{"id":17372,"date":"2019-06-18T15:09:59","date_gmt":"2019-06-18T13:09:59","guid":{"rendered":"https:\/\/www.ensembleintercontemporain.com\/?p=17372"},"modified":"2024-06-07T16:39:59","modified_gmt":"2024-06-07T14:39:59","slug":"stefano-gervasoni-su-un-arco-di-bianco","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/en\/2019\/06\/stefano-gervasoni-su-un-arco-di-bianco\/","title":{"rendered":"Stefano Gervasoni : “Su un arco di bianco”."},"content":{"rendered":"

\"\"<\/em><\/span><\/strong><\/p>\n

Su un arco di bianco<\/em> est le titre d\u2019une \u0153uvre de jeunesse du compositeur italien Stefano Gervasoni, qui sera jou\u00e9e (dans une version r\u00e9vis\u00e9e) le 22 juin au Centquatre dans le cadre du festival ManiFeste de l\u2019Ircam<\/a>. Presque 30 ans apr\u00e8s sa cr\u00e9ation \u00e0 Montr\u00e9al, il revient sur l\u2019origine de sa \u00ab Sinfonietta avec fl\u00fbte et violon concertants \u00bb directement inspir\u00e9e par un po\u00e8me d\u2019Emily Dickinson.<\/span><\/strong><\/p>\n

 <\/p>\n

J\u2019ai \u00e9crit Su un arco di bianco <\/em>entre 1990 et 1991, alors tout jeune compositeur issu du conservatoire de Milan. Ces ann\u00e9es ont marqu\u00e9 un tournant dans la d\u00e9finition de mon langage compositionnel, du moins de ce que je consid\u00e8re \u00eatre sa premi\u00e8re phase.<\/span><\/p>\n

J\u2019\u00e9tais \u00e0 l\u2019\u00e9poque nourri par la musique des compositeurs qui m\u2019attiraient profond\u00e9ment (Schubert, Debussy, Webern, Nono, Castiglioni), par la po\u00e9sie des Pablo Neruda, Friedrich H\u00f6lderlin, Franco Fortini, Vittorio Sereni, Mario Luzi, Edoardo Sanguineti, Giorgio Caproni, Toti Scialoja (que je mettais d\u00e9j\u00e0 en musique d\u00e8s avant 1990) aussi bien que par l\u2019art plastique (Jan Vermeer, Paul Klee et Fausto Melotti) qui fut mon premier moyen d\u2019expression artistique. Je me rapprochais alors tout naturellement de l\u2019univers po\u00e9tique d\u2019Emily Dickinson dont je mettais en musique quelques po\u00e8mes (r\u00e9unis en 1992 dans le cycle Least Bee<\/em>). Dans les paroles de cette po\u00e9tesse, \u00e0 la fois simples et insaisissables, et dans les structures s\u00e9mantiques organiques et vertigineuses qu\u2019elles \u00e9chafaudaient, je trouvais r\u00e9alis\u00e9 une forme d\u2019id\u00e9al que je voulais atteindre avec ma musique, ainsi que le but expressif auquel devaient aspirer ses proc\u00e9d\u00e9s formels.<\/span><\/p>\n

\"\"<\/p>\n

Voici ce que j\u2019\u00e9crivais en 1991 pour pr\u00e9senter Su un arco di bianco <\/em>:<\/span><\/p>\n

\u00ab\u00a0Dans cette pi\u00e8ce, deux intentions formelles oppos\u00e9es coexistent. D\u2019une part, le choix de moyens extr\u00eamement simples\u00a0: quelques gestes minimaux (des “signaux”), quelques principes de relation r\u00e9gis par celui, essentiel, de la r\u00e9p\u00e9tition. D\u2019autre part, un travail subtil d\u2019\u00e9laboration des timbres qui donne aux \u00e9l\u00e9ments des significations simples et en constante \u00e9volution, qui fait briller un seul geste avec des intentions diff\u00e9rentes, attribue et soustrait en m\u00eame temps un centre \u00e0 la construction. Comme si, de mani\u00e8re surprenante, un discours \u00e9tait cr\u00e9\u00e9 avec un r\u00e9pertoire de mots tr\u00e8s limit\u00e9, en leur donnant des intentions et des significations diff\u00e9rentes par le simple d\u00e9placement d\u2019accents ; comme si en choisissant une direction indiqu\u00e9e, on voulait couvrir toutes les autres directions possibles (Paul Klee, Labiler Wegweiser<\/em>).<\/span><\/p>\n

