Stockholm and Vasteras, Sweden, February 21st-28th 2010
• Västerås febr.21-27
workshop Mälardalen University ,
Västerås College of Music
• Stockholm febr.25 h.17.30
Studio53 seminar & concert with
Ivo Nilsson & Jorgen Pettersson
playing Z
StockholmSaxophone Quartet
playing SaxStories
playing SaxStories
• Västerås Febr. 27 h.15.00
RödKonsert
Jorgen Pettersson , Sven Westerberg , Ivo Nilsson ,
Patrick Jarl Ordinary , EnsembleSON
• RödKonsert was Commissioned in 2009 by EN.DE
Project, music, and live audio-conduction Maurizio Pisano
Video shooting in collaboration with AAEmpedocle, HernanP, Öberg
RödKonsert
• RödKonsert is a vision. Scripture, pure form and sound of red, Vivaldi and, once again, the light.
• The element that joins handwriting, murals, signs, red marks on stone in total freedom, it is mostly water. It feeds the writing, after which all signs just disappear into the water, brought by the speed of travel time and the indifference towards all speeds.
• Three movements. Seven video clips. The first six are mostly dumb and also, despite the abstractness of the images in their own way narrative stories floating in the air and red, shades, burners, written reflections. The seventh
however, where the man in red wig with hair disappears scoring green water, shows references historical, geographical setting and more marked, but does not live narration tends to disappear. Floating on the water continually runs away and ends-a red-Ophelie tireless as writing with invisible beginning and end, as the music.
• Constant presence is a shadow of the Concerto in C minor for Flute and Strings by Antonio Vivaldi processed electronically now with irony now with time shifts adventurous.
interpreters are immersed in this fantastic journey and continually invent their presence, otherwise they would lose the road, being alone and without time on a street unknown. Mp
however, where the man in red wig with hair disappears scoring green water, shows references historical, geographical setting and more marked, but does not live narration tends to disappear. Floating on the water continually runs away and ends-a red-Ophelie tireless as writing with invisible beginning and end, as the music.
• Constant presence is a shadow of the Concerto in C minor for Flute and Strings by Antonio Vivaldi processed electronically now with irony now with time shifts adventurous.
interpreters are immersed in this fantastic journey and continually invent their presence, otherwise they would lose the road, being alone and without time on a street unknown. Mp
• RödKonsert is a vision. Writings, pure form and sound of “the” red, of Vivaldi, and once again of light.
• Water, in RödKonsert, unifies such different writings combined in a totally free attitude: handwritings, wall writings, urban signals, red signs on a stone.
Water is the basic element of writings, and each sign disappears in it, transported by the journey speed as well as by the priority of time on every speed.
• Three movements and seven videoclips. From 1 to 6 they are basically mute films, true stories of flying and fluctuating “reds”, fires, drafts, fadings, reflections.
The seventh clip has clear environment and hystorical references, and even if the man in red wig disappears, leaving his red sign on the green water, its core is not the narration: it is mostly looking for a disappearing attitude. Everything is escaping, turning on the next “calle” -the venetian streets- to end floating on the water as a red Ophelie, untiring as a writing, with invisible beginning or end, as a music.
• In the audiotrack we have a shadow of the Cminor concert for Recorder and Strings rv441 by Antonio Vivaldi, that is here electronically edited, sometimes ironically, someother with reckless time shiftings.
For the Interpreters this score is a sort of diving journey, they are suggested to continuously “invent” their own presence in the music: doing differently they would get lost and timeless in an unknowned calle.
mp
