Venezia 3 10 2009 Biennale Musica - ELETTRICO (first italian performance)
- Exit_02 Teatro alle Tese h 18.00 Electric Guitar Elena Casoli
Paris 11 october 2009
h. 14.00
PLACE STUD In
guitar
• ELECTRIC
But the electric guitar, how does it work?
has a motor in it? Mysteries. It 's like take up a high-voltage pylon.
Cadence total, a fall breeze and clear in the reflections of electric storms. Thus was born the lightning from the ground, a force of his sore indomitability, yet good .
• In SetteStudi for classical guitar said to have wanted to build "a new guitar." Electric continues experience of composition on the same track testing and research, applying it literally to "another" Guitar.
• The two questions that open the lines of presentation is certainly ironic and witty, but is also a story actually happened on stage at the end of a concert and, consequently, their those two questions have in turn resulted in a new composition for the same instrument.
This is because the Electric Guitar offers features completely different and at the same time, some undeniable affinity with the acoustic instrument, but the fundamental object of thought focuses on the construction of sound, stamp, its management and temporal dynamics, which here is no longer governed only by the hands but also by the electrical and electronic equipment that becomes the true sounding instrument.
The sound of his breathing, the shape of work, everything is designed from scratch: at the end, and in light of other pieces for electric guitar or that I wrote later, I had the clear sense of how this is clearly an "other" str ument res
This is because the Electric Guitar offers features completely different and at the same time, some undeniable affinity with the acoustic instrument, but the fundamental object of thought focuses on the construction of sound, stamp, its management and temporal dynamics, which here is no longer governed only by the hands but also by the electrical and electronic equipment that becomes the true sounding instrument.
The sound of his breathing, the shape of work, everything is designed from scratch: at the end, and in light of other pieces for electric guitar or that I wrote later, I had the clear sense of how this is clearly an "other" str ument res
chest on guitar, and sometimes only incidentally sounds arise from the same gestures.
• So by Seven Studies "aids" have evolved over time to be born to other sounds electric, in fact, Electric in ZONE I (Venezia1991 Biennale - © Ricordi) , many animals p arlanti , (TeatroStudioMilano1992 - © M.Pisati-LArecords) work TAXI! (Sassari Teatro Civico, © Ricordi1991, LArecords1995) , Spiegelkontaktfabrik (TeatroArsenaleVenezia2001 - © M. Pisano) , OverdubOverdoub t (University of Padova2003-© M. Pisano) , The Copiafavole -ZONE (PiccoloTeatroRegio Torino2001 - © M. Pisano) , waLkingprogress (TeatroArsenaleMilano2008 - © M. Pisano) all clearly owe that first experience sound, gradually introducing gestures and techniques, cultural areas and sometimes genera. mp
• Seven studies
The Seven Studies for Guitar, apart from introducing innovative guitar sounds and Articulations, in effect present a new Guitar, a new idea of \u200b\u200bthe 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 for Guitar, apart from introducing innovative guitar sounds and Articulations, in effect present a new Guitar, a new idea of \u200b\u200bthe 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
