Festival Spaziomusica Cagliari – Progetti di musica e di arti performative contemporanee

Festival 2007

• mercoledì 3 ottobre, ore 10-12,
Aula Magna del Conservatorio Statale di Musica, Cagliari
Workshop sul Theremin a cura di Barbara Buchholz

• giovedì 4 ottobre, ore 21 Cripta di San Domenico, Cagliari
Barbara Buchholz, Theremin; Pedda Borowski, proiezioni video

• giovedì 11 ottobre, ore 17-20
• venerdì 12, sabato 13 ottobre, ore
10-12, 16-18
Aula Magna del onservatorio Statale di Musica, Cagliari
Masterclass di composizione a cura di Michel van der Aa

• domenica 4 novembre, ore 10 Cripta di San Domenico, Cagliari
Incontro con Marcello Fois e Fabrizio Festa, coordina Riccardo Sgualdini

• domenica 4 novembre, ore 21
Cripta di San Domenico, Cagliari

• lunedì 5 novembre, ore 21 Teatro Civico, Sassari
Aedon Ensemble

• sabato 10 novembre, ore 21
Auditorium del Conservatorio di Musica di Cagliari
Ensemble Palestrina

• martedì 20 novembre, ore 10 Aula Magna del Conservatorio Statale di Musica, Cagliari
Seminario sulla Cantada campidanese a cura di Paolo Zedda

• martedì 20 novembre, ore 21
Cripta di San Domenico, Cagliari

• mercoledì 21 novembre, ore 19
Centro Polivalente, Uta
Gara Poetica Sarda

• sabato 24 novembre, ore 21 ExMà Cagliari
Poetry Machine, Generatore di poesie Live performance a cura di
Riccardo Dapelo, Claudio Pozzani e FabioVernizzi

• domenica 25 novembre– martedì 4 dicembre
ExMà, Cagliari Poetry Machine, Generatore di poesie Installazione
interattiva a cura di Riccardo Dapelo

• sabato 1 dicembre, ore 21 Cripta di San Domenico, Cagliari
• domenica 2 dicembre, ore 21 Chiesa di S. Maria di Betlem, Sassari
Corale Polifonica Santa Cecilia e Ensemble strumentale del
Conservatorio di Musica di Sassari

• martedì4dicembre, ore10 Aula Magna del Conservatorio Statale di Musica, Cagliari
Incontro con Salvatore Niffoi e Gilberto Bosco, coordina Riccardo Sgualdini

• martedì 4 dicembre, ore 21 Cripta di San Domenico, Cagliari
Ensemble Ricercare
• venerdì 7, sabato 8 dicembre, ore 21 Cripta di San Domenico, Cagliari
Eastman BroadBand Ensemble

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mercoledì 3 ottobre, ore 10-12, 16-18 Aula Magna del Conservatorio Statale di Musica, Cagliari

Workshop sul Theremin a cura di Barbara Buchholz

giovedì 4 ottobre, ore 21 Cripta di San Domenico, Cagliari

Barbara Buchholz, theremin; Pedda Borowski, proiezioni video

Joseph Schillinger

Improvisation Melody

Alessandro Olla

Land 26*

Barbara Buchholz e Andreas Schmidt

Eye of the Sun Starlit

Barbara Buchholz

Seaweed Lullaby Eclipse Improvisazione su “The Ballad of the Sad Young Men” by Thomas J. Wolf Jr.

Barbara Buchholz e Jan Krause

Sokolniki Stein Hunting

Erik Satie


Barbara Buchholz. Studied music at the University of Biele- feld. In the 80s, she toured as bass player with the women’s orchestra REICHLICH WEIBLICH. Later, the recipient of nu- merous music awards played and sang with projects crossing the boundaries of art, music, poetry, dance; recorded for the WDR; followed an invitation of the Goethe Institute to teach in

TansaniaA. s a composer and performer, Barbara Buchholz has worked for a wide range of theatres; as artistic di- rector she conceived and produced “TAP IT DEEP” – a unique blend of midified tap dance and new jazz – as well as HUMAN INTERACTIVITY – a collaboration with the Russian computer painter Olga Kumeger, among others.

Barbara Buchholz’ current musical endeavours focus on the Thereminvox, an instrument played without touch, as well as the MIDI Theremin, an innovation commissioned by the artist herself: using a combina- tion of MIDI signals and a sampler, the MIDI Theremin lets her trigger loops and samples by hand gestures in the air.

Multiple invitations by the Russian Office of Cultural Affairs plus a number of stipends have allowed Barbara Buchholz to deepen her studies of these “antenna instruments” at the Theremin- center in Moscow. As master student of Lydia Kavina, a de- scendent of Theremin’s originator Lev Thermen, she picks up the once interrupted tradition of this instrument and finds new ways and applications in the vicinity of New Music. In the age of digital media, Barbara Buchholz’ work explores the options of making electronics a dimension of human communication. The combination of Thereminvox and Midi Theremin is a bridge from the oldest to the very latest technology.

giovedì 11 ottobre, ore 17-20

venerdì 12, sabato 13 ottobre, ore 10-12, 16-18 Aula Magna del Conservatorio Statale di Musica, Cagliari

Masterclass di composizione a cura di Michel van der Aa

Michel van der Aa (Netherlands, 1970) is one of Europe’s most sought-after composers today. For Van der Aa, music is more than organized sound or a structuring of notes. His mu- sic has expressive power, combining sounds and scenic images in a play of changing perspectives. Van der Aa’s recent stage works show a successful involvement as a film and stage di- rector as well as composer. “Van der Aa, stage director and mastermind as well as composer, pushes the boundaries of all of his media. This is the Gesamtkunst of the future.” (Financial Times) Van der Aa’s works often include a theatrical element: staging, film and music are seamlessly interwoven. Dramatic personages take on various identities or have an alter ego; mu- sicians on the stage interact with their electronic counterparts on soundtrack or film. The virtual space that emerges works its way into the mind of the audience. Sound, in Van der Aa’s book, is malleable: it can constantly assume other forms, sometimes recognizable, sometimes not. Van der Aa is in fact a playwright in mu- sic. His sounds – like real people – can be flexible or stubborn; they either take control or get the short end of the stick; they reinforce or counteract each other, affecting audiences with their expressive power.

Having completed his training as a recording engineer at the Royal Conservatory in The Hague, Michel van der Aa studied composition with Diderik Wagenaar, Gilius van Bergeijk and Louis Andriessen. His style, independent in spirit, is characterized by a constructivist ap- proach and the use of rhythm and chords as structural elements. It is strikingly subtle, playful, poetic and transparent but not, however, expressive or melodious in the traditional sense. In 2002 Van der Aa completed a program in film directing at the New York Film Academy. In 2007 he participated in the Lincoln Center Theater Director’s Lab, an intensive course in stage direction. He was responsible for the stage direction as well as the conception and creation of the film segments in the operas One After LifeOne . His film directing credits include the short film Passage as well as the television production of One for the Dutch national broadcasting company NPS. In applying staging, film images and soundtracks as additional instruments, he effectively extends the vocabulary of his music. Van der Aa’s music has been performed by ensembles and orchestras worldwide, inclu- ding the ASKO/Schoenberg Ensemble, Freiburg Baroque Orchestra, Melbourne Symphony Orchestra, De Nederlandse Opera, Mozarteum Orchestra Salzburg, Seattle Chamber Players, New National Theatre Tokyo, musikFabrik, Continuum Ensemble Toronto, SWR orchestra Baden-Baden & Freiburg, Netherlands Radio Orchestras, Norrköping Symphony Orchestra Sweden, and the Helsinki Avanti Ensemble. Van der Aa has been a featured artist at the Perth Tura New Music Festival and Holland Festival. He is a regular guest of the Berliner Festspie- le, Venice Biennale, Donaueschinger Musiktage, Gaudeamus Music Week, Huddersfield Festival, Concertgebouw Saturday Matinee and Autumn in Warsaw. Additionally his compositions have been perfor- med at the Festival d’Automne á Paris, LA Philharmonic New Music Series, Lucerne Festival, Music Biennale Zagreb, Moscow Music Week, Oslo Ultima Festival, and Budapest Autumn Festival. His film Passage has been shown at numerous international festivals and has been aired on Dutch national television. Van der Aa has collaborated with directors Hal Hartley and Peter Greenaway and with choreographers such as Kazuko Hirabayashi, Philippe Blanchard, Ben Wright and An- nabelle Lopez Ochoa. Michel van der Aa’s imaginative music theatre works, including the chamber opera One

(2002) and the recent opera After Life. In 1999 Michel Van der Aa was the first Dutch composer to win the prestigious International Gaudeamus Prize. Van der Aa won the 2004 Matthijs Vermeulen pri- ze for One. The Ernst von Siemens Foun- dation awarded him a Siemens Compo- sers Grant in 2005. Also in 2005 Michel van der Aa received the Charlotte Köhler Prize for his directing work and the inter- disciplinary character of his oeuvre. In 2006 Michel van der Aa was awarded the Paul Hindemith Prize. Current projects include a new song cycle for mezzo-so- prano, orchestra and soundtrack, commissioned by the Royal Con- certgebouw Orchestra, the Orchestre Nationale de France and the NDR Orchestra in Hamburg. The work’s premiere is scheduled for the 2008/2009 season. Van der Aa’s music is recorded on the Harmonia Mundi, Col Legno, Composers Voice, BVHaast, and VPRO Eigenwijs labels. Michel van der Aa is published by Boosey & Hawkes.

(La foto di Michel van der Aa nella pagina 7 è di Ben van Duin, quella nella pagina 8 è di Gerrit Scheurs)

In collaborazione con l’Ambasciata del Regno dei Paesi Bassi, The Netherlands Culture Fund, Gaudeamus, Donemus, Dutch Jazz Connection e con il Conservatorio Statale di Musica di Cagliari.

domenica 4 novembre, ore 10, Cripta di San Domenico, Cagliari

Incontro con Marcello Fois e Fabrizio Festa, coordina Riccardo Sgualdini

domenica 4 novembre, ore 21, Cripta di San Domenico, Cagliari

lunedì 5 novembre, ore 21, Teatro Civico, Sassari

Aedon Ensemble

Michele Cosentini, voce recitante Fabrizio Festa, direttore

Simone Santini, EWI 4000, sassofoni Stefano Marzi, clarinetti Gabriele Zoffoli, violoncello Stefano Bartolucci, pianoforte Fabrizio Festa, elettronica sintetizzatori

Fabrizio Festa

Ribellarsi è giusto* su testo originale di Marcello Fois Kenkichi Sakai

Ricercare per Trio*

La collaborazione tra Marcello Fois e me risale ai lontani anni dell’università. Fuori sede entrambi a Bologna, vicini di casa, abbiamo trascorso insieme intere giornate per molti anni, le giornate che trascorrono insieme gli studenti, lui di lettere, io di filosofia (il Conservatorio era accessorio all’epoca). Questa brevissima notazione biografica è indispensabile per capire perché, in seguito, abbiamo dato vita ad un sodalizio artisti- co particolarmente fecondo: quindici i melologhi (uno solo dei quali realizzato prima di questo in Sardegna), sette i radio- drammi (di cui alcuni incisi e pubblicati anche su CD) tutti per la RAI, un’opera lirica (che ha debuttato al Teatro Comunale di Bologna), più alcune “romanze”. A tutto questo si aggiungano anche le performance realizzate con Fois come lettore ed il sot- toscritto come tastierista, due delle quali, le più entusiasmanti, avvenute al Teatro Argentina di Roma, mentore Giorgio Alber- tazzi. Infine, ci sono le dediche crittate, lui a me, io a lui (nei titoli, ad esempio, di alcune nostre opere), che tali restano, ma fanno comunque parte dei frutti di questo sodalizio. Insomma, ce n’è quanto basta a spiegare le ragioni di una collaborazione. Quest’ultima, che nasce espressamente su invito del Festival SpazioMusica, rispecchia un lato comune alle nostre persona- lità: non siamo capaci di tacere, e di tacere soprattutto la no- stra indignazione. Il titolo rimanda ad un volume che riportava le conversazioni tra Sarte, Gavi e Victor, avvenute negli anni 1972-74, quelli in cui andava formandosi il movimento che poi esploderà nel ’77-’78. Tanto la musica, quanto il testo nulla hanno a che vedere con quelle conversazioni, se non nell’epi- tome del titolo, nel gesto cioè di ribellione, che l’artista compie ogniqualvolta esprime liberamente il suo talento. Anche par- lando, come nel caso in questione, di eventi reali; anche allu- dendo, come nel caso in questione, a faccende del presente o del recente passato. (F.F.)

