 WALTMANSEARLY AND CONTEMPORARY MUSIC |
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MARCELA PAVIA (IT) Aesthetic ideas: SOME FEATURES OF MY MUSIC ARE: SOUND TEXTURES THOUGHT AS COMPLEX SOUNDS. IN “SHALOTT” FOR WOODWINDS, CELESTA, GLOCKENSPIEL AND STRINGS THE INSTRUMENTS FORM A “KALEIDOSCOPICAL” TEXTURE WITH NO FORMAL DIRECTIONALITY AND IN THE LAST SECTION THE INTERVALIC TREATMENT PRODUCES AN “ELECTRONIC EFFECT”. ANOTHER FEATURE WHICH IS PRESENT IN MANY WORKS AND THAT IS A KIND OF “WORK IN PROGRESS” IS THE STRUCTURAL USE OF THE RESONANCE. THE IDEA OF RESONANCE IS THAT ONE OF “SOMETHING THAT REMAINS SOUNDING”. WHAT REMAINS SOUNDING MAY BE DIFFERENT RESPECT THE ORIGINAL SOUND OR CHORD. IF YOU APPLY A KIND OF “VIRTUAL FILTER” TO A CHORD AