la Biennale di Venezia
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Music


Ritual Procession – Cultura In Memoriam

Saturday 1 October at 6:00 p.m.
from the Teatro Piccolo Arsenale / Teatro alle Tese to the island of San Michele
RITUAL PROCESSION ON THE WATER – CULTURA IN MEMORIAM
 
on boats
Stefano Bellon (1956) Canti processionali. Igor Stravinsky: sgangherato – rosa – piano (2011)
Variations on a theme from The Firebird for band (commissioned by the Biennale di Venezia)
 
Island of San Michele
Entrance area
Michele Tadini (1964) Stanza_# 
Sound installation for monophonic speaker and acoustic reflections
 
Greek enclosure – tomb of Igor Stravinskij
Igor Stravinskij Three pieces for clarinet solo (1918, 4’)
clarinet Dirk Descheemaeker
 
Church of S. Michele
Luigi Nono (1924 – 1990) Incontri for 24 instruments (1955, 7’)
Igor Stravinskij Concerto in E flat Dumbarton Oaks (1937-1938, 15’)
Orchestra del Teatro La Fenice
conductor Dario Garegnani
 
Church of S. Michele - Cappella Emiliani
Guillaume De Machaut (ca. 1300-1377) Loyaulté que point ne délay (36’)
voice Marc Mauillon
vielle Vivabiancaluna Biffi
flute and conductor Pierre Hamon
 
Church of San Michele - Choir
Carlo Gesualdo da Venosa (1566-1613) Tristis est anima mea, from Responsori del Giovedì Santo (1611, 5’)
Claudio Monteverdi (1567-1643) Raggi dov'è il mio bene, from the Canzonette (1584, 3’)
Igor Stravinskij Otche Nash (Our Father) (1926, 2’)
Arvo Pärt (1935) O Immanuel, from the Magnificat (1988-91, 3’)
Schola San Rocco, small choir
conductor Francesco Erle
 
Church of San Michele - Cloisters
Arias by Giuseppe Verdi for band
Banda di Maser
conductor Michele Morao
 
Church of San Michele - Cloisters
Stefano Bellon (1956) Ultima scena ed evocazione di Rakewell (2011)for voices and band
from Scene XIV “Ah! Signor! Per carità!” of the Don Giovanni by Mozart
Banda di Maser
conductor Michele Morao
 
Ritual dinner
 
Igor Stravinsky and Guillaume de Mauchaut, Luigi Nono and Gesualdo da Venosa, Claudio Monteverdi and Arvo Pärt, Mozart and Verdi: these authors span centuries in the history of music and represent its living memory. To them goes a symbolic salute orchestrated by Director Luca Francesconi in a Ritual Procession on the Water that will leave from the Teatro Piccolo Arsenale, the venue for the last concert in the program, and take the public across the waters of Venice to the island of San Michele, where the remains of Stravinsky and so many other artists have been laid to rest.
 
The music of this great Russian composer will punctuate the musical evening; from the variations on The Firebird, which Stefano Bellon has composed for a marching band and will be performed along the itinerary of the boats, to the virtuosity of Three pieces for solo clarinet with the world-class performer from the Ictus ensemble Dirk Descheemaeker, to the version of the prayer Our Father, Otche Nash, interpreted by the voices of the extraordinary Schola San Rocco directed by Francesco Erle and the chamber concerto best known as Dumbarton Oaks, the result of Stravinsky’s first visit to America, performed by the Orchestra of the Teatro La Fenice.
 
The choir from Vicenza will also present the “archaic” sonorities of the Magnificat by Arvo Pärt, next to the sacred music by Gesualdo da Venosa and Claudio Monteverdi. The music of another Venetian master, Luigi Nono, will be heard in a performance by the Orchestra of the Teatro La Fenice in Incontri for 24 instruments, considered a turning point in his artistic biography. There will be room for the lyrical intimacy of the art of the troubadours in its highest expression, with Loyaulté que point ne délay, the first lai by Guillaume de Machaut, performed by baritone Marc Mauillon and instrumentalists Pierre Hamon and Vivabiancaluna Biffi, the artists who recorded it for the first time in its complete version, winning a Diapason d’Or. And again: a sound installation by Michele Tadini will welcome the public, which will also be saluted by a band to the notes of the traditional repertory of Verdian arias.
 
The evening ends with a theatrical gesture: Francesconi has in fact chosen to bid his farewell with the famous scene from the banquet of Mozart’s Don Giovanni at its culminating moment, when the protagonist has reached the verge of the abyss, but in a version for voices, brass band and percussion, recreated by composer Stefano Bellon.
 
This is a symbolic salute that expresses our need for memory, which today’s cultural revolution, triggered by irresistible technological progress, is in danger of erasing in the eternal present of Internet and globalization. For Francesconi it is an invitation to reflect on the changes that this revolution has brought to our lives, to our thought and to our future.
 
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