Fabrizio Festa (1960) comincia i suoi studi musicali come pianista, dedicandosi fin dagli inizi al Jazz. E’ in ambito jazzistico che comincia ad interessarsi alla composizione ed all’arrangia- mento. Frequenta così i corsi di composizione e di musica d’uso e riprodotta (nei quali studia orchestrazione) presso il Conservatorio di Bologna (con Ettore Ballotta), e si specializza poi con Mal Waldron in arrangiamento per orchestra jazz. Sono suoi la maggior parte dei brani incisi nei dischi (due LP e due CD) del ‘Festa Group’, la band da lui fondata e diretta per molti anni, band con la quale è stato due volte ospite del Festival Internazionale del Jazz di Mon- treux e ha compiuto tournée sia in Europa sia negli USA. Tra i più importanti impegni jazzistici segnaliamo la partecipazione (come direttore ed orchestratore) alla realizzazione dell’ultimo CDdelchitarristaecompositoreamericanoAlDiMeola“TheGrandePassion”. Nel2005il nuovo CD del Festa Group – “Vinyl” – è giunto tra i finalisti al Grammy Award nella categoria jazz contemporaneo. L’attività di compositore lo ha visto impegnato in diversi settori: da quello classico al Jazz ed allamusicaleggera, dallecolonnesonoreperilteatro,ilcinemaelatelevisione, allepro- duzioni radiofoniche. Sue pagine sia sinfoniche sia cameristiche sono state eseguite negli Stati Uniti, in Canada, in Sud America (Cile, Argentina, Brasile, Perù), in Europa (Russia, Gran Bretagna,Olanda,Germania,Francia,Spagna,Norvegia, Belgio,Grecia, Danimarca,Svezia, Lituania)einAsia(Cina,Iran,Turchia,AzerbajaneLibano),oltrecheinItalia. Lesuedue opere sono state messe in scena al Teatro Comunale di Bologna. Come tastierista si esibisce regolarmente in collaborazione con il Trio Aedòn, con il quale ha compiutonumerosetourneeinItaliaedall’estero, invitatosiacomecompositore,siacome interpreteinprestigiosi festivalinternazionalieospitediteatriesaletraleprincipali(Carne- gie Hall e Focus Festival alla Juilliard School a New York, Festival Encuentros al Teatro Colòn diBuenosAires,FilarmonicadiVilnius,MuseoGuggenheimaBilbaoperilBBKFestival, e prossimamentealFestivaldiCervantinoinMessico,edinItalia ERFFestival, Festivaldelle Nazioni, FestivalInternazionaleMozartaRovereto, ecc.).

Il Teatro Comunale di Bologna gli ha affidato la programmazione di musica contemporanea (d’uso e d’arte) per le stagioni 2005/2006 e 2006/2007. E’ direttore artistico del Concorso Internazionale di Composizione “2 Agosto”, che ha sede a Bologna. E’ docente di arrangiamento e orchestrazione presso il Conservatorio “G. B. Martini” di Bo- lognanell’ambitodelcorsodiMusicad’usoadindirizzomultimediale. E’docentediMusicae Danza presso il Biennio specialistico e assistente presso il corso di Storia del Teatro Moder- no e Contemporaneo al Dipartimento di Discipline dell’Arte, della Musica e dello Spettacolo (DAMS) dell’Università di Bologna.

Laureato in filosofia, svolge regolarmente l’attività di critico musicale e di musicologo. Dal 1987 collabora col quotidiano ‘la Repubblica’. E’ direttore responsabile del periodico ‘MI’, pub- blicato dall’associazione Musica Insieme, con la quale lavora come consulente musicale da molti anni. Collabora regolarmente in questa veste con molti enti lirici, teatri di tradizione e festival italiani. E’ membro dell’Associazione Nazionale dei Critici Musicali. (F.F.)

Ho conosciuto Kenkichi Sakai nel 2005. Una sua partitura è sta- ta, infatti, premiata in quell’edizione del Concorso Interna- zionale di Composizione “2 Agosto”, concorso che ho l’onore di dirigere e che, nei suoi ormai quattordici anni di vita mi ha permesso di conoscere e di confrontarmi con generazioni intere di giovani compositori provenienti da tutto il mondo.

In particolare, le scuole giapponesi stanno formando com- positori non solo dotati di solidissima tecnica, ma anche di un singolare talento e di una speciale capacità di rielaborare tradizioni diverse, senza perdere per questo la loro perso- nalità. Con Kenckichi Sakai, e con altri colleghi giapponesi, è nata così una vera e propria collaborazione, uno scambio di idee e partiture, tra i cui frutti sta appunto questo Ricercare per trio. Anzi, ad essere precisi, Kenkichi Sakai ha scritto apposita- mente per questi concerti a Cagliari e Sassari il trio, che quindi viene proposto in prima esecuzione mondiale. La partitura si basa su due strutture linguistiche sovrapposte. In primo luogo, il tema è scritto sfruttando le lettere del mio nome (cortesie tra colleghi, che fan sempre piacere), in un gioco di traslitterazioni che utilizza sia i nomi delle note in italiano, sia in anglo/tedesco. Il risultato è il seguente: F – A – B – D – C# – Ab – F# – Eb. Il riferimento generale, invece, guarda ad un tipo di musica tradizionale giapponese chiamato “Jo-ha-kyu”. Per essere più esatti, lo “Jo-ha-kyu” indica un tipo particolare di concezione del movimento e dello sviluppo, che si applica ad arti diverse, e che riappare anche in forme cerimoniali, come quella del tè, in alcune tra le arti marziali e nelle forme tradizionali del tea- tro. Potremmo riassumere tale struttura in uno schema rozzo, ma semplice: introduzione, interruzione, e poi un finale rapi- do, il passaggio tra una sezione e l’altra avvenendo in modo fluido e senza salti. Dal punto di vista storico, lo “Jo-ha-kyu” trova la sua corrispondenza musicale nell’ambito della musica di corte gagaku, musica che per secoli è stata vista come la “classica” giapponese, ed era appunto eseguita all’interno della corte imperiale. Non sorprenderà, quindi, che il Ricercare sia strutturato in tre parti, senza soluzione continuità, ma facil- mente distinguibili all’ascolto: un’introduzione lenta, seguita da un allegro su ritmi dispari, che conduce ad un finale costruito su una struttura ritmica iterativa, ma più calmo. Il tutto con un evidente sapore cerimoniale, che mette in risalto appunto la matrice “tradizionale” dell’intero brano. (F.F.)

Kenkichi Sakai was born in Nagasaki, Japan in 1980. Without entering college, Sakai lear- ned composition from Yutaka Kato; piano from Keiko Okumura; harmonics and theory from Yoko Ohno. Since he was in high school, Sakai’s original works were awarded prizes in Japan, and acclaimed by the late Akira Ifukube, one of the most important composers in Japan. In 2002, Sakai arranged the orchestral music for an event that was viewed by Emperor Akihito. Since 2003, he also has been expanding his musical activities, including his collaborative works with a Japanese artist Gen Tamura’s paintings and short films. Sakai currently runs his music class and studio.

sabato 10 novembre, ore 21, Auditorium del Conservatorio di Musica di Cagliari

Ensemble Palestrina Cristina Greco, Francesco Marceddu, Fabrizio Ruggero, direttori

Enrico Di felice, flauto; Marta Tinti, flauto; Roberta Maria Cassinelli, clarinetto; Nicola Murtas, corno; Matteo Cogoni, tromba; Matteo Piras, trombone; Corrado Lepore e Monica Orofino, violino; Maria Cristina Masi, viola; Fabio Mureddu, violoncello; Massimo Giulio Tore, con- trabbasso; Roberto Pellegrini, percussioni; Emilio Capalbo, pianoforte; Marco Angioni, elettronica

Michel van der Aa

Mask (2006) Quadrivial (1997)

Christian Cassinelli

I colori di Lampernisse (2005)

Francesco Marceddu

20-3-2003 alle vittime della guerra in Iraq (2007)

Enrico Travaglione

Sonata da camera (2007)

Marco Murru

Maculas Solares (2007)

Andrea Pireddu

Bug World (2007)

Fabio Massimo Manconi

Emigranza d’orchestra (2007)

In Mask, musical layers are covered and revealed. Overto- ne ‘masks’ in the soundtrack transform the colour of the no- tes in the instrumental ensemble, shifting the sound texture. The acoustic material played by the ensemble is manipula- ted and snipped apart in the soundtrack. The musical layers within the ensemble and soundtrack overlap one another; sudden interruptions rip a hole in the texture, revealing pre- viously concealed layers. A percussionist obsessively pulls gaf- fer tape from a table surface, causing the ensemble to react with manic outbursts. As an old-fashioned metronome, ope- rated by the percussionist, gradually becomes muffled, the soundtrack slowly robs the ensemble’s sound of its overtones.

Quadrivial is an adaptation of the piece double. The work focu- ses on the communication between the pianist and the other three players. The piano is prepared with the hairs of a bow in order to produce long string like sounds. In the climax of the piece, the pianist grabs a mallet and a fast percussive reac- ting between the flute, violin, cello and the pianist takes pla- ce. These theatrical gestures are written down in the score.

I colori di Lampernisse. Il titolo del brano fa riferimento a Mal- pertuis, romanzo capolavoro dello scrittore belga Jean Ray (1887-1964), e in particolare a uno dei suoi personaggi il quale, padrone di un negozio di vernici, terrorizzato dal buio, nel tentativo di tenere accesi i lumi che si spengono, fa de- gli strani incontri notturni. Uno di questi gli sarà fatale. Tale percorso extra-musicale, tuttavia, non influisce direttamen- te sui processi strettamente musicali del pezzo che, svilup- pandosi attraverso permutazioni di un unico materiale in- tervallare (tramite procedimenti di derivazione motivica), si articola in una forma abab’acdac, simile a un Rondò. (C.C.)

20-03-2003 alle vittime della guerra in Iraq” è una composizione che utilizza una serie di sei suoni trasposta in diverse altezze e secondo i procedimenti di inversione e retrogradazione. Il titolo indica il giorno del primo bombardamento americano in Iraq e vuole essere una voce di protesta contro la guerra in generale e contro ogni forma di violenza che non ha vincitori, ma solo morti e feriti: le vittime della guerra, militari di entrambi i fronti, spesso pedine di un potere prepotente, e civili, uomini, donne e bambini che non hanno scelto la guerra. Il brano lontano dall’essere una composizione descrittiva, cerca però di prendere spunto dalla caduta delle bombe, dal caos, e dal silenzio succes- sivo per costruire situazioni musicali. La caduta delle bombe ha suggerito la predominanza di frammenti melodici discendenti e elementi ritmici martellanti e senza respiro, che si inseriscono prima gradualmente poi sempre più decisamente su un ostinato iniziale del pianoforte nel registro acuto, che sparisce dominato dalla violenza ritmica. E’ la rappresentazione della distruzione di uno stato di equilibrio che sfocia in una fuga, momento riflessi- vo del brano, molto breve che viene fagocitato nuovamente dal ritmo martellante. Solo dopo questo momento la composizione si trasforma in un “paesaggio statico” introdotto dal suono del- le campane e dal cambio di atmosfera sonora, dove domina il vibrafono, mentre il pianoforte e gli archi creano attorno aloni sonori e riverberi. Anche qui i frammenti melodici sono preva- lentemente discendenti e all’ingresso di tutti gli strumenti si allontanano il registro acuto e grave, come due realtà ontologi- che, il bene e il male, la terra e il cielo, l’uomo e Dio. Una me- lodia ascendente affidata agli ottoni introduce il “Requiem ae- ternam”, breve parte finale che vuole essere una preghiera che sale verso l’alto, verso un cielo dove il credente cerca la pace in Dio, o un grido di disperato dolore verso quello stesso cielo che con le armi tecnologiche ha portato la distruzione. (F.M.)

Sonata da camera nasce a Torino nel mese di febbraio di quest’anno, ed è stato scritto in circa due settimane, in vista di questa esecuzione. È una personale ricerca intorno ad alcuni aspetti compositivi timbrici e formali che hanno caratterizzato i miei studi negli ultimi anni. Il brano presenta una struttura tripartita, con due brevi intermezzi. La prima sezione, la più estesa, è costruita intorno ad un pedale che alternativamente emerge e si nasconde in funzione di differenti contesti sonori. Si contrappone nettamente alla seconda, che si fonda inve- ce su un incalzante movimento degli archi e dei legni, mira- to al raggiungimento di una articolata frammentazione ritmi- ca. La sezione finale acquista infine nell’economia del pezzo una funzione di cesura, attraverso il richiamo di alcuni ele- menti tipici ricorrenti come le terzine dei corni e i trilli. (E.T.)

Maculas Solares. Il titolo originale del brano è “De Maculis in Sole Observatis” e si riferisce al libro del 1611 scritto da Johannes e David Fabricius in cui veniva descritto il fenome- no delle macchie solari, chiamate così per la loro forma vi- sta dai telescopi dell’epoca. Le macchie in realtà sono delle immense esplosioni provocate da sbalzi di temperatura, causate da zone della superficie del sole in cui la temperatura è più bassa. Questo brano ha tratto ispirazione dal fenomeno astronomico e lo richiama attraverso delle bolle sonore introduttive che ricordano delle esplosioni lontane, contrapposte al rapido movimento quinario che rappresenta il fuoco. Que- sti elementi vengono rimescolati fino a scomparire tramite l’inserimento di un lento corale e diversi tipi di fasce. (M.M.)

Bug World. È un pezzo brillante, ritmicamente vivace che, come suggerisce il titolo, vuole aprire una divertente finestra nel mi- crocosmo degli insetti. Sprigiona sin dalle prime battute un’ac- cattivante carica energetica determinata dal carattere diretto, spontaneo e quasi improvvisato della sua forma. Nel volgere di pochi minuti si alternano atmosfere dal sapore tonaleggiante e sonorità moderatamente più aspre, o che tendono ad essere tali, ma sempre al fine di raggiungere un felice connubio fra situazioni sonore quasi diametralmente divergenti. Tutto ciò, comunque, in maniera coerente con le inclinazioni stilistiche di fondo del compositore. Inoltre, la tensione emotiva generata provoca un’aspettattiva che, data la brevità del pezzo, rimarrà provocatoriamente insoddisfatta, quasi si volesse lasciare nel- l’ascoltatore la sensazione che forse ci sarà un proseguo… (A.P..)

Emigrazione, transumanza, migrazione, transizione… Emigranza racchiude tutti questi termini che hanno come significato comune il movimento, lo spostamento; ma anche, in accezione più ampia, il passaggio, il cambiamento, la trasformazione di tutte le cose materiali e non. Il movimento spazio-temporale del suo- no, il corpo che cambia, le città che si trasformano, l’ansia di un viaggio interiore, il piacere di una passeggiata, un desiderio che si realizza, l’energia della vita, la forza del pensiero… Emigranza d’orchestra si articola e si snoda attraverso tutti questi aspetti del movimento, e vuole esserne il riflesso musicale. (F.M:M.)

Christian Cassinelli. Nato nel 1979 a Cagliari, diplomato, con Stefano Figliola pres- so il Conservatorio “Pierluigi Da Palestrina”, in pianoforte con il massimo dei voti e la lode. Contemporaneamente ha iniziato lo studio della composizione con i maestri Gianluigi Mattietti, Gianpiero Cartocci, Angelo Guaragna, Loris Capister ed Emilio Capalbo conseguendo il diploma accademico di primo livello nel maggio 2007 con il massimo dei voti e la lode. Particolarmente attivo come interprete di musica da camera, fa parte sin dalla sua fondazione dell’“Ensemble Palestrina”, gruppo diretto da Riccardo Leone e specializzato nel repertorio novecentesco e contemporaneo. Ha composto lavori cameristici, come Sleep, per soprano, flauto e pianoforte su testo di James Joyce (2001), Salon Suite, per quindici strumenti (2002) e The unquiet gra- ve, per soprano, clarinetto e pianoforte (2003), eseguito per la prima volta al Festival Spaziomusica di Cagliari; pezzi vocali, come De metu, dal Tieste di Seneca, per coro a sei voci miste e sistro, scritto per il C .U .M. (Coro del Centro Universitario musicale di Cagliari) ed eseguito in Polonia, Francia e Italia nell’ambito di importanti rassegne con- certistiche. Vincitore della prima edizione del Concorso internazionale di composizione il giornale della musica, (in giuria Luis Andrissen, Zygmunt Krauze, Steve Martland, Luca Francesconi e Heiner Goebbels) con il brano Rosario, per orchestra, eseguito in prima assoluta il 13 gennaio 2005 a Torino dall’ Orchestra Sinfonica Nazionale della Rai diretta da Roberto Abbado. Il 17 dicembre 2005 è stato eseguito il Concerto per Violoncello e Orchestra da Camera, commissionatogli dal Teatro Lirico di Cagliari, con Francesco Ma- ria Colombo come direttore e Alexìs Descharmes come solista. Nel 2005 e nel 2006 ha frequentato i corsi di composizione tenuti da Azio Corghi presso l’Accademia Musicale Chigiana di Siena ottenendo il diploma di merito e l’esecuzione al concerto finale di due lavori cameristici: I colori di Lampernisse, per sei strumenti e Se cerca, se dice…per soprano e strumenti su testo di Pietro Metastasio. Con lo stesso docente ha frequentato il primo anno del corso di perfezionamento di Composizione presso l’Accademia Nazio- nale di Santa Cecilia in Roma superando l’esame di promozione al secondo anno che si svolgerà sotto la guida di Ivan Fedele. Nell’agosto 2006 ha preso parte al laboratorio Stresa EARlab nell’ambito del Festival Settimane Musicali dove sotto la guida di Luca Francesconi e in collaborazione con il corso di direzione d’orchestra di Gianandrea No- seda è stato realizzato ed eseguito Diatomee, per orchestra. A settembre dello stesso anno è stato eseguito O virga ac diadema per voce e flauto commissionato dal XXIII Festival di Musica Antica di Cagliari. Il 7 ottobre 2007 a Venezia è stato eseguito Rune, un nuovo pezzo per ensemble, commissionatogli dalla Fondazione La Biennale di Vene- zia e inserito nella rassegna Biennale Musica 2007 nella sezione Made in Italy. Per l’anno accademico 2007/2008 è stato ammesso a frequentare presso l’Accademia Musicale di Malmö in Svezia il corso avanzato in composizione sotto la guida di Luca Francesconi.

Francesco Marceddu (1974) si è diplomato in Musica corale e direzione di coro nel 2002 sotto la guida del M° Marco Ghiglione presso il Conservatorio di Cagliari, per- fezionandosi poi con Tõnu Kaljuste (2003) e nell’ambito dell’Accademia Europea per direttori di coro e cantori tenutasi a Fano nel 2003, con Gary Graden e Carlo Pavese. Dopo aver studiato composizione con il Maestro Gianluigi Mattietti e aver conseguito nel 2006 il diploma in Didattica della Musica, si iscrive al biennio superiore di compo- sizione sotto la guida dei Maestri Loris Capister, Emilio Capalbo e Angelo Guaragna. Ha partecipato ai corsi di composizione tenuti a Cagliari da Franco Oppo, Victor Ra- sgado, Luca Francesconi e Ivan Fedele. Nel 2003 ha vinto il Primo Premio al Con- corso Nazionale di Composizione, città di Nuoro, con la composizione “Il Povero ane” per voci bianche, su un racconto di Gianni Rodari e il Primo Premio del Concorso di Composizione indetto dal Conservatorio di Cagliari e dall’Agimus con la composizio- ne Frammenti d’onda per flauto, clarinetto, clarinetto basso e marimba ed eseguito nel 2003 nei Giardini Pubblici di Cagliari, in occasione dell’inaugurazione della nuova ala della Galleria d’Arte Comunale. Ha vinto il Terzo premio al concorso indetto dalla FIDAPA con al composizione Delirio di un pazzo che ha guardato la Pace, per sestetto vocale, Organo e Grancassa ad libitum. Nel 2007 ha vinto il Primo Premio al concorso Gianpiero Cartocci con il brano Riflessi per flauto solo in do e sol eseguito dal Maestro Enrico Di Felice. Ha partecipato al Festival di Spaziomusica dirigendo nel 2003 Con- trofirmatus est, una sua composizione per sestetto vocale e nel 2004 con 20-3-2003 per pianoforte solo, eseguito dal Maestro Riccardo Leone. Attualmente, è docente del corso di voci bianche della Scuola civica di Musica di Cagliari, direttore e organista presso la Chiesa “Nostra Signora di Monserrato” di Burcei insegna musica presso l’Isti- tuto Magistrale di Iglesias, pianoforte e tastiere elettroniche presso la scuola di musica Peter’s Day di Assemini e Cagliari, , fa parte del gruppo etnopop Ateros e dal 2006 collabora come Maestro collaboratore ai sopratitoli presso il Teatro Lirico di Cagliari.

Marco Murru, nato a Cagliari nel 1983, si è diplomato in chitarra al conservatorio di Trieste. Durante i suoi studi ha approfondito lo studio della chitarra classica con Master- class e seminari tenuti da figure di grande rilievo in ambito nazionale e internazionale tra cui John Williams, Hopkinson Smith, Tilmann Hoppstock, Giovanni Puddu,Giampaolo Bandini, Giulio Tampalini, Pierluigi Corona, Roberto Masala, e si è specializzato in mu- sica antica e intavolature di liuto, vihuela e chitarra con Franco Fois. La passione per la musica Rock-blues lo ha spinto ad approfondire lo studio della chitarra elettrica e moderna suonando nella Jazz Band di Paolo Carrus a Cagliari, e frequentando semi- nari con chitarristi di chiara fama come Alex Britti e Irio de Paola. E’ stato ospite della trasmissione televisiva “Musica Maestro” in onda su Sardegna 1 diretto da Giorgio Bag- giani. E’ vincitore assoluto del 2° premio al “1° Concorso nazionale di interpretazione chitarristica” svoltosi nella città di Quartu (Ca) indetto dall’ associazione Andres Segovia nel 2001. Studia composizione da diversi anni con Gianluigi Mattietti, ed è attualmente iscritto al triennio di Composizione nel Conservatorio “G. P. Palestrina” di Cagliari . Ha frequentato diversi Masterclass e seminari anche nel campo della composizione con figure di spicco tra cui Azio Corghi, Roman Vlad e Fabio Vacchi. Per quanto riguarda la didattica è stato titolare delle cattedre di chitarra classica e moderna nella scuola civica di Domusnovas (Ca) dal 2003 al 2006. Contemporaneamente è stato attivo in diversi laboratori chitarristici e musicali in diverse scuole elementari della sua città e attualmente insegna chitarra classica e moderna da diversi anni nella suola privata “New Roland Ism” di Cagliari, attiva dal 1990. È stato inoltre, per diverse edizioni, in giuria in concorsi regionali di esecuzione chitarristica rivolti ai giovani. Si esibisce spesso nelle scuole in cui insegna o in altre istituzioni in concerti e in veste di accompagnatore.

Andrea Pireddu, si è diplomato in Composizione Sperimentale col massimo dei voti al Conservatorio “Giovanni Pierlugi da Palestrina” di Cagliari nella classe del M° Emilio Capalbo. Ha studiato nella classe del M° Vittorio Montis ed ha seguito corsi e masterclass tenuti dal M° Franco Oppo, M° Gian Piero Cartocci, M° Gianluigi Mattietti, M° Ivan Fedele, M° Luca Francesconi e M° Romeo Scaccia. Ha inoltre studiato per diversi anni nel corso di Musica e Nuove Tecnologie del Conservatorio di Cagliari inizialmente sotto la guida del M° Francesco Giomi e poi del M° Elio Martuscello. Giunge finalista alla prima edizione del Con- corso di Composizione Gian Piero Cartocci 2007 organizzato dal Conservatorio di Cagliari. Attualmente frequenta il Biennio Superiore di Composizione dello stesso Conservatorio e lavora come responsabile tecnico dei contenuti multimediali nella testata giornalistica, fra i più autorevoli siti di cinematografia in Italia. È un compositore estrema- mente eclettico, attratto ed ispirato dagli stili musicali più disparati. Passa con disinvoltura dall’avanguardia più radicale ad un tonalismo reinterpretato in maniera molto personale, non delimitando alcun confine fra tali estremi all’interno dei suoi lavori, ma integrandoli in maniera creativamente efficace e sempre nuova. Le sue musiche spaziano perciò da architetture sonore la cui linfa vitale è forgiata quasi esclusivamente da algoritmi geo- metrico-matematici e nelle quali si tende tuttavvia ad evitare abilmente l’aprezza tipica della musica seriale, a texture orchestrali fittamente ricamate di ispirazione ligetiana, seppur rivisitate in termini coloristici, laddove la struttura più intima sia frutto di com- plesse rielaborazioni di elementi etnici, tratti questi dalla tradizione popolare sarda. Il filo conduttore dei suoi lavori è la continua ricerca e lo sviluppo di un terreno d’incontro fra sonorità fortemente contrastanti, o comunque in antitesi fra loro. Una ricerca che si pre- figge di dar vita ad una vivace dialettica fra opposti il cui estremo parossismo si rivela in realtà un momento di equilibrato connubio, di sinergica simbiosi fra gli opposti medesimi.

Enrico Travaglione. Dopo aver conseguito la laurea in Filosofia, ha studiato Composizione presso il Conservatorio G.P.L. da Palestrina di Cagliari, sotto la guida di Vittorio Zago e Gianluigi Mattietti. E’ attualmente iscritto al triennio superiore di composizione presso il medesimo istituto. Ha frequentato un corso di dottorato di ricerca presso l’Università di Cagliari, occupandosi del compositore Franco Evangelisti. Dal 2001 fa parte del coro Studium Canticum, diretto da Stefania Pineider.

martedì 20 novembre, ore 10 Aula Magna del Conservatorio Statale di Musica, Cagliari

Seminario sulla Cantada campidanese a cura di Paolo Zedda

martedì 20 novembre, ore 21, Cripta di San Domenico, Cagliari • mercoledì 21 novembre, ore 19, Centro Polivalente, Uta

Gara Poetica Sarda

Paolo Zedda, Daniele Filia, cantadori Omero Atza, Aldo Pitirra, Paolo Pilleri, contra e basso

La cantada campidanese

La poesia cantata d’improvvisazione tipica dell’area meridio- nale dell’isola si realizza, principalmente, nelle forme metrico- musicali del “muttettu longu” e del “versu”. Il “muttettu lon- gu” si esegue con l’accompagnamento di due voci gutturali, che vengono chiamate “basciu” e “contra”; il “versu” si rea- lizza, tipicamente, con l’accompagnamento della chitarra. Se la forma del “versu”, agile e metricamente abbastanza sem- plice (si tratta di una coppia di distici), è molto comune ed è usualmente praticata anche da appassionati dilettanti in occa- sioni informali, la forma del “muttettu” è invece estremamen- te complessa e richiede un livello che solo pochi sono in gra- do di offrire, e che dunque è praticamente riservata ai poeti “professionisti” – nel senso che ricevono un compenso per le esibizioni su palco – e all’occasione ufficiale della gara poetica che si svolge tradizionalmente in occasione delle feste religio- se dedicate ai santi patroni o comunque intestatari di chiese che si trovano all’interno dei paesi o nelle campagne circostanti. La gara poetica campidanese viene comunemente chiamata “cantada” e i suoi protagonisti sono detti “cantadoris”. Il ter- mine mette l’accento sulla natura “sonora” della poesia, e la molteplicità e la ricca elaborazione degli stili di canto che oggi troviamo rende pienamente ragione di questa sottolineatura. La cantata campidanese può avere diversi tipi di impostazione te- matica. Nella forma più peculiare e caratteristica, la cosiddetta “cantada a fini serrau”, il discorso poetico si articola su diver- si piani, secondo un meccanismo decisamente complesso. Uno dei poeti – in genere quattro – ha il ruolo di “fundadori” (fonda- tore), cioè ha il compito di impiantare la cantata. Egli stabilisce un argomento che propone attraverso un’immagine allegorica, e dunque in forma criptata, agli altri poeti e al pubblico. I poeti si esibiscono a turno secondo un ordine ciclico, e il loro compito è innanzi tutto quello di cercare di decifrare i messaggi, sem- pre metaforici, che il fondatore progressivamente elargisce. I loro commenti o le loro domande, dunque, devono essere pertinenti rispetto al soggetto proposto, ma devono pure essere coerenti con il senso nascosto (“su fini”) che progressivamente si intravede con il procedere della cantata. Questo è il binario principale su cui si sviluppa il discorso poetico nel corso della cantata. Accanto a questo piano, però, ve ne sono altri, che si mescolano al primo e che solo una conoscenza del codice, dei meccanismi che disciplinano il far poesia secondo questa tradizione, permette di decifrare e di collocare in un orizzonte di senso complesso e articolato, sì, ma lucidamente coerente. I poeti, infatti, oltre a inseguire e dibattere il “fine” della can- tata, da un lato stabiliscono un intreccio, ovvero una contro- versia in relazione al tema principale della cantata, dall’altro si pronunciano – in modo assolutamente libero, ma non esente da convenzioni e modelli solidamente affermati – su qualsiasi argomento (dalla storia alla poesia, dalla caccia alla religione, ecc.), irrelato rispetto al tema centrale. Molto vivo all’interno della tradizione è il ricordo di alcuni grandi poeti del passato quali Pasquale Loddo, Efisio Loni, Francesco Farci, Massimino Moi, Giovanni Broi e Raffaele Urru. Tra i poeti attualmente in attività si possono menzionare Antonio Pani, Emanuele Saba, Eliseo Vargiu e Paolo Zedda. Si può assistere ad una “canta- da campidanesi” durante una festa di piazza dedicata ad un santo patrono: fra queste si possono ricordare quella di Santa Barbara di Sinnai (terza domenica di luglio) e quella di San- t’Elena patrona di Quartu Sant’Elena (14 settembre). http:// s=20346&v=2&c=2703&t=7

sabato 24 novembre, ore 21, ExMà, Cagliari

Poetry Machine, Generatore di poesie

Live performance a cura di Riccardo Dapelo, Clau- dio Pozzani e Fabio Vernizzi

Claudio Pozzani, Testi, readings Fabio Vernizzi, Keyboards, midi devices Riccardo Dapelo, live audio video

domenica 25 novembre– martedì 4 dicembre, ExMà, Cagliari

Poetry Machine, Generatore di poesie

Installazione interattiva a cura di Riccardo Dapelo

Claudio Pozzani, poesie Riccardo Dapelo, Progetto audio video e realizzazione informatica

Materiali: poesie, voci, suoni e immagini digitali, occhi elettronici (tele- camere, sensori), interfacce tattili.

La poesia (arte impermanente come la musica) agisce principalmente nella sua dimensione sonora (quando viene letta, possibilmente ad alta voce). Non può rivelare tutta se stessa in un unico istante ma ha bisogno del tempo (di lettura, di ascolto, di sedimentazione) e della memoria, a breve e a lungo termine, (ricordo di parole, del loro suono, memoria di altre poesie o di quanto appena ascoltato). Il tempo è la chiave (dell’arte, della vita e anche di questa installazione). (R.D.)

Riccardo Dapelo. Nato a Genova nel 1962, dopo la maturità classica si è diplomato inPianoforte(V.Favaloro) edinComposizione(F.Ermirio)pressoilConservatoriodella sua città. Successivamente si è perfezionato con G. Agosti (pianoforte) e con D. De Rosa (musica da camera), dedicandosi in seguito esclusivamente alla composizione e occupan- dosi dal 92 di informatica musicale. Ha frequentato i corsi di Composizione di G. Manzoni alla Scuola di Musica di Fiesole e di Musica Elettronica di A. Vidolin al Conservatorio di Venezia, diplomandosi con lode. Sue composizioni sono eseguite in Italia ed all’estero (Germania, Olanda, Grecia, Francia, Svezia, Spagna, Portogallo, Svizzera, Cuba, Brasile,

Argentina, Stati Uniti) e trasmesse per radio e televisione (Italia, Olanda, Germania).Vincitore nel 94 del primo premio assoluto al concorso internazionale “Brandenburgische Sommerkon- zerte” di Berlino, è stato selezionato anche nei Concorsi internazionali “Porrino” di Cagliari, “ L. Russolo (Varese)”, e nel concorso di Musica Elettroacustica di Bourges. I suoi lavori sono orientati sia sull’interazione tra strumenti ed elaborazione elettronica dal vivo sia sull’elabo- razione della voce umana e della parola poetica (con particolare attenzione alle opere di G. Caproni ed E. Sanguineti), sia sulla ricerca di tecnologie e forme di inte(g)razione di diversi mezzi espressivi (danza, video arte, teatro). Dal 1995 fa parte dello staff esterno di INFOMUS LAB del D.I.S.T. dell’Università di Genova. Ha al suo attivo diverse pubblicazioni sul trattamen- to, l’elaborazione, la sintesi e l’analisi della voce umana, sullo sviluppo musicale di emozioni artificiali, sulla spazializzazione e sulla filosofia dell’arte. Dal 1999 collabora con lo scultore Pinuccio Sciola in progetti internazionali di installazioni dell’arte interattive, in varie situazioni espositive (Torino, Frankfurt, La Habana, Hannover Expo 2000). Realizza anche installazioni sonore permanenti per spazi museali ed espositivi (tra le più significative, in collaborazione con l’Infomus Lab del DIST): Città dei bambini (Porto Antico -Genova), Giochi musicali inte- rattivi permanenti, Acquario di Genova, Sound design ed installazione, Padiglione del Mare, Genova, Sound design ed installazione sonora interattiva, Museo del Mare(2004), Genova, Sound design ed installazione sonora interattiva. Negli ultimi anni si occupa di interazione tra gesto, suono e immagini tramite tecno- logie interattive ed ha iniziato dal 2001 una serie di lavori che con- tengono immaginisintetizzatedigitalmente.Haincisodiversilavori su CD (SAM records, Rivo Alto, Ars Publica) e le sue composizioni sono edite da Ars Publica. Svolge una intensa attivita�f seminaria- le in Conservatori ed altre Istituzioni incentrata sull�fapplicazione di nuove tecnologie alla creazione artistica e sulla integrazione di mezzi e forme espressive diverse. Ha insegnato nei Conservatori diGenova,LaSpezia,Cagliari;ètitolaredellacattedradiComposizioneal Conservatorio di Sassari, dove insegna anche nel corso di Musica e Nuove Tecnologie. Dal 2006 partecipa alla docenza nel corso di Musica e Nuove Tecnologie al Conservatorio Paganini di Genova.

