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Neuevocalsolisten e Gareth Davis

11 ottobre 2012 - Teatro Piccolo Arsenale
NEUE VOCALSOLISTEN STUTTGART
GARETH DAVIS
clarinetto basso
Elliott Sharp (1951) Turing Test per 6 voci e clarinetto basso - testi di Elliott Sharp (2012, 12’) prima es. ass.
Johannes Schöllhorn (1962) C - Vier Etüden für vier Stimmen (soprano, mezzo soprano, contralto, controtenore) und Bassklarinette - testi da Geschichtklitterung di Johann Fischart (2012, 10’) prima es. ass.
Oscar Bianchi (1975) Ante Litteram per 6 voci soliste e clarinetto basso - testi di Nietzsche, Foster Wallace e altri (2012, 16’) prima es. it.
Yannis Kyriakides (1969) The World Feels Pressure per 3 voci (soprano, contralto, basso), clarinetto basso e live electronics (2012, 15’) prima es. ass.
Bernhard Gander (1969) Deathtongue per 6 voci e clarinetto contrabbasso - testi da Death Metal / Black Metal bands e Requiem (2012, 12’) prima es. ass.
Neue Vocalsolisten: Sarah Maria Sun soprano acuto, Susanne Leitz-Lorey soprano lirico, Truike van der Poel mezzo soprano, Daniel Gloger controtenore, Martin Nagy tenore, Guillermo Anzorena baritono, Andreas Fischer basso
Gareth Davis clarinetto basso
commissione Musik der Jahrhunderte
produzione la Biennale di Venezia e Musik der Jahrhunderte Stuttgart nell’ambito del progetto ENPARTS – European Network of Performing Arts
con il supporto del Programma Cultura dell’Unione Europea

Five compositions for vocal ensemble and bass clarinet: a singular scoring, thought explicitly for the Neuevocalsolisten and Gareth Davis.

In Turing Test Elliott Sharp conceives a sort of miniature opera- or perhaps it would be better to say a representative madrigal - about the story of someone who does not know whether inside a computer there’s artificial intelligence or a real person.

As the title indicates, in C-Vier Etu¨den fu¨r vier Stimmen und Bassklarinette by Johannes Schöllhorn the number 4 is decisive: these are four etudes for four voices, based on the four words listed under the letter “C” in the Rückläufiges Wörterbuch der deutschen Gegenwartssprache (1965) by Erich Mater, a backwards dictionary listing words according to their last letter. The 4 words are, in order, “ABC” “Morse- ABC” “chic” and “tic.”

Using disparate materials that nevertheless have to do with alphabets and lists, especially those contained in Geschichtklitterung (1575) by Johann Fischart, the piece also pursues from the musical point of view the idea of the assembly of heterogeneous elements grouped only under conventional criteria. Using fragments of Nietzsche, Foster Wallace and other authors, Oscar Bianchi in Ante litteram poses questions about the shadowy area that comes before speech and language, “through an Ante litteram handling of sound one makes progress in the awareness involved in listening to compose a sonic verb that escapes meaning to re-educate ourselves about the unknown, to regain possession of the unfamiliar. A verbalization of sound to accept and understand everything that precedes us.”

The World Feels Pressure by Yannis Kyriakides is built around pressure, understood as pervasive force, and the forms of resistance it encounters. For the intonation of the text by Dick Raaijmaker, a system has been created in which the singers’ notes are treated with Auto-Tune software that alters the voices, the bass clarinet adapts itself by distorting the harmony and a sound heard throughout the piece is modified according to the notes and texture of the vocals, so that “the musician’s sound is always coming under pressure from the sound mediated by the computer.”

As the title indicates, Deathtongue by Bernhard Gander is a piece about death, and speaks of it in an obscure language; the text uses aggressive and disturbing phrases from songs by death metal and black metal bands to combine them with the sculpted lines of the Requiem.
Cesare Fertonani