Partita Tripla con Galilei

Partita Tripla con Galilei

Azione musicale per altoparlanti ed installazione centrale
Piazza d' Erbe
La Giornata dell’Ascolto
Terza edizione Padova - 24 maggio 2009.

In uno spazio reale e in un tempo immaginario, un raro madrigale di Vincenzo Galilei (compositore rinascimentale, padre del celebre Galileo) viene innestato in un corale di Johann Sebastian Bach, scritto un secolo più tardi, da tre compositori di oggi, seduti attorno al tavolo virtuale di Internet. Nel centro della piazza il mercato dei giorni feriali proseguirà, soltanto con I suoi suoni, durante la tutta la Giornata dell'Ascolto – impermeabile alle elucubrazioni musicali vicine e lontane.

Il madrigale di Vincenzo Galilei è In Exitu Israel cantato in tutte le sue parti da Alessandro Carmignani (per gentile concessione dell'esecutore), il corale di Bach è il primo corale della cantata BWV12 Weinen, Klagen, Sorgen, Zagen, I compositori di oggi sono Maura Capuzzo, Neil Leonard e Marco Braggion coordinati da Nicola Bernardini. L'installazione sonora nel centro della piazza è stata curata da Gil Frison assistito dagli studenti del corso di Tecnico di Sala di Registrazione del Conservatorio C.Pollini di Padova coordinati da Francesco Morosinotto.

Partita Tripla con Galilei

Musical event for loudspeakers and center installation
Piazza d' Erbe
La Giornata dell’Ascolto (Listening Day)
Third edition, Padova - May 24, 2009.

In a real space and in an imaginary time, a rare madrigal by Vicenzo Galilei (renaissance composer and father of the celebrated Galileo) is implanted in a choral by Johann Sebastian Bach, written a century later, by three composers of today sitting around a virtual table via the Internet. In the centre of the piazza the disembodied sounds of the daily market continues during the entire Giornata dell' Ascolto - impermeable to the musical events held in close and distant sites around the city.

The madrigal of Vicenzo Galilei is In Exitu Israel, performed acappella by local singer Alessandro Carmignani (and used with his kind permission). The Bach chorale is the first chorale of the cantata BWV12 Weinen, Klagen, Sorgen, Zagen. The composers are Maura Capuzzo, Neil Leonard and Marco Braggion coordinated by Nicola Bernardini. The sound installation in the center of the piazza was curated by Gil Frison assisted by the students of the Tecnico di Sala di Registrazione (Music Recording and Engineering program) of the Conservatorio C.Pollini di Padova and coordinated by Francesco Morosinotto.

Computer Music Journal review of Rondo da Passeggio

Computer Music Journal - Volume 33, Number 1, Spring 2009

PDF version of review by Amalia de Götzen

EXCERPT FROM THE ARTICLE:

According to Mr. Durante:

Its theoretical background (here drastically summarized) is that modern culture provides a superabundance of objects (musical objects in our case) but less and less opportunities for appropriate listening conditions. During the day a number of ''different ways of listening" are offered to the citizens (and visitors) of the city to help them retrieve the very sense (and sensibility) of the act of listening. The musical “repertoire” becomes a function of the psychoacoustic and social processes under way rather than an object of fetishism. In order to reach the goal, a relatively broad range of listening experiences are selected, from Persian poetry of the 13th century sung in the 13th-century City Hall building—the Salone della Ragione, to historical Western repertoire, to newly composed music. This was the case for Rondò da Passeggio, which was especially conceived for the listening conditions of a Paduan portico. (electronic mail communication)

Mr. Durante continues:

The idea to produce a multiple linear installation over a stretch of 350 meters is in itself original, but despite that the event reached the national media in the simplified representation of a curiosum, originality per se was not the goal: more important was the choice of collective composition, one that de-empasized the centrality of egoin the compositional processes of the West (a centrality which significantly runs across both ''high" and ''low" musical cultures). On the other hand the project faced and focused some characteristic problems of post-avant-garde music: the listener ''walked through" music rather than joining the crowd at the concert hall or standing in front of one single installation. In this way the listener defined (or rather interacted with) the form of music according to one's walking speed and/or to the special interest for each individual installation, slowing down, speeding up or stopping. At the same time, the installation compelled the casual passer-by to come to terms with sonorities that did not (probably) belong to his or her daily experience. This represents, in itself, a statement within an urban culture (in Padua as anywhere else) that exposes individuals to the daily violence of sounds “not chosen.” Not least, the project posed compositional problems of interrelationship (formal, stylistic, textural) between different parts of the installation. These problems may have been successfully solved (or possibly less than successfully solved); but beyond this point, most important was that the new problems generated new reflections. Hence, the intention to repeat the experience at the next Giornata dell'Ascolto in 2009. (ibid.)

CMJ Reviews http://204.151.38.11/cmj/reviews/33-1/deGotzen-Padua.html