Claudio Pozzani è nato a Genova nel 1961. Poeta, romanziere e musicista, è apprezzato in Italia e all’estero per le sue performance poetiche che ha effet- tuato nei più importanti festival letterari a livello internazionale, (in Europa, Asia, Africa, Sud e NordAmerica) e in Saloni del Libro importanti quali Torino, Parigi e Francoforte. Le sue poesie sono tradotte in oltre 10 lingue e sono comparse in importanti antologie e riviste di poesia internazionale contemporanea. Tra i suoi libri più recenti, la raccolta di poesie in edizione bilingue (italiano-francese) dal titolo “SAUDADE & SPLEEN” (3° edizione) e il romanzo

KATE ET MOI” entrambi per le edizioni Lanore di Pari- gi. Nel 1983 ha fondato il Circolo dei Viaggiatori nel Tempo (CVT), un’associazione culturale che dirige tuttora e che si occupa di arte e in particolare di poesia e letteratura. Con il CVT ha creato e organizzato numerose manifestazioni internazionali in Italia e all’estero. Le più importanti dedicate alla poesia sono: ITALIA: Festival Internazionale di Poesia di Genova (dal 1995, 12° edizione), FRANCIA: Semaine Poétique di Parigi, (dal 1998, 5 edizioni), BELGIO: BruggePoésie (ogni due anni, dal 2002, 2 edizioni), GERMANIA: Musik&Poesie Munchen, (dal 2002, 4 edizioni), FINLANDIA: Helsinki Runo Festival (dal 2000, 5 edizioni), GIAPPONE: Euro-Japan Tokyo Poetry Festival (dal 2005, 1 edizione). Claudio Pozzani ha fatto parte per l’Italia della Commissione Unesco per la Poesia che nel 2000 ha creato la Giornata Mondiale della Poesia (21 marzo). Nel 2003 ha fondato a Casa- blanca il Forum dei Festival di Poesia del Mediterraneo e fa parte del comitato organizzativo. Nel 2004 gli è stata affidata dal Conseil Gènéral du Nord e Lille2004 la direzione artistica del maggiore evento letterario di Lille Capitale Europea della Cultura. Nel 2002 gli è stata affidata la direzione artistica della trasmissione di RAI UNO “La poesia incontra…”, andata in onda sabato 21 dicembre 2002 in seconda serata. In questi anni ha partecipato a numerose trasmissioni radiofoniche e televisive per la sua attività di poeta e organizzatore culturale. Nel 2001 ha creato la Casa Internazionale di Poesia sita a Palazzo Ducale a Genova, che pre- senta e organizza oltre 180 eventi gratuiti a stagione. Per le sue attività culturali e le sue performance artistiche, il grande poeta e drammaturgo Fernando Arrabal l’ha definito “maestro dell’invisibile, aizzatore di sogni, ladro di fuoco: il suo cuore danza nell’alcova festante”.

Fabio Vernizzi. Diplomato presso il Conservatorio “N.Paganini” di Genova si perfezio- na con Lidia Baldecchi Arcuri e Massimiliano Damerini con cui frequenta i corsi di musica da camera. Approfondisce la conoscenza dei linguaggi moderni e dell’improvvisazione studiando con Paolo Silvestri, Riccardo Zegna e Franco D’Andrea e partecipando ai “Se- minari Senesi di Musica Jazz”. Risulta vincitore di premi in concorsi pianistici nazionali ed internazionali, quali “Citt.. di Albenga”, “Stresa”, “Citt.. di Grosseto”, “Terme di Saturnia”. Realizza concerti in Giappone, Brasile, Ungheria, Grecia, Svizzera, Francia, Belgio. Chiamato a rappresentare Genova in varie manifestazioni internazionali partecipa a numerosi festivals, tra cui :“Un ponte poetico musicale tra Genova e Rio” (Rio de Ja- neiro 2006), “La Liguria a Bruxelles” (Bruxelles 2006),Festival Jazz “Terre di collina” (Caltanissetta), “Euro-Japan Poetry Festival” (Tokio-2005), “Cocerts in Yacht club” (Ate- ne 2003), “E’grandEstate” (Teatro Regio, Parma 2004),” “Faber Days 2006” (Udine 2006), “The Beatles Days” (Bellinzona2006), “Versilia Jazz Festival” (Forte dei Mar- mi2006),“VIIsettimanadellaCultura”(Venezia2005) Collabora,discograficamente o in performances “live”,con numerosi artisti ed enti tra cui, Mario Arcari, Armando Corsi,Toni Esposito,Vittorio De Scalzi,Birkin Tree,Niamh Parsons, Giorgio Di Tullio, Toni O’con- nell, Ciril O’Donoghue, Gianni Branca,Claudio Pozzani,Gianluca Nicolini, Fabrizio Giudice, El- lade Bandini, Bobby Dhuram, Rosalina Neri, Riccardo Dapelo, Claudio Capurro,Beppe Pini, Aldo Zunino, Filippo Gambetta,Riccardo Barbera,Edoardo Lattes,Daviano Rotella,Roberto Puggioni, Dado Sezzi, Max Manfredi, Claudia Pastorino, Romina Uguzzoni,Andrea Maddalo- ne, Danila Satragno, Teatro Stabile di Genova,Orchestra Sinfonica di Sanremo,Teatro Regio di Parma. Dopo varie partecipazioni discografiche,nell’Ottobre 2004 esce, come primo di- sco a proprio nome, “Maya” per la “Splasc(h) Records”. Ottimamente recensito dalla critica il disco contiene nove brani da lui composti ed arrangiati. Con questo lavoro ottiene alcu- ne “nomination” come miglior talento emergente italiano 2004 sul “ referendum della rivista “Musica Jazz” ed il premio “Jazzlighthouse” come migliore disco jazz 2004 di artista ligure. .. pianista, arrangiatore, compositore del “ Baroque & Blue Ensemble” con il quale gruppo effettua numerosi concerti e registra il brano “Passaggio 1” per la soundtrack del film sul G8 “Un mondo diverso .. possibile” assemblato da 33 registi italiani tra cui Mario Monicelli ed Ettore Scola. Il brano .. inserito nel CD distribuito dalla rivista “New Age” nell’ Agosto 2002. Compone vari jingles pubblicitari tra cui quello per la ditta californiana “Sunsweet” che viene trasmes- so su rete mondiale. Come arrangiatore ha lavorato per colonne sonore di spettacoli teatrali (Medley, Stravagando tra note e stanze,The Beatles story) e curato la regia di numerose re- gistrazioni discografiche per varie case tra cui Artesuono, Agor..- Arcadia, Cantus (Spagna). Come docente ha preparato allievi che sono risultati vincitori di Primi Premi in Concorsi Piani- stici Nazionali e che hanno superato gli esami ministeriali e di ammissione per i Conservatori.

sabato 1 dicembre, ore 21, Cripta di San Domenico, Cagliari

domenica 2 dicembre, ore 21, Chiesa di S. Maria di Betlem, Sassari

Corale Polifonica Santa Cecilia e Ensemble stru- mentale del Conservatorio di Musica di Sassari

Emanuele Fois, Daniele Monachella, Voci recitanti Alessandra Deiana, Carmen Esposito, Linda Fadda, Sonia Solinas, Noemi Tedde, Matteo Desole, Solisti Gabriele Verdinelli, Direttore

Giovanni Solinas, organo Barbara Agnello, pianoforte Matteo Taras, celesta Ivan Mancinelli, Carlo Manca, Francesco Muzzu, Daniele Piu, percussioni Luigi Vedele, chitarra elettrica

Gianni Gadau, basso elettrico Leonardo Sini, tromba Daniela Lai, trombone Marco Demurtas, tecnico del suono

ALFRED SCHNITTKE (1934-1998) REQUIEM, dalle musiche di scena per il Don Carlos di Friedrich von Schiller Per soli, coro e gruppo strumentale

Requiem Kyrie Dies irae Tuba mirum Rex tremendae Recordare Lacrimosa Domine jesu Hostias Sanctus Benedictus Agnus dei Credo Requiem

Elaborazione drammaturgica dei brani dal Don Carlos di Friedrich von Schiller di Emanuele Floris e Daniele Monachella.

Tra il 1974 e il 1975 il compositore russo Alfred Schnittke, ispirato sicuramente anche dalla recente perdita della madre, approfitta della commissione per le musiche di scena del Don Carlos di Friedrich von Schiller per realizzare un suo vecchio sogno: la composizione di un Requiem. Infatti la scrittura di musica religiosa negli anni ’70 conti- nua ad essere invisa al regime sovietico, mentre l’espediente della colonna sonora permetterebbe la realizzazione senza problemi del pro- getto. La partitura ovviamente si dilata molto per ampiezza e qualità di scrittura dalla sua immediata funzione e la sua prima esecuzione completa in forma di concerto avviene qualche anno dopo per opera del celebre coro Kodaly a Budapest. L’opera, che a tutt’oggi non risulta mai eseguita in Italia, solo recentemente è stata rivalutata e risulta essere un’eterogenea summa a trecentosessanta gradi del pensiero compositivo occidentale. Ecco quindi elementi contrappuntistici semi seriali mischiarsi disinvoltamente a strutture armoniche jazz, sca- le modali dal sapore arcaico confrontarsi con suoni e timbri tipici del rock progressive, con un risultato complessivo talvolta spiazzante ma d’indubbio fascino. L’organico riflette in modo evidente tale tendenza e gli strumenti sono spesso usati in funzione non idiomatica aven- do fondamentalmente una funzione di sostegno e di sfondo timbrico. Solo dei brevi interventi sono riservati ai solisti vocali mentre quasi tutto il peso esecutivo è concentrato sul coro che si trova a dover affrontare difficoltà veramente proibitive: intonazione d’accordi disso- nanti (fino a 12 parti reali), poliritmie complesse, estensioni vocali spinte fino ai limiti estremi (dal mi profondo dei bassi al do acuto dei soprani), dinamiche dal limite dell’udibile fino al più che fortissimo. L’attuale esecuzione comprende anche la lettura d’alcune pagi- ne del Don Carlos, il testo teatrale che ha ispirato direttamente la scrittura del Requiem, intercalandone quindi alcune sezioni, con la volontà di riaccostare le due opere, musicale e letteraria, dai tem- pi della prima esecuzione. Sarebbe compito assai arduo ricostrui- re in poche battute la trama e la tensione di un’opera lontana dal- la logica drammaturgica contemporanea. Tuttavia ancora adesso gli ideali di libertà, uguaglianza, amicizia e la forte tensione etica ren- dono più che mai attuali alcune pagine del capolavoro di Schiller.

Regione Sardegna, Assessorato alla Cultura Provincia di Sassari, Assessorato alla Cultura Comune di Sassari, Assessorato alla Cultura Fondazione Banco di Sardegna. In co-produzione con l’Associazione Polifonica Santa Cecilia onlus –Sassari ed il Conservatorio Statale di Musica L. Canepa di Sassari

martedì 4 dicembre, ore 10, Aula Magna del Conservatorio Statale di Musica, Cagliari

Incontro con Salvatore Niffoi e Gilberto Bosco, coordina Riccardo Sgualdini

Salvatore Niffoi è nato nel 1950 a Orani, dove vive e lavora come insegnante. Scrive il suo primo romanzo, Collodoro, nel 1997, edito dalla casa editrice nuorese Solinas. Nel 1999 inizia il sodalizio con Il Maestrale, con la quale ha pubblicato i successivi romanzi: Il viaggio degli inganni, Il postino di Piracherfa (2000), che nel 2004 è stato tradotto in Francia, Cri- stolu (2001), La sesta ora (2003). I romanzi La leggenda di Redenta Tiria e La vedova scal- za hanno trovato una nuova importante collocazione presso la casa editrice Adelphi di Mila- no. Con questo suo ultimo lavoro, Niffoi si è aggiudicato il Premio Campiello per la narrativa. Opere: Collodoro, Nuoro, Solinas, 1997, Il viaggio degli inganni, Nuoro, Il Mae- strale, 1999, Il postino di Piracherfa, Nuoro, Il Maestrale, 2000, Cristolu, Nuo- ro, Il Maestrale, 2001, La sesta ora, Nuoro, Il Maestrale, 2003, La leggenda di Redenta Tiria, Milano, Adelphi, 2005, La vedova scalza, Milano, Adelphi, 2006, L’ul- timo inverno, Nuoro, Il Maestrale, 2007, Ritorno a Baraule, Milano, Adelphi, 2007.

Niffoi, lo scrittore Rapace di Leandro Muoni

Astori e scrittori di Barbagia. Scritture rapaci, che volano alte. Che scrutano i più bassi anfratti, le più riposte piaghe della terra, per calarsi come folgori a ghermire la preda, e subito risalire a dominare gli spazi. Proprio come fa lo stile affilato, quando fruga nelle viscere, eppure in un baleno se ne distingue e se ne distacca. Che resta pulito e lucente, nel momento stesso in cui si contamina. Questa netta sensazione, insieme di «rapinosità» e di «purovisibilità», ci viene comunicata dalla scrittura narrativa di Salvatore Niffoi. A suo modo Niffoi, un po’ come Mario Delitala o come Costantino Nivola, è uno di quegli oranesi di genio che conoscono l’arte e il segreto dell’unghiata rivelatoria, del tratto incisivo che scava con la luce perforante della visio- ne. Con il loro espressionismo di testa più che di petto, razionalmente vigile, fiondano lo sguar- do nelle pieghe profonde dell’identità. Niffoi ha iniziato da scrittore la sua discesa agli inferi al- cuni anni fa, con «Il viaggio degli inganni» (Il Maestrale, 1998): un «romanzo di formazione» di lancinante autobiografia; il romanzo di un «rivoluzionario», se per «rivoluzione» intendiamo eminentemente la rivolta contro il Padre, ma altresì, con metafora astronomica, il moto di rivo- luzione celeste: che si conclude nel ritorno all’origine. Accadeva con Niffoi qualcosa di simile a quanto era avvenuto nella vicenda letteraria di Gavino Ledda e di «Padre padrone». Il figlio che si ribella alla volontà e alla legge paterne. Ma qui il passo andava oltre: il padre veniva trasci- nato in giudizio e processato. Singolare davvero questa tendenza alla «rivoluzione» simbolica, insegretitasi per così dire nella psicologia dello scrittore sardo delle «zone interne» della nostra epoca. Il cammino del romanzo di formazione di Niffoi – così come romanzo di formazione era il romanzo di Ledda, al pari di tanti altri esempi di cui è significativamente prodiga la letteratu- ra sarda del nostro secolo – il cammino di questo «viaggio degli inganni» – dicevamo – condu- ceva poi l’autore a recuperare l’accettazione storica del padre, a introiettarne e metabolizzarne l’immagine: condividendone la colpa. Cammino del resto parallelo a quello di Ledda, ma forse qui anche più consapevolmente consequenziale. Niffoi infatti non si compiaceva narcisistica- mente nella sua hybris, ma la proiettava all’esterno: la confrontava col principio di realtà, tra- ducendola in una raffigurazione del personaggio. Insomma, procedeva dall’autobiografia alla biografia, dalla soggettivismo all’oggettività. Chiaramente, questo non vuole dire che l’autore rinunciasse al suo demonico «culto dell’io» – che sappiamo bene essere connaturato alla stessa funzione artistica – ma significa semplicemente che la prospettiva adesso mutava: spostandosi dall’io all’altro. Dove peraltro l’io stesso non si annullava, bensì si travestiva. Comparivano così tutti i successivi personaggi «niffoiani»: «Il postino di Piracherfa» (2000), «Cristolu» (2001), con tutta la loro «corte dei miracoli» e il loro «pandemonio» identitario. E ora, in un crescendo, in una moltiplicazione delle figure che sembra nascondere qualche aspetto di morbosità, cioè a dire di compulsività creativa, quasi che l’autore non sapesse fare a meno di questa mania del «catalogo», ecco dunque col nuovo romanzo una vera e propria «galleria» di «creature», di «personaggi», che ha del prodigioso nella sua variata identità ovvero identica varietà. Si tratta di storie e situazioni esistenziali al limite dell’assurdo e dell’eccesso, come sempre accade in Niffoi, ghermite e proiettate per così dire in una formula narrativa. Ma questa volta condensate in un simbolo quasi anatomico-antropologico, in un cifra creaturale che le rende paradigmati- che e seriali. Il luogo della scena capitale è un paese contadino di qualche profondo e atipico sud, dove si pratica una strana regola del suicidio. Un suicidio per autoimpiccagione, che si compie quando arriva il momento prestabilito: anzi quando giunge una sorta di chiamata di correo della «disarmonia prestabilita». Questa galleria rusticana di «appesi» possiede il fascino tremendo delle «teorie» genialmente demoniche. E’ un mondo, quello degli impiccati di Niffoi e della sua «ballade des pendus», che travalica le barriere della vita locale e provinciale, per sconfinare nell’universale orizzonte dei simboli. Simboli e insieme realtà corporali, esistenziali. Le figure, anzi le vittime, di questa scena capitale sono personaggi anonimi, ma al tempo stes- so esemplari di una condizione umana dove si è spezzato il legame con la logica biologica, in qualche oscura maniera. Dove a un certo istante, imprevedibile ma prestabilito, scatta l’impul- so di una negazione assoluta, una sorta di logica autopunitiva, di follia tanatologica. Tutta l’opera di Niffoi è un molteplice e insieme univoco interrogativo sulla vita e sulla morte. O se preferite sull’identità. Che cosa è la nostra semenza? Il nostro «principium individuationis»? Questo nostro attraversare l’umano destino? C’è in siffatto «narratore nato» un rapporto estre- mistico con la dimensione esistenziale, che ti fa assomigliare il senso della sua scrittura narra- tiva a una sorta di corsa verso l’annientamento. E’ nichilismo tutto ciò? E’ difficile rispondere con un sì o con un no a una simile domanda. Giacché lo stile della narrazione di Niffoi e la sua stessa poetica – dove si mescolano in un confluenza realistica forte l’istanza cognitiva e l’istan- za mimetica – stanno lì a dimostrare che l’intelligenza intuitiva ed espressiva è una virtù che l’autore possiede in grado notevole, con la quale si fa strada e si fa luce nel magma della realtà, nel buio dell’inconscio popolato di fantasmi. Inoltre in lui si riscontra una comprensione simpa- tetica nei confronti dei propri personaggi, pur nella crudezza spesso brutale e nella carnalità e materialità delle immagini, la quale riscatta per così dire il fondo esistenziale del loro «essere gettati» nel mondo, attraverso il processo, sia pure inconsapevole, del loro stesso «essere-per- la-morte». D’altra parte il mondo abbrutito in cui essi vivono e si muovono, la loro stessa colpa di vivere, sembrano non aprire prospettive e varchi a speranze di sorta. La loro dimensione quotidiana e abituale è una disperata vitalità che brucia se stessa. La vita non è che dissipazio- ne di un carburante energetico destinato ad esaurirsi in breve tempo, nel disordine passionale, nell’eccesso. In una parola, nel «caos». Dinanzi al quale sta il mistero ostile di una natura e di una realtà anch’esse caotiche, se non in qualche maniera «infernali». E «infernale» – sia pure in un senso mitico-simbolico piuttosto che mistico-religioso – appare il motore stesso dell’intero universo niffoiano. In tale inferno nascono alla dimensione scenica, alla realtà poetica, le crea- ture di Niffoi, i suoi personaggi folli ed esclusi, selvaggi e tragici. E la loro è una solitudine ero- tica e carnale, oltre che metafisica. Ma, pur riscontrandosi nelle pagine «caotiche» e «demonia- che» dello scrittore la traccia di certa letteratura realistica di genere popolare, e perfino del fumetto – oltre che, beninteso, l’influenza e l’interferenza della grande letteratura espressioni- stica contemporanea, europea e americana – la scrittura di Niffoi non appare però tributaria dei generi «pulp», «tremendistico» o «cannibalico» di un filone volgarmente «giallo-nero», oggi tanto di moda: né sotto la denominazione del prodotto di «consumo» né sotto quella della comunicazione cosiddetta «alternativa». Viceversa, la narrativa di Niffoi s’inserisce tendenzial- mente nella linea alta della migliore tradizione sardo-barbaricina: quella cioè che fa capo al pessimismo storico e al realismo coscienziale di Salvatore Satta. Dalla quale sembrano dira- marsi due strade: quella orientata alla costruzione del romanzo «giallo» di tipo «etnico-dialet- tal-manieristico», rappresentata da Marcello Fois; e quella praticata dal romanzo espressioni- stico d’impronta psico-antropologica, preferita dal nostro autore. Naturalmente ci rendiamo conto dell’insufficienza di simili categorie definitorie a racchiudere in maniera compiuta ed esaustiva il senso di un’opera complessa, pur nell’apparente «mediocritas» della sua scala to- pografica, come quella di cui ci occupiamo: un romanzo cioè a fabulazione policentrica, com- posto di tanti racconti che si compendiano in una sorta di polittico narrativo, di corale poemati- co in prosa. Da questo punto di vista, la struttura tematica della «Leggenda di Redenta Tiria» e il suo clinamen stilistico possono a buon diritto ricordarci il mondo scabro e drammaticamen- te epigrammatico dell’«Antologia di Spoon River», di Edgar Lee Masters, autore e testo singo- larmente prossimali alla sensibilità e al gusto di famiglia, per così dire, degli scrittori sardi. Una raccomandazione – se è lecito considerare talvolta la funzione recensiva anche come sede di qualche suggerimento critico – vorremmo a questo punto indirizzare ai lettori di questo roman- zo, che tra breve uscirà pure nella traduzione francese (mentre già l’editoria tedesca sembra vivamente interessarsi all’opera inedita della scrittore oranese). Che cioè essi non si lascino magari fuorviare a prima vista dal tono apparentemente fumettistico (ad esempio da classico fumetto western) di questi bozzetti «selvatici» e «insulari», un po’ agresti e un po’ salmastri. Il loro è in realtà un registro da basso «comico», tendente al grottesco e virante sul pessimismo tragico. Scenari e ambientazione, i quali in superficie sembrano eterogenei e incongruenti, ma che nel fondo sono destinali e lapidari, riescono qui ad attingere, anche al di là delle proprie connotazioni etnico-simboliche, e in virtù dei loro sconfinamenti, la dimensione del- l’«exemplum»; e ad esprimere, attraverso la straordinaria cifra stilistica dello scrittore, una sorta di stato d’innocenza come dopo il peccato originale. Quell’innocenza che si chiama, a ben sentire, soltanto e semplicemente desiderio elementare e universale d’amare e di essere ama- ti e, congiunto in qualche modo con esso, anelito del buon morire. Sogni che bucano la solitu- dine dell’essere. Varchi dell’anima. E’ proprio qui che ripara, fra questi interstizi, l’unico sospiro d’umanità che resta di tante vite recise, anzi appese e strangolate. Sospiro, che lo scrittore «invisibile» – giacché così deve essere per davvero lo scrittore autenticamente degno di tale nome, secondo Salvatore Niffoi – raccoglie lungo il bordo del cammino, al modo dei fiori cine- rari: con cui comporre un’antologia epigrafica personale da un paese sardo innominato. Astori e scrittori, dicevamo all’inizio. Falchi pellegrini della memoria e della pietà itinerante, e nondi- meno persistente, avvistate sopra i deserti campi dell’irripetibile – e interminata – leggenda di Redenta Tiria. Che redime la «malapianta» della morte: come recita appunto il suo nome.

martedì 4 dicembre, ore 21, Cripta di San Domenico, Cagliari


Riccardo Leone, direttore,

Arnold Schönberg

Drei Volkslieder op. 49

Osvaldo Coluccino

Nel distacco*

Karlheinz Stockhausen


Lucio Garau


Carlo Gesualdo principe di Venosa

Resta di darmi noia

Cipriano de Rore

O morte, eterno fin

Stefano Taglietti

Incompiuta terra*

Oliver Messiaen

O sacrum convivium!

Gilberto Bosco


Osvaldo Coluccino. Compositore e poeta. Sue composizioni musicali sono sta- te commissionate da istituzioni quali “Biennale Musica” – Biennale di Venezia (2007), “Milano Musica” – Teatro alla Scala (2008) e sono state eseguite anche in altri festi- valerassegneinternazionali.InItalia:“GliAmicidiMusica/Realtà” (Milano),“Festival di Nuova Consonanza” (Roma), “Spaziomusica” (Cagliari e Sassari), “Incontro con le musiche” (Forlì), “Musica Contemporanea in Irpinia” (Avellino), “Musica Experimento” – Progetto Musica (Roma), “L’Officina Musicale” (Cinisello Balsamo), “Orme sommer- se” (Milano), “Festa Europea della Musica” (Roma). All’estero: Francia (Università 8 di Parigi), Spagna (Conservatorio Superiore di Malaga), Slovenia (Radio Nazionale Slove- na, Lubiana), Ucraina (“Two Days and Two Nights of New Music”, Odessa), Inghilter- ra, Messico (“Festival internacional Cervantino”). La sua musica è stata trasmessa da RAI Radio 3, RAI Canale 5 Filodiffusione e da altre emittenti all’estero. Ha composto musica strumentale, vocale ed elettroacustica. La sua musica è pubblicata dalle edi- zioni musicali RAI Trade. Come poeta ha collaborato a riviste di ricerca, fra cui “Il Ver- ri” e “Anterem”, ha pubblicato quattro libri, ha esposto testi alla Biennale di Venezia (arti visive) e al Museo d’Arte Moderna di Trieste. Hanno scritto della sua opera studiosi

del linguaggio, critici e filosofi, fra i quali Stefano Agosti, Giuliano Gramigna e Giorgio Luzzi.

Gilberto Bosco (Torino 1946) ha compiuto gli studi musicali a Torino, fre- quentando in seguito i Ferienkurse di Darmstadt. E’ titolare della cattedra di Armonia, Contrappunto, Fuga e Composizione presso il Conservatorio di Torino. Ha insegnato Teoria Musicale al DAMS di Torino. Sue composizioni sono state premiate in concorsi nazionali ed internazionali, nonché esegui- te in molte sedi di prestigio, tra cui il Teatro alla Scala, il Teatro Comunale di Firenze, la Rai di Torino e di Roma, Settembre Musica, l’IRCAM di Pari- gi, la Fondazione Gulbenkian di Lisbona, l’Académie de France di Roma, il Cantiere d’Arte di Montepulciano. All’interno della sua produzione, hanno uno spazio di rilievo i lavori in cui viene affrontato il problema del rapporto con il testo. Da Cantata del 1984, in cui vengono intonati frammenti da Le Bateau Ivre di Arthur Rimbaud, al recente Cantico del Gallo Silvestre, can- tata terza su testo di Giacomo Leopardi; dalla lontana Dedica, che utilizza

frammenti di Gaspara Stampa, ai più recenti Zwei Brecht-Lieder, passando per altre com- posizioni su testi di Saba (Lettura), Tennyson (O Sorrow) e Pavese (Il mattino): il tema di come un testo possa suggerire e determinare, per simpatie e tradimenti, strutture formali e procedimenti compositivi, è stato affrontato in molti modi e sotto diverse prospettive. L’ulti- mo esempio è un lavoro per dodici strumenti, privo di testo se non virtuale: il recentissimo Fumo e cenere, provocato dalla lettura di alcune e-mail scritte da cittadini di New York du- rante l’11 settembre 2001; forse una conclusione, seppure provvisoria, di questa lunga serie.

Lucio Garau. Nato a Cagliari, Italia, nel 1959, si è diplomato in pianoforte studian- do con Arlette Giangrandi Egmann (1969-1977) e Vincenzo Vitale(1977-1979) e in composizione studiando con Franco Oppo (1979-1990). Ha inoltre seguito il corso di musica elettronica con Nicola Bernardini (1985-1987). Ha svolto e svolge, con esiti spesso innovativi, un lavoro di indagine di caratterestorico ed estetico intorno ai temi dell’”improvvisazione”, dell’”interpretazione” edell’”ambiente” — inteso sia come am- biente storico sia come ambiente della riproduzione in musica — e gli aspetti a questi correlati, coinvolgendo eapprofondendo nella attività di ricerca anche gli aspetti tec- nici della produzionedel suono.

In quest’ottica si è occupato di musica rinascimentale e barocca, di organologia dietnomusi- cologia con particolare riferimento al patrimonio musicale della Sardegna,attraverso un lavoro teorico e pratico insieme che ha compreso anche larealizzazione di registrazioni sul campo e in studio e la collaborazione allaproduzione di diversi CD sulla musica tradizionale sarda. Coerentemente con le acquisizioni e i convincimenti risultati da queste ricerche nel suo lavoro è diventato sempre più centrale l’interesse verso la musica acusmatica — attualmente anche in relazione alla ridefinizione personale del concetto di “interpretazione”- strumento privilegiato nello sviluppo delle proprieproblematiche estetiche compositive. Sin dall’inizio del suo lavoro di compositore ha dedicato una particolare attenzione alle tecniche di comunicazione multimedia- li, da considerarsi oggi quali mezzi espressivi che associno, come accade o accadeva altrimenti in altri “ambienti” storici o etnici, la gestualità e ilmovimento al fenomeno musicale.

Nel 1990 ha fondato il centro Ricercare, che ha costituito in Sardegna un punto diriferimento — anche come laboratorio e studio audio — presso il quale sono state realizzate diverse composi- zioni di musica elettroacustica e di live electronics e cheha prodotto sotto propria sigla diversi CD. Dal 1998 ha iniziato una attività di interpretazione e di diffusione della musicaacusmatica sia commissionando opere ad altri compositori all’interno di unprogetto pluriennale (1998- 2003) che ha avuto come tema la rivisitazione dell’opera di grandi compositori del passato sia affrontando personalmente l’interpretazione di opere della “storia” della musica acusmatica. La sua attività di compositore si muove tra tecniche nuove e tradizioni, nella scelta dei riferimenti come anche degli strumenti, con una produzione che vede, accanto apezzi acusmatici, pezzi di strumentazione tradizionale o altri che prevedonol’utilizzo di strumenti tradizionali accanto, e spesso dialetticamente, all’elettronica.

Numerose sue composizioni sono state scritte ed eseguite in collaborazione conimportanti soli- sti, spesso interpreti-compositori quali Steven Schick, FernandoGrillo, Kees Boeke, Daniel Kien- tzy, Andrea Padova, Antonio Politano, RobertoPellegrini, Claudio Jacomucci, Francesco Libetta, Francoise Rivalland, UlrichKrieger, Mieko Kanno, Marco Pavin, Jorge Isaac, Paul Leenhouts. Nel 1991 ha fondato il MiniM Ensemble per dedicarsi all’approfondimento delle tecniche proprie del linguaggio minimalista.

E’ il direttore artistico del più importante appuntamento italiano dedicato alla musica su sup- porto il Festival di Interpretazione della musica acusmatica di Cagliari giunto nel 2007 alla sua quarta edizione. Alla luce delle ri.essioni sulle tematiche di cui abbiamo parlato e, in particolare, sul problema dell’interpretazione — condotte nell’ambito della pratica compositiva e come interprete di musi- ca acusmatica — va intesa anche la sua attività di interprete pianistico; come pianista ha svolto una notevole attività concertistica in Europa in America Latina e negli Stati Uniti, dove, oltre a una seriedi concerti, ha effettuato nel 1990, 1991, 1992, 1994, 2003 diversi cicli di conferenze. Nel 2001, dopo una pausa, ha ripreso l’attività solistica come pianista, ricevendo unottimo consenso di critica e di pubblico.

Stefano Taglietti (1965). Dopo Sylvano Bussotti, di cui è allievo è Hans Werner Henze a influenzare la sua formazione. Lavora dal ’94 con l’artista visivo Bizhan Bassiri componendo tre concerti scenici e una sinfonia scenica per coro e orchestra La battaglia dei Centauri. È autore di oltre 100 lavori per organici che vanno dalla musica corale, madrigalistica a quella orchestrale, da camera, elettroacustica, per il teatro e per l’immagine. Ha ricevuto decine di commissioni e tra i suoi lavori, eseguiti da interpreti di rilievo, citiamo: Bicinium (Opera di Norimberga e Berlin Philharmonie per i festeggiamenti dei 75 anni di Hans Werner Henze); Slashing per archi (Stagione RAI Nuova Musica – Lingotto, Torino); Opus Neuma (Deutsche Pavillon Expo 2000, Hannover); Exta (per clavicembalo e quartetto d’archi – quartetto dei Berliner Philharmoniker); Tempo Notturno, Tempo Trascorso (XVIII Cantiere Internazionale d’Arte di Montepulciano); Trio music n°1 e Monogram (Teatro La MaMa, New York); Libera Vox (con Arnoldo Foà, Teatro Nuovo, Spoleto); Living Fades (Accademia Nazionale di Santa Cecilia, settembre 2007). Gran parte del suo lavoro compositivo è edito da Rai Trade, Chester Music eEdipan. Èdadiversianniattivocomepianista,interpretedellapropriamusica,inprogetti di improvvisazioni da solo e in gruppo. Ha collaborato con Dom Um Romao, Evan Parker, Karl Potter, Walter Prati, Giancarlo Schiaffini, Fabrizio de Rossi Re, Gianni Trovalusci ed altri.

venerdì 7 dicembre, ore 21, Cripta di San Domenico, Cagliari

Eastman BroadBand Ensemble Juan Trigos, direttore

Riccardo Zohn-Muldoon


Opera da camera in un atto per cantanti, attori e undici esecutori.

Musica di Ricardo Zohn-Muldoon su Libretto tratto senza alterazioni dalla novella “Pedro Paramo” di Juan Rulfo (Durata 50’ c.a)

Luciano Trigos, Scenografia ed immagini Regia: Lorenzo Mijares

Daniela D’Ingiullo, soprano, interpreta personaggi diversi Oscar De La Torre, tenore, interpreta personaggi diversi Lorenzo Mijares, narratore Pino Ruberto, attore, interpreta personaggi diversi

Eastman BroadBand Ensemble

Deidre Huckabay, Flauto, ottavino e flauto in Sol Andy Brown, clarinetto in Mib, in Sib e clarinetto basso John Hain, percussione 1 Baljinder Sekhon, percussione 2 Dieter Hennings, chitarra Arthur Williford, pianoforte Hanna Hurwitz, violino e viola Florent-Renard Payen, violoncello

Música, literatura di Riccardo Zohn-Muldoon

Aunque he pasado muchos años fuera de México, siento un fuerte vínculo con la literatura de mi país. De manera meas específica, considero que el acercamiento creativo a los textos que he musicalizado ha sido un factor funda- mental en la formación de mi lenguaje musical. Comala fué compuesta en base a la novela Pedro Páramo, del gran escritor mexicano Juan Rulfo. Esta novela es emblemáti- ca de las cualidades artísticas que considero más valio- sas: contenido emocional fuerte, imaginación luminosa, expresividad destilada, precisión formal, y refinamiento técnico. Aunque la temática mexicana particulariza la obra de Rulfo, me parece que su esencia artística está emparentada con la de pintores como Vermeer y Klee, compositores como Crumb y Chopin, escultores como Daumier, y escritores como Jane Austen, cada uno de los cua- les representa en su obra los valores artísticos arriba descritos. Estos artistas son para mí una enorme fuente de inspiración, y Rulfo un modelo cercano de participación en la universalidad del arte, a partir de la ineludible particularidad de nuestra expe- riencia.. Una de las caracterísicas de los cuadros de Vermeer es la “captura” del tiempo en un instante de máxima intensidad expresiva. En Pedro Páramo, Rulfo ha logrado una sensación de atemporalidad semejante. Quizás ese efecto se deba a los múltiples planos narrativos y a la concentración poética de su lenguaje. Lo cierto es que la lectura de Pedro Páramo es una experiencia similar a la escucha de una gran obra de música. A pesar de que la experiencia en ambos casos es un recorrido de principio a fin, hay una impresión de estar viviendo un instan- te distendido hasta el infinito. Es una dualidad de percepción: todos los elementos de la obra musical (o personajes y tramas en el caso de la novela) suceden en un cierto orden cronológico por el cuál transcurrimos, pero en la memoria se acumulan y se configuran en una estructura presente en que todo “sucede a la vez.” Por ello, todo en Pedro Páramo inspira para musicalizarlo: no solo su poesía, sus evocaciones sonoras, sino también su misma estrategia narrativa, la recurrencia de historias y per- sonajes en un “caleidoscopio” de combinaciones hermosísimas.

