Pièce lyrique interprétée à Milan en avril 2018 au Teatro Dal Verme par le Syntax Ensemble dirigé par Pasquale Corrado.

Paroles extraites d'"Hellénismes", un poème de Marien Defalvard que l'on retrouve dans son recueil "Narthex" (édition Exils, 2016).

Voix : Valentina Coladonato
Flûte : Maruta Staravoitava
Clarinette : Marco Ignoti
Violon : Francesco D’Orazio
Violoncelle : Fernando Caida Greco
Piano : Anna d’Errico
Percussions : Davio Savron

Les vers de Marien Defalvard extraits de son poème "Hellénismes" :

"Il y a des buissons de flammes mortes entre les veuleries des discours ; 
Qui pansera les paumes immobiles,
La couleur réversible, de safran ou de conque, de salves ou de proies,
Du discours.

 (la défaite sur des centaines de kilomètres)
Je n’ai pas d’autres espérances, ni même du côté des hangars du Nord-Est.
(et les passions négatives)
Et où se pressent, à présent, les couronnés. 

On se reflète dedans comme un animal sans issue. 
Le froid guette, Et je suis l’ombre du froid, comme je suivais, bien plus tôt, vers le temple,
L’ombre de l’insécurité.

Et la passion de la confiance, qui monte en sacrifice, sur l’herbe froide, Se reflète dans le déploiement des monts presque mauves, Sur l’horizon affranchi.
Mais oui, c’est une belle phrase, une belle page, une belle tombe.

J’ai été délivré bien trop tôt du discours, il me manque, son ombre est chaude ;
Je brûle... et Schadenfreude, se répètent :  Clochers, dérèglements, reprises, requêtes, déshonneurs, imparabilités, fusions.

Mais j’ai compris l’abandon, j’ai compris la défaite, j’ai fait mon aliment du doute.  

Le recul est comme un bras qui se dissoudrait de son buste,
Un torse négatif.
L’empirique, l’empire, le désastre, la radicalité : de tout cela le troc, le stuc -  La surfusion, (abandon), peut-être, se haussant par-dessus les dialogues."

Narthex (Syntax Ensemble)

𝗩𝗲𝗿𝘁𝗶𝗰𝗮𝗹 𝗹𝗶𝗴𝗵𝘁𝘀 𝗼𝗻 𝗹𝗼𝘀𝘁 𝗯𝗼𝗱𝗶𝗲𝘀
2023
for string quartet
Co-commission Milano Musica and Associazione Metamorfosi Notturne within Festival "Musica in prossimità" for Quartetto Maurice

@ Musica in prossimità 2023 | Pinerolo
Live recording @ Circolo Sociale di Pinerolo | 01.12.23

Quartetto Maurice | www.quartettomaurice.com/it

Audio recording: Andrea Marazzi
Audio editing: Luca Morino

Vertical lights on lost bodies

𝗩𝗲𝗿𝘁𝗶𝗰𝗮𝗹 𝗹𝗶𝗴𝗵𝘁𝘀 𝗼𝗻 𝗹𝗼𝘀𝘁 𝗯𝗼𝗱𝗶𝗲𝘀

«Mimma’amaqim» (Out of the depths)

Premiere: Stadtcasino Basel – Musiksaal, January 25, 2024
10th Mizmorim Chamber Music Festival Basel
Lucerne Festival Contemporary Orchestra (LFCO)
Basler Madrigalisten
Tito Ceccherini, conductor
Recorded by SRF (Schweizer Radio und Fernsehen)

This Psalm is a cry, a call out for help, for being heard by God.
It is often described as a canticle of gradual ascent (Shir Hama’a lot). This ascent could be understood as a rise from the abyss to redemption.
I believe this Psalm could resonate with many, even non-believers, as it shows a universal and tragic part of human life and human nature. That is the experience of grief, depression, abuse, solitude or simply being in a place so dark that leads to despair.
But it also sends a message of light, optimism, and hope, through the conviction that one will be heard.
Even inf it comes from the Hebrew tradition it shows universal values that can be embraced by many cultures and promote tolerance and acceptance. In fact, this psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies.
In this sense, during the piece the text follows a chronological use and adaptation throughout the Judaism and the different versions of Christianism: Latin: 530, Rule of Saint Benedict; German: Martin Luther Hymns, 1524, al and eventually the English: King James Version from 1610

Miamma'amaqim

Daniel Costello, horn | Live at MicroFest Prague, 28.04.23

Azimuth

Fiato - Filippo Perocco
Azione_Improvvisa Ensemble 
commission by Associazione Culturale Anomalia ETS

Live recording, 21.01.2024

Fiato - Filippo Perocco

Image cover Tanabata, by Giulia Cardini
Score published by Ed. Suvini Zerboni

Anna Leonardi, oboe and english horn
Live recording in Lugano

In nuce, in the strongly characterized and contrasting moments that make up the opening figure, we already find the preconditions for a possible dialogue, a meeting: the decisive initial burst is contrasted by a stasis (the prelude to the birth of the mèlos, the only unifying element of the piece) that then dissolves, pulverized, inharmonic and almost dismembered.

The variation and transfiguration undergone by these moments lead us to the meeting with the English horn (the other) and the chance to hear something new with respect to the initial stasis: the moment shared by the two instruments, finally together.

The last section suddenly interrupts the intensification of this dialogue with an obstinate path in which the underlying harmony remains alone in dialogue with the oboe.
Diffractions and bonds in the stasis make the meeting teleological and ambiguously hesitant, to the extent of remaining undecided between condivision, vision, perdition and appropriation.

The legend, put briefly, is as follows: Orihime and Hikoboshi (the stars Vega and Altair) were respectively the weaver and cowherd of the heavens, both of them skilled and expert in carrying out their activities. They fell in love and were married: but love distracted them from their duties and Tentei (the father of the bride, the universe itself), was angered, and separated them, taking Orihime to the other side of the river Amanogawa (the Milky Way) to punish them.
Orihime was heartbroken, so the father allowed the two lovers, if they had worked hard during the rest of the year, that they could see each other on the seventh night of the seventh lunar month, on an always different date.
-------------------------------------

In nuce, nei momenti fortemente caratterizzati e contrastanti che compongono la figura iniziale, troviamo già i presupposti per una possibilità di dialogo, d’incontro: al deciso guizzo iniziale si contrappone una stasi (preludio alla nascita del mèlos, unico collante del brano) che si dissolve poi, polverizzata, inarmonica e quasi disarticolata.

La variazione e la trasfigurazione attraverso le quali questi momenti si relazionano ci portano all’incontro con il corno inglese (l’altro) e alla possibilità di un ascolto rinnovato riguardo la stasi iniziale: quello condiviso dei due strumenti finalmente insieme.

La sezione finale arriva improvvisa a interrompere l’intensificarsi di questo dialogo con una corsa ostinata in cui l’armonia sottesa resta sola in dialogo con l’oboe.
Diffrazioni e unioni nella stasi rendono l’incontro teleologico e ambiguamente esitante, tanto da restare irrisolto tra condivisione, visione, perdizione e appropriazione.

Questa, brevemente, la leggenda: Orihime e Hikoboshi (le stelle Vega e Altair) erano rispettivamente la tessitrice e il pastore dei piani celesti, entrambi abili e solerti nel provvedere alle loro attività.
I due si innamorarono e si sposarono: l’amore, però, li distrasse dai loro doveri e Tentei (il padre della sposa, l’universo stesso), irato, li divise riportando Orihime sull’altra sponda del fiume Amanogawa (la via Lattea) per punirli. Orihime era inconsolabile, così il padre permise ai due amanti, se avessero lavorato duramente durante il resto dell’anno, di potersi vedere la settima notte del settimo mese lunare, in una data sempre diversa.

Tanabata (2019)

Simone Cardini

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