BREATHtaking New Music
12 April 2011
Pre-concert talk 6:30pm
Tickets £4/£3 online £5/£4 at the door
Roberto Rusconi: De Arte Respirandi (World premiere Ensemble Version)
Brian Ferneyhough: In Nomine a 3
Helmut Lachenmann: Pression
Wolfgang Rihm: Duomonolog
Luke Styles: Stride (WP)
@ The Forge, Camden
3-7 Delancey Street
London NW1 7NL
Ensemble Amorpha would like to thank Fondazione Venezia pro Arte for making this concert possible.
About the Works
De Arte Respirandi by Roberto David Rusconi
The purpose of this score is to go back to “ancient ways of considering the sound as a being in itself ”. The quest is a precise research into the most primitive and physical act of living, playing and praying: breathing. All the structure, the phrasing, the articulation and the dynamics of this ensemble work, written and dedicated to Ensemble Amorpha, try to recreate a unique re-gathering between human physiology, sound producing and listening.
All the ancient traditions and instrumental masters underline the importance of correct posture and breathing to give life to the sound, to pursue an instrumental skill and to create a unique act of listening, lived as a deep human and spiritual experience. Sound has often been forgotten by composers and performers as well. Competitions or extreme and radical avant-garde academies have placed a priority on the musical object, often deprived of it’s life, savagely dissected and estranged from its inner being. The gift of human nature to be able to resonate with nature and sounds has often been forgotten. The art of evoking, as in an Epiphany, the “interactive vibrations”, has been reduced to a pure formal or structural act.
The “map is not the territory” (Chomsky); and we have almost lost our ability to listen carefully, attentively, meditating on sound itself. The musicians and the listener are continuously bombarded by awful sounds, commercials, soundtracks and functional monsters that are created only to have us build a hearing blockade to be able to survive the everyday frequency monsters that attack us! The choice of scordatura for the string, asks from the very beginning that the performers listen carefully to the “new" sound they are producing and a regained attention is obtained within the whole ensemble. The audience, as well, is encouraged to search for a new attitude and carefully listen to what is being hearing whilst aiming not to loose a raised awareness of the Sound.