Proceso creativo

Mis composiciones parten de ideas musicales concretas. Ideas con personalidad definida y “vida” propia, tendencias inheren- tes, y resistencia a ser transformadas. Por lo general estas idea son sumamente breves pero altamente definidas. El paso si- guiente es analizar, comprender y abstraer las “energías” de esas ideas para generar con ellas un “universo” musical hecho de sus proyecciones, combinaciones, extrapolaciones, contradicciones, etc. Es una etapa de bosquejar múltiples posibilidades, sin enten- der aún cuál será la estructura, retórica, o proceso formal. Poco a poco empiezo a entrever como pueden organizarse todos esos bosquejos, ideas, e ideas de ideas. De ahí surge la dinámica que determinará la forma. Ha quiénes parten de un plan abstracto, definido por colecciones de notas, esquemas formales, y proce- sos combinatorios. A mi nunca me ha funcionado esa manera de operar. No me es posible imaginar a partir de algo inerte. No puedo imaginar la trama sin conocer a fondo a los personajes.

Aspiraciones artísticas

Toda expresión que exprese una emoción genuina implica en cierta medida una ruptura o modificación de lo aprendido. La estructura formal, y la técnica en su sentido más profundo, son parte del mismo acto creativo que alberga la expresión emo- cional. No concibo componer de otra forma. En mis compo- siciones intento lograr claridad de expresión, la construcción de significado(s) ricos a partir de ideas sencillas, la precisión, el ingenio y muchas otras cosas que quizá no pueden encon- trarse en la vida real. Ésta se rige por fuerzas azarosas, difícil- mente controlables, o comprensibles. No me interesa mucho el realismo en el arte, o lo “natural”, o lo ideológico. El arte puede darnos experiencas emocionales e intelectuales distin- tas a aquéllas del mundo real. ¿Por qué rehuir eso? No quiero decir que el arte sea un escapismo. Al contrario, es una mane- ra de comprender al mundo, y nuestra humanidad con mayor profundidad: a partir de una experiencia construída por una persona para los demás. El arte surge de un acto de generosi- dad, del deseo de encontrar algo más grande que las propias limitaciones, de la ilusión de capturar el tiempo. Las obras de arte que amamos son nuestras anclas contra el caos. Mi meta es lograr una expresión cada vez más pura, y por ende re- splandeciente. La vida del artista es como ir encendiendo velas (las obras) en un cuarto inicialmente oscuro (uno mismo), para tratar de vislumbrar si se encuentra por ahí algo interesante.

sabato 8, dicembre, ore 21, Cripta di San Domenico, Cagliari

Eastman BroadBand Ensemble Juan Trigos, direttore

Juan Trigos


(Ballare-DaGuancettaSfregata) Ciclo: Yo Digo Que Soy Yo Pero Quien Sabe (Io Dico Che Sono Io Ma chi lo Sa)

Opera d’emofinzione (hemoficción), versione da camera in due atti per quattro cantanti e nove esecutori.

Musica di Juan Trigos R. su Libretto di Juan Trigos S. (Durata 90’ c.a)

Scenografia ed immagini: Luciano Trigos Regia: Lorenzo Mijares

Alla maniera della commedia dell’arte Personaggi

Gabriela Thierry, Primancianita, mezzosoprano Maurizio Leoni, Juansonrisa, baritono Daniela D’Ingiullo, Siamese I, soprano Oscar De La Torre, Siamese II, tenore Lorenzo Mijares, Juansonrisa

Pino Ruberto, Siamese 2, attore

Eastman BroadBand Ensemble

Deidre Huckabay, Flauto, ottavino e flauto in Sol Andy Brown, clarinetto in Sib Barbara Larson, saxofono soprano, contralto e baritono Peter Fanelli, trombone

John Hain, percussione 1 Baljinder Sekhon, percussione 2 Dieter Hennings, chitarra Lucy Haslar, arpa Arthur Williford, pianoforte

Juan Trigos. En mi música se distinguen claramente mi predilec- ción por la música vocal (particularmente la ópera) y por la músi- ca instrumental de gran formato con particular inclinación hacia las formas concertantes para uno o más solistas. La esencia de mi concepción musical como Pulsación Primaria (entendida esta como Tempus Primus) y como Resonancia. Este concepto incluye el uso obsesivo de encastres (poli-rítmicos y polifónicos) de eventos y seg- mentos musicales entre sí de diferente densidad y duración y un papel estructural preponderante de los instrumentos de percusión, incluyendo el piano. Así mismo, el discurso musical es dirigido por medio de la manipulación constante de “códigos de lectura”, que sirven para transformar materiales originales o tomados de otras fuentes. La selección y designación de los solos y las diferentes com- binaciones instrumentales, así como la escritura idiomática propia,

matizan también el resultante sonoro. Gran parte mi actividad como com- positor la he dedicado a la creación de un nuevo género de ópera, al cual yo llamo Ópera de Hemoficción (corriente literaria inventada por mi padre el dramaturgo y novelista Juan Trigos S.) El descubrimiento de esta invención sonora, se estructura con base en una técnica ad hoc al texto, que inter- preta musicalmente los aspectos expresivos y formales, enfatizándolo y ar- ticulándolo a diferentes niveles. Como elementos formantes fundamentales se encuentran la invención del lenguaje y la acción dramática en su forma y contenido. Son también muy importantes para la construcción musical elementos como el desdoblamiento de los personajes, las reiteraciones, la métrica intrínseca de las palabras, las frases y la puntuación misma. Todas estas acciones encuentran su correspondencia en las diferentes partes; tipos de Recitativos, Arias, Escenas, Concertati, etc.

DeCachetitoRaspado Por Ricardo Zohn-Muldoon

Pese a la disparidad de época, geografía y género, resulta instructivo, para situar DeCachetitoRaspado, remitirse al génesis de Petrushka. Cada uno de los colaboradores en la creación de este ballet (Stravinsky, Benois, y Fokine) pretendía crear una obra de vanguardia, a través de la yuxtaposi- ción de sub-textos aparentemente desemparentados y mutuamente con- tradictorios, cuyas oposiciones se complicaban por originarse a partir de tres tipos de fuentes culturales: cultura “elevada” del siglo XIX, folclor y tendencias modernistas. El espectador estaba llamado a entender el ballet no como una resolución de oposiciones, sino como una dialéctica entre ellas [Watchel, Andrew. Petrushka in the Context of Russian Modernist Cul- ture, in Andrew Watchel (ed.), Petrushka, sources and contexts (Evasnton: Northwestern University Press, 1998), 5]. La obra se `presentaba como la nueva manera de crear un arte nacional, en contraposición al anqui- losado nacionalismo de Rimsky-Korsakov y su círculo. Producto de una colaboración (entre padre escritor e hijo compositor), DeCachetitoRaspa- do se desenvuelve, como Petrushka, en varios niveles narrativos, con es- pectadores reales (el público) y escénicos (los siameses). La obra también yuxtapone “sub-textos” desemparentados tanto de origen”culto” como popular, incluyendo la antigua comedia dell’ arte (en la caracterización de los personajes), la picardía de “arrabal” mexicano, el surrealismo Rulfiano, la escritura de Joyce (en el manejo de un meta-lenguaje imaginario), el danzón, la música de Stravinsky, Donatoni, y ecos de Lulu de Alban Berg, por citar algunos ejemplos. DeCa- chetitoRaspado es una obra de vanguardia que propone (…sin proponérselo…) una nueva manera de crear un arte nacional. Si bien la comparación sirve como punto de partida, no es en sí suficiente. DeCachetitoRaspado no “propone una nueva ma- nera de crear una arte nacional” en referencia al movimiento nacionalista, caduco por más de medio siglo. La novedad radica en el rechazo al uso literal de las fuentes, tan prevalente en el “turismo” cultural del mundo artístico contemporáneo, en fa- vor de una internacionalización personalizada. Por otra parte, la yuxtaposición de los “sub-textos” es conceptualmente muy di- stinta a la de una obra como Petrushka. Esto puede apreciarse inmediatamente en el aspecto musical de la obra. Aunque en la música de DeCachetitoRaspado se perciben elementos de proveniencia di- versa, el flujo musical no presenta las rupturas estilísticas -justificadas por un apego a la acción escénica- que caracterizan al Petrushka de Stravin- sky. En DeCachetitoRaspado, la multiplicidad de referencias co-existe en un mundo estilístico unificado gracias al nivel de abstracción con que se ma- neja el material musical. Si bien los recursos de manipulación del material muestran una deuda al pensamiento Donatoniano, la esencia de la música de Trigos no puede reducirse a la discusión de sus operaciones internas (simetrías, complementaciones, proyecciones interválicas, polarizaciones, etc.) o atributos tímbricos (p. ej. el manejo de la percusión). El aspecto que distingue la técnica de composición de Juan Trigos es la manera en que se efectúa la abstracción del material musical: cada elemento musical es abstraído con base en sus propias premisas de origen y no a partir de una filtración impuesta a priori que tuviera por efecto homogeneizarlos. Por ejemplo, el carácter rítmico popular del “..baila danzón..” en Muertas Imaginarias (III), es una destilación de características esenciales, dentro de la perspectiva misma de la música popular de origen. Esto permite que la música proyecte la vitalidad rítmica popular sin recurso a la cita literal y que el aspecto rítmico no se diluya en una esfera meramente intelectual al coexistir con elementos musicales netamente “cultos” y modernistas. Esta manera de abstraer cada elemento a partir de su propio origen solo es po- sible cuándo se conocen profundamente todas las fuentes (o tradiciones) que alimentan la obra. Este es el caso de Juan Trigos, en cuyo universo musical co-existen con equitativo conocimiento y respeto la música “seria” y la música vernácula que han incidido en su formación. Es a partir de este universo musical, regido por una imaginación de primer orden, de dónde ha podido surgir una obra de gran originalidad como lo es DeCachetitoRa- spado, cuya riqueza de significado se resiste a una perspectiva resolutoria única, en favor de una gran variedad de lecturas e interpretaciones. Final- mente, hay que recalcar que DeCachetitoRaspado no es un caso aislado en la producción de Juan Trigos, cuya obra se caracteriza por la integración (¿co-existencia?) de la cultura vernácula y la alta cultura, al servicio de una imaginación libre de etiquetas. Es por ello que, en mi opinión, su música se acerca más al espíritu de la música de Silvestre Revueltas que la de cual- quier compositor que conozco. Y creo que eso no es poco halago.


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