PROPUESTAS

OCTUBRE 2018

SELECCIÓN DE PROGRAMAS:

Los 3 programas seleccionados son obras puramente musicales susceptibles de ser presentadas en un formato multimedia.

 

1. BERNHARD LANG (1957): “Theater des Wiederholungen” (2002)

2. STEFANO GERVASONI (1962): “Com que voz” (2008)

3. STEVE REICH (1936): “Theillim” (1981) + “Music for 18 musicians” (1976)

1

BERNHARD LANG  (1957)

“Das Theater der Wiederholungen ” (2002)

‘Das Theater der Wiederholungen’, Bernhard Lang’s masterpiece, whose title to Gilles Deleuze is not only the specific compositional principle, but also the program (“A possible history of cruelty”) is divided into three major sections, three narrations , each of which is located in the 18th, 19th and 20th centuries.

 

The first act (“Praise of Cynical Reason”) is based on texts by De Sade and Huysmans and takes a look at European absolutism. It focuses on the glorification of natural law, the praise of the stronger, the ideological rejection of all forms of social and solidarity.

 

The second act leaves this gray, cynical, European context, devoting itself to the departure into another, a freer, more humane world, and recalls that (North) America emerged as a European dream, where Europe – in the sense of consistent development of democracy and liberal capitalism. The narrative, developed from texts by William S. Burroughs (“The Place of Dead Roads”), begins with a utopian metaphor for the old European-American dream (“Go West”) – emigration into space 60s symbolizes the expansion of consciousness through drugs, rock’n’roll and the social upheavals that have been connected with it. But in Burrough’s heroin revisions there is also a new breakthrough of violence, which calls into question the American dream, not least by tabooing its own manifest and latent violence (from the eradication of the indigenous population to the unbroken American weapon eroticism). Burrough’s “The Place of Death Roads” proves to be an incredibly shocking novel from today’s point of view, as he portrays the training of a terrorist – in a Western context. which question the American dream, not least by tabooing their own manifest and latent violence (from the extermination of the indigenous population to the unbroken American weapon eroticism). Burrough’s “The Place of Death Roads” proves to be an incredibly shocking novel from today’s point of view, as he portrays the training of a terrorist – in a Western context. which question the American dream, not least by tabooing their own manifest and latent violence (from the extermination of the indigenous population to the unbroken American weapon eroticism). Burrough’s “The Place of Death Roads” proves to be an incredibly shocking novel from today’s point of view, as he portrays the training of a terrorist – in a Western context.

 

Finally, the third narrative – based on the protocols of the Nuremberg trials and reports from various concentration camps – is a return to the starting point, to Europe, to the times when the old continent has sunk back into its nightmares, from which he has once again dreamed of his dream (from America) had to be saved. However, Bernhard Lang’s compositional principle of different repetition transcends these historical events and gains even more artistic explosiveness in the face of the latest political developments, the fall back into old nationalist patterns, which are presently becoming visible all over Europe…

AUDIO

Les jeunes solistes

Klangforum Wien
Johannes Kalitzke, conductor

VIDEO

Les jeunes solistes

Klangforum Wien
Johannes Kalitzke, conductor

 

Ésta es la puesta en escena del estreno en 2003. Es bastante patética… Con el empleo de la tecnología y artistas multimedia podemos hacer una propuesta ¡¡¡infinitamente mejor!!!

2

STEFANO GERVASONI  (1962)

“Com que voz” (2008)

a song concert upon sonnets by Luís Vaz de Camões and fados by Amália Rodrigues

for: for fado singer, baritone, large ensemble and live electronics

 

detailed instrumentation:

fado singer (female), baritone, flute (also piccolo and G-Flute), oboe (also English horn), clarinet in B flat (also basset horn and bass clarinet), bassoon (also Contrabassoon), horn in F, trumpet in B flat (also piccolo trumpet in B flat), trombone (also bass trumpet in B flat), percussion I, percussion II, Cimbalom and Percussion III, Portuguese guitar, Spanish guitar, harp, accordion, piano (also celesta – five octaves), violin I, violin II (also played with e-bow), viola, violoncello, double-bass and live electronics

 

text by:
Luís Vaz de Camões and various (fados by Amália Rodrigues)

 

duration:
1h 20′

 

commission:
Ircam, Casa da Música (Porto), Ensemble Modern and Radio France (1st version); Nieuw Ensemble (2nd version)

 

first performance:
1st version:
17.2.08, Porto, Casa da Música, Cristina Branco (voice), Frank Wörner (baritone), Ensemble Modern, Franck Ollu (conductor);

revised version:
10.2.10, Utrecht, Vredenburg Leidsche RIjn, Cristina Branco (voice), Frank Wörner (baritone), Nieuw Ensemble, Etienne Siebens (conductor)

 

publisher:
Edizioni Suvini Zerboni

 

catalogue number:
S. 13151 Z.

 

+ INFO

AUDIO


FESTIVAL AGORA, París

 

Cristina Branco, fado
Frank Wörner, baritone
Ensemble Modern
Franck Ollu, conductor

IRCAM Computer Music Design Thomas Goepfer

PARTITURA

DESCARGAR

VIDEO-TEASER

SET-UP

3

STEVE REICH (1936)

“Theillim” (1981)

“Music for 18 musicians” (1976)

 

PLANTILLA:

(THEILLIM)
solistes:
3 soprano solo, contralto solo

ensemble: flûte, flûte piccolo, hautbois, cor anglais, 2 clarinette, 6 percussionniste, 2 orgue électrique, violon, violon II, alto, violoncelle, contrebasse

 

(MUSIC FOR 18 MUSICIANS)

ensemble: 3 soprano solo, contralto solo, 2 clarinette (aussi 1 clarinette basse), 3 marimba, 2 xylophone, vibraphone, 4 piano, violon, violoncelle

 

INFORMACIÓN TÉCNICA:

http://brahms.ircam.fr/works/work/11269/

http://brahms.ircam.fr/works/work/11263/

VÍDEOS:

EN | ES

facebook
twitter
youtube
X