Le titre est la traduction italienne d\u2019un fragment du po\u00e8me 1138 d\u2019Emily Dickinson :<\/span><\/p>\n

A Spider sewed at Night<\/span><\/em><\/span>
\nWithout a Light<\/span><\/em><\/span>
\nUpon an Arc of White.<\/span><\/em><\/span>
\n\u00a0<\/span>
\nUne araign\u00e9e tissa la Nuit<\/span>
\nSans une Lumi\u00e8re<\/span>
\nSur un Arc de Blanc\u00a0 <\/span><\/p>\n

\"\"La figure de la litote, de l\u2019ellipse, une \u00e9conomie g\u00e9n\u00e9rale des moyens, le minimalisme constructif et la microscopie sonore de son traitement devaient produire un effet de simplicit\u00e9 apparente et d\u2019ambigu\u00eft\u00e9 insoluble. J\u2019en parle, du point de vue th\u00e9orique, dans deux \u00e9crits parus peu apr\u00e8s la composition de Su un arco di bianco<\/em> et de Least Bee<\/em>, qui marquent la fin de ma premi\u00e8re p\u00e9riode compositionnelle : Consid\u00e9rer l\u2019\u00e9vidence comme \u00e9nigmatique<\/em> (1993) et Les paradoxes de la simplicit\u00e9<\/em> (1996).<\/span><\/p>\n

Depuis, j\u2019ai essay\u00e9 de d\u00e9velopper un langage de composition de type \u00ab\u00a0inclusif\u00a0\u00bb, formellement complexe, plus riche et dense du point de vue dynamique et polyphonique, narratif et dramatique, vari\u00e9 stylistiquement et expressivement, par l\u2019int\u00e9gration \u00e0 diff\u00e9rents niveaux d\u2019autres genres de langage musical, savants, traditionnels et populaires, \u00e0 la recherche d\u2019une relation profonde avec l\u2019histoire et projet\u00e9e vers le futur. Si je suis rest\u00e9 fid\u00e8le \u00e0 la po\u00e9sie comme principale source d\u2019inspiration, tout cela m\u2019a amen\u00e9 \u00e0 abandonner une vision “\u00e9pur\u00e9e” de la musique, \u00e9vidente dans Su un arco di bianco<\/em>, et \u00e0 approfondir les probl\u00e8mes de la musique comme discours, v\u00e9hicule et message, \u00e0 la fois agissant sur les \u00e9motions et mettant en valeur ses aspects cognitifs, son potentiel communicatif.<\/span><\/p>\n

Photos \u00a9 EIC<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00ab Su un arco di bianco \u00bb est le titre d\u2019une \u0153uvre de jeunesse du compositeur italien Stefano Gervasoni, qui sera jou\u00e9e (dans une version r\u00e9vis\u00e9e) le 22 juin au Centquatre dans le cadre du festival ManiFeste de l\u2019Ircam. Presque 30 ans apr\u00e8s sa cr\u00e9ation \u00e0 Montr\u00e9al, il revient sur l\u2019origine de sa \u00ab Sinfonietta avec fl\u00fbte et violon concertants \u00bb directement inspir\u00e9e par un po\u00e8me d\u2019Emily Dickinson.<\/p>\n","protected":false},"author":154,"featured_media":17378,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102],"tags":[605,753],"class_list":["post-17372","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eclairage","tag-festival-manifeste","tag-stefano-gervasoni"],"acf":[],"yoast_head":"\nStefano Gervasoni : "Su un arco di bianco". - Ensemble intercontemporain<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ensembleintercontemporain.com\/en\/2019\/06\/stefano-gervasoni-su-un-arco-di-bianco\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Stefano Gervasoni : "Su un arco di bianco". - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"\u00ab Su un arco di bianco \u00bb est le titre d\u2019une \u0153uvre de jeunesse du compositeur italien Stefano Gervasoni, qui sera jou\u00e9e (dans une version r\u00e9vis\u00e9e) le 22 juin au Centquatre dans le cadre du festival ManiFeste de l\u2019Ircam. 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