito nei riflessi elettrici delle perturbazioni atmosferiche. Così nasce il lampo, da terra, una forza dolente della propria indomabilità, eppure buono.
• In SetteStudi per Chitarra classica dicevo di aver voluto costruire “una nuova Chitarra”. Elettrico prosegue quell’esperienza compositiva sugli stessi binari di sperimentazione e ricerca, applicandola letteralmente a “un’altra” Chitarra.
• Le due domande che aprono le righe di presentazione sono certamente ironiche e spiritose, ma vengono anche da un aneddoto realmente accaduto sul palcoscenico alla fine di un concerto e, come conseguenza, proprio quelle due domande hanno a loro volta originato una nuova composizione per lo stesso strumento.
Questo perchè la Chitarra Elettrica offre caratteristiche del tutto diverse e nello stesso tempo alcune innegabili affinità con lo strumento acustico, ma l’oggetto fondamentale del pensiero si concentra sulla costruzione del suono, del timbro, sulla sua gestione dinamica e temporale, che qui non è più governato solo dalle mani bensì anche da una strumentazione elettrica ed elettronica che diviene la vera cassa armonica dello strumento.
Il suono, il suo respiro, la forma del lavoro, tutto va pensato ex-novo: alla fine, e alla luce degli altri brani per o con Chitarra Elettrica che ho composto in seguito, ho avuto la chiara percezione di come questo sia nettamente un “altro” strumento ris
Questo perchè la Chitarra Elettrica offre caratteristiche del tutto diverse e nello stesso tempo alcune innegabili affinità con lo strumento acustico, ma l’oggetto fondamentale del pensiero si concentra sulla costruzione del suono, del timbro, sulla sua gestione dinamica e temporale, che qui non è più governato solo dalle mani bensì anche da una strumentazione elettrica ed elettronica che diviene la vera cassa armonica dello strumento.
Il suono, il suo respiro, la forma del lavoro, tutto va pensato ex-novo: alla fine, e alla luce degli altri brani per o con Chitarra Elettrica che ho composto in seguito, ho avuto la chiara percezione di come questo sia nettamente un “altro” strumento ris
petto alla Chitarra, e che talvolta solo incidentalmente i suoni nascano dagli stessi gesti.
• Così dai Sette Studi “acustici” si sono nel tempo evoluti altri suoni nati per essere elettrici in, appunto, Elettrico, in ZONE I (Biennale Venezia1991 - ©Ricordi),Quanti animali parlanti, (TeatroStudioMilano1992 - ©M.Pisati-LArecords) nell’opera TAXI! (Teatro Civico Sassari, ©Ricordi1991, LArecords1995), Spiegelkontaktfabrik (TeatroArsenaleVenezia2001 - ©M. Pisati),OverdubOverdoubt (Università di Padova2003- ©M. Pisati), Il Copiafavole-ZONE (PiccoloTeatroRegio Torino2001 - ©M. Pisati), waLkingprogress (TeatroArsenaleMilano2008 - ©M. Pisati), tutti chiaramente debitori di quella prima esperienza acustica, via via introducendo gesti e tecniche, ambiti culturali e talvolta generi diversi. mp
• SETTE STUDI for Guitar
The Seven Studies, apart from introducing innovative guitar sounds and articulations, present in effect a new Guitar, a new idea of the instrument, that takes into consideration both its internal and inner sonorities, and presents a more profound perception of sound and music.
• When the "traditional' sound appears, it stands out from the myriad of 'other' sonorities as if on a differentiated acoustic level, and represents a sound apart, rare, the exception, emerging clearly from the more frequently used sonorities (stopping, glissandi striking harmonics, harmonics, on 'false" positions etc.), which so often lack substance and resonance typical of conventional sounds.
Sounds cannot exist by themselves, that is, independent of their production. "Conventional' and "unconventional' are only classifications; a stopped sound is not a pitch produced "differently', but merely a sound with that particular timbre and pitch.
The often discussed lack of audibility of the Guitar is explored in the Seven Studies, not as a problem of acoustic volume, but rather as a feature of the quality of sound elements of the quality of their juxtaposition, of levels of audibility naturally differentiated. For this reason they are never forced, but rendered intelligible through their differences. Not all will be made audible in the same way by Producing greater intensities of volume or playing a more powerful instrument: on the contrary, variety will he rew rendered particularly evident by exploiting the perceptive limits of each sound.
From this point of view, the possible use of amplification should therefore be considered as a means of underlining and enhancing the differences rather than bringing everything up to a greater and uniform audibility, An integral part of the resulting formal timbrel and tonal characteristics are the fingerings, which are not only suggestions but should be considered essential to the faithful interpretation of the Seven Studies. Particular sounds and articulations recur again and again within these pieces. Indeed, the Seven Studies are not conceived according to the scheme of 'studies' in which each piece is based on a particular aspect of technique.
The Seven Studies, apart from introducing innovative guitar sounds and articulations, present in effect a new Guitar, a new idea of the instrument, that takes into consideration both its internal and inner sonorities, and presents a more profound perception of sound and music.
• When the "traditional' sound appears, it stands out from the myriad of 'other' sonorities as if on a differentiated acoustic level, and represents a sound apart, rare, the exception, emerging clearly from the more frequently used sonorities (stopping, glissandi striking harmonics, harmonics, on 'false" positions etc.), which so often lack substance and resonance typical of conventional sounds.
Sounds cannot exist by themselves, that is, independent of their production. "Conventional' and "unconventional' are only classifications; a stopped sound is not a pitch produced "differently', but merely a sound with that particular timbre and pitch.
The often discussed lack of audibility of the Guitar is explored in the Seven Studies, not as a problem of acoustic volume, but rather as a feature of the quality of sound elements of the quality of their juxtaposition, of levels of audibility naturally differentiated. For this reason they are never forced, but rendered intelligible through their differences. Not all will be made audible in the same way by Producing greater intensities of volume or playing a more powerful instrument: on the contrary, variety will he rew rendered particularly evident by exploiting the perceptive limits of each sound.
From this point of view, the possible use of amplification should therefore be considered as a means of underlining and enhancing the differences rather than bringing everything up to a greater and uniform audibility, An integral part of the resulting formal timbrel and tonal characteristics are the fingerings, which are not only suggestions but should be considered essential to the faithful interpretation of the Seven Studies. Particular sounds and articulations recur again and again within these pieces. Indeed, the Seven Studies are not conceived according to the scheme of 'studies' in which each piece is based on a particular aspect of technique.
• More important here is the formal aspect of each individual piece and the group as a whole, for, although particular aspects of technique are exploited in each study. They do not preclude all other compositional parameters. in fact, together with these technical features are others that will be exploited in the studies that follow, or else have already been used in previous ones.
• I realize the risks involved in repetition and believe that I have managed to avoid them in as much as the elements are so frenzied and tiny that the work tends towards an almost "prismatic" vision of multicoloured facets.
• A kind of anomalous and subjective circularity is created within all seven pieces, that consequently entails a different approach on the part of the player towards the study of this music.
The first complete performance of the Seven Studies was given, on 29 July 1990 at Darmstadt, by Elena Càsoli, invited guest at the 35th holding of the Internationale Ferienkurse für Neue Musik. It is to her that this music has always been dedicated. mp
The first complete performance of the Seven Studies was given, on 29 July 1990 at Darmstadt, by Elena Càsoli, invited guest at the 35th holding of the Internationale Ferienkurse für Neue Musik. It is to her that this music has always been dedicated. mp
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