infotext:
GIORGIO NETTI - CICLO DEL RITORNO This cycle could be described as a small odyssey of breath that acoustically transforms from body/space to body/matter and body/instrument of tradition. He tells of a journey and return; the piece continues the tradition of the νόστοι (the poems of the Iliad describing the return of the Greeks to their homeland after the conquest of Troy), with the viola taking on the role of narrator, both the narrating voice and the place of the journey: from spread acoustic space as a slow return to the instrument, as separation and rebirth. I - lassù for prepared and amplified viola solo (2010/11) lassù is a piece of about 40 minutes for prepared and amplified viola solo without electronic modification. The sound is picked up via two contact microphones and two teardrop-shaped microphones inside the instrument. The musician plays at a height of around five to six meters on a support to be defined according to the architectural possibilities available (in this recording it was the organ loft), with the sound spreading from six monitors around the audience. For me, the preparation was the instrument for potentiating hearing, especially hearing on thresholds and limits. The starting point was the function of the bridge, i.e. an actual physical threshold that brings the strings into contact with the body of the instrument. By adding more thresholds, I multiplied the possible acoustic differences until another, hitherto completely unknown cosmophony emerged. The starting point was the extreme periphery of the world of the viola, a diffuse band, a fiber of infinity; this became an enigma – a rite to be celebrated acoustically in order to gain access to a sound – which gives life to things. An exploration of the body instrument as a medium and thus of making music as a magical act. Via the microphones, the viola reveals an extremely sensitive surface, where no gesture can be inattentive. Like an acrobat, the musician climbs the instrument: the bow is his staff and the body of the instrument becomes the center from which the various locations in the surrounding space are indicated. In acoustic terms, the inside of the viola listens to what is happening on its outer surface and what is heard even more strongly on the monitors outside. The entire architectural space becomes the interior of the viola, containing itself and us with it, lungs and breath at the very limits of breathing itself. A breath that comes from afar to become music and that listening and being suddenly too a unit brings. The preparation creates an opening into the cathedral of the tradition of stringed instruments (A); From this expansion, a new perspective of listening opens up, with the sound slowly finding its orientation again (B). The oval with which Tiepolo1 discovers the sky, the outside of an inside, becomes an opening in the course of the musical arrangement, as a diagonal movement with which Gordon Matta-Clark2 shows us the inside of an outside. When approaching the ground, the tension increases and becomes a rubbing sound (C), up to the unstable stop on the IVth and unprepared string (D): from high to low and back, that is, with the new high turning into a energetic threshold (E), beyond which (Fb) the fingers and the mastery no longer have any influence, to arrive from there in a diffuse tempo (Fa) in a space, in the acoustic whole (hall / church) in which we where we are (G, background voices and conclusion). The piece is thus a guided traversal, a form for us to become aware that everything sounds or, perhaps, that the sound of the whole sounds in a progressive spin of space within space: a diagonal between the inside of an outside and the outside of one interior. 1 fresco from 1757 in the Museo del Settecento Veneziano in Ca' Rezzonico (see illustration on the cover) II - Un Nastro for Distorted and Widespread Applause (2012) un nastro is a reflection on the applause that, in the traditional European context, marks the end of a piece of music, concluding and emphasizing it at the same time. The applause is like the base of a sculpture, it comes after it and indicates the end of listening and therefore the end of the work; however, it is also a bridge that connects the duration and space of the work with the everyday. If already in Brancusi and Giacometti the base becomes part of the sculpture itself, in the subsequent installations of modern art it completely disappears, integrating itself into the exhibition space. I am moving in this direction, guided by the physical need for a pause between the first and second parts of the concert, in which the musician moves from his elevated position, where he played lassù, to his position in the audience, where he e will interpret poi. I continue listening, isolating the applause of many of my concerts, not according to their meaning, but according to the acoustic differences linked to the different halls, crowds and emotions: I become aware of the infinite variety of a flow without time and space . So I started to perceive the applause as an extended bridge that connects the entire space of the hall (which was integrated into the music by the voices in the last minute of lassù) with space and time that seem to be outside the hall , in the open space of everyday life. The applause becomes a dense articulation, a noise that I begin to compose and transform through overlays; there are no electronics here either, just the sounds I heard, collected and reassembled around me. If in seafaring "land" indicates the near end of the journey, which in lassù comes from above, in music (as in aviation) the material transition from one state to another does not take place between water and "land" but between air and "water" takes place, like the thickening of clouds, which can result in light rain or even hail. The applause becomes the catalyst of this transition from one state to another, in which land appears in the form of inhabited water, in the recording of noises on May 8th at the Zattere in Venice, in front of Nono's house. Acoustically translated by the sound of a vaporetto, the viola is reborn in the midst of the audience, as an instrument of a renewed tradition. "At the end of the world is a bond III – e poi for viola (2012/14) e poi is the goal and foundation of a new orientation, using means that in another context we might call arpeggios, scales and chords, but which here become the source of a flow of vibration and articulation in perpetual change, which from is perceived and transmitted (expressed) from within. It is music that uses the so-called notes, but without starting from them, according to an acoustic sensitivity that has grown over the long journey that has brought us here. She develops a different and constant murmur inside the river, which is shown in un nastro. Without preparation and amplification, with the viola in a light scordatura (IVB, IIIG, IIC#, IA), it is a reflection on articulation itself as the extremely sensitive crossroads between memory and everyday life. Giorgio Netti |
program:
Giorgio Netti (* 1963)
ciclo del ritorno
For Viola Solo (2010–2014)
I - lassù For Prepared and Amplified Viola Solo (2010/11) 40:41
A 15:39
B 10:28
C 05:59
D 03:30
EFG 05:05
II - Un Nastro For Distorted and Spread-Out Applause (2012) 05:17
III-e poi for viola (2012/14) 28:38
Anna Spina, Violet
Benoit Piccand, Sound Director
Interview Marcus Weiss with Giorgio Netti 20:33
The PAL and NTSC versions have the same content!
Sound format: PCM 2.0 stereo
Picture format: 16 : 9
Length: approx. 95 minutes
Disc type: DVD 5 / PAL & NTSC
Country code: 0
Press:
08/2017
Giorgio Netti aime la narration, les histoires chuchotées. On pourrait dire de sa musique qu'elle puise à parts égales dans l'inspiration littéraire des paysages lyriques presented dans les récits antiques ainsi que dans la definition mathématique et topologique de la notion de "discretion". This dernière occurrence fonctionne comme une clé d'écoute qui assemble en une ligne continue des éléments sonores séparés par le mode de jeu ou la modification acoustique opérée par le procédé d'amplification. […] Dans cette musique des seuils et des limits, Anna Spina joue sur a palette de modes de jeu avec le chevalet e l'instrument à la fois élément de séparation physique et trait d'union résonant. En combined une lecture d'une extreme sensibilité à une technique d'archet quasi chorégraphiée, elle fait sienne l'extreme difficulté d'une musique entre ressac marin et respiration humaine. […] Netti insère cette matière sonore comme le soubassement d'une sculpture, element qui fait exister l'oeuvre et la rend possible. En la condensant à la manière d'une transformation atmosphere, il la fait crepiter autour de nous comme une pluie dense et dynamique.
David Verdier
On 22.5.2017/XNUMX/XNUMX Paco Yáñez wrote:
La música del compositor italiano Giorgio Netti (Milán, 1963) visitó por firsta vez las páginas de Mundoclasico.com en mayo de 2012, cuando Pablo Coello interpretó en el Centro Galego de Arte Contemporánea …intuire la dispiegata forma della luce, first parte de necessità d'interrogare il cielo (1996-99), ciclo para saxofón soprano de casi 70 minutes de duración que afirmábamos portaba ecos de Giacinto Scelsi por su profunda densidad, tan essential y asentada en largas figuras que caracterizan la sutil progression de un discurso súbitamente alter ado por multifónicos endiablados.
03/2017
A remarkable concert that was recorded here as part of the Bern Music Festival 2016: What is particularly noteworthy is the intensity and sensitivity with which Anna Spina explored the materiality of her instrument with microscopic depth of field and thus filled the rooms of the Bern Minster. Giogio Netti was responsible for a sound journey that led deep into the body and made the almost inaudible sensual. […] “The entire architectural space becomes the interior of the viola, containing itself and us with it, lungs and breath at the very limits of breathing,” says the composer. […] However, one person is primarily responsible for the magic and metaphysics of this contemplative spatial production: Anna Spina, who penetrates deep into the interior of the sound.
Dirk Wieschollek
DVD tip in the nmz!
"In Giorgio Netti's three-part cycle, a solo viola is transformed into an acoustic body of sound by means of various amplification techniques, which in the church interior of the Bern Minster turns inside out." (Juan Martin Koch)
In the April 2017 issue, Tilman Urbach writes enthusiastically about the production:
“Even after the first sounds it becomes clear that the music here essentially arises from the combination of the instrument and the room acoustics (...) The viola initially lies upside down on Anna Spina's lap. She strokes (you can see it clearly in the excellent camera work) with the bow over her instrument, shoulder rest and chin rest. And the pulling, rustling, scratching is released into the room via live electronics. (...) What follows is a virtuoso course that demonstrates the possibilities of the viola. But what can be read as an experimental arrangement is something deeply sensual. It is always captivating and makes it clear once again how powerfully new music has an effect when experienced live.”
http://ettoregarzia.blogspot.de
01/2017
Suoni della contemporary italiana: spazi indicibili della rappresentazione musicale
Una delle idea dominanti della musica di luigi non -sourlla di conceepire una nocione articolata di “spazio” musicale: partendo dall'esempio veneziano rinascimental dei cori e dalla movimentazione dei suoni in funzione della posizione Allo “Spazio”, Inteso come una universalità di forme (frutto di una infinita casistica di ambienti) e luogo unico ed irripetibile dove si assiste ad una reazione acustica con i suoni: lo spazio avvolge ed accoglie le sonorità degli strumenti ma nel contempo gli restituisce una forma nell'interazione; una chiesa o qualsiasi altro ambiente sarà in grado di delineare un nuovo spazio che va oltre quello naturale, uno spazio in cui convergono i suoni di tutto ciò che materialmente riferibile a quell'ambiente. I suoni vengono catturati in una specie di rete tutta posta all'attenzione dell'ascolto, che in tal modo diventa protagonista.
La tesi di Nono ha dilatato il pensiero compositivo fino al punto da includere nei “suoni”, qualunque materiale sonoro e gestuale: compenetrarsi nei componenti costruttivi degli strumenti è una conseguenza logica di tali ragionamenti. Si tratta di tecniche di estensione che coinvolgono l'espansione sonora dello strumento, una via praticata ed esaltata spesso grazie all'elettronica oppure scavando nel metallo delle corde o nel legno della corporatura degli strumenti. La seconda possibilità delineata da questa dualità, è stata la preferita del compositore Milanese Giorgio Netti (1963): nel corso della concertistica del Musikfestival Bern del September scorso, Neos R. ha ritratto e prodotto il suo “Ciclo del Ritorno” nella chiesa del tempio di Saint-Gervais, in a detailed dvd completo di note ed intervista, che applica le teorie succitate dello spazio e della corporalità alla viola, attraverso un ciclo di tre composizioni piuttosto diverse tra loro nei contenuti musicali ma collegate sul piano dei significati.
“Lassù”, primo movimento, sfrutta una preparazione basata su quattro microphonazioni dirette sullo strumento (due esterne e due interne) and 6 diffusori che esaltano la potenza dell'ascolto: la lunga composizione di 40 minuti (affidata ad una iconoclastica Anna Spina, con attività di direzione dei suoni demandata a Benoit Piccand) consiste in una fantastica explorazione dei suoni del corpo dello strumento, indotta da una partitura disinteressata quasi totalmente alle note e quasi totalmente concentrata all'emersione sonora. Netti vi fa scoprire verginità sopite nel materiale, che grazie all'impianto acustico, acquisiscono una prospettiva gigantesca: la bellezza di questi esperimenti sta nel saper essere oggetto di evocazione, materializzazione immaginativa di un viaggio che non ha confini temporali. Netti parla del ciclo epico del ritorno dei greci nella loro terra dopo gli avvenimenti di Troia, ma ognuno può derivare rispetto al significato proposto, compiendo con la propria prospettiva d'ascolto, associazioni più libere del viaggio. La grandezza di Lassù sta nel fatto che riesce ad addomesticare il tempo, quello che Netti chiama “…il respiro che viene da lontano per diventare musica…”; inoltre la composizione di Netti sottolinea l'attuale importanza dello sviluppo degli studi sull'amplificazione, che sta identificando una strada maestra per molti compositori; per ciò che concerne specificatamente la viola, si può affermare che questa opera ha pochi antenati e si fa fatica a trovare una casistica delle possibilità dello strumento in solo, in cui verificare la forza dell'amplificazione per la viola: mi sentirei di consigliarvi al massimo l'ascolto di Aperture di Richard Karpen, una composizione che però ha altri obiettivi.
L'applauso riscosso dalla Spina (la seconda composizione del ciclo chiamata Un nastro), opportunamente rielaborato, è un astruso collante che dà il tempo alla violista di scendere dal palco principale sopraelevato, posto di fronte al pubblico, aggirare la cathedrale tramite un percorso interno di scale a chiocciola e sistemarsi su un palco a livello degli spettatori, dando luogo al terzo movimento di “…e poi”, dove l'orientamento è quello di una composizione in linea con una modernità più conclamata, attuata senza preparazioni o lavorazioni acustiche.
C'è tanto spessore in questo "Ciclo del ritorno": si lavora in quell'ambito impopolare degli strumenti che legano concetti subliminali dell'ascolto alle expressioni indicibili degli strumenti stessi, quel campo di azione che può e deve diventare territorio comune non solo della composizione, ma anche di tutte quelle frange di musicisti che arrivano a simili risultati attraverso l'improvvisazione esplorativa o il drone figurativo. Nel percorso di Netti c'è qualcosa di molto aggregante per la society.
Ettore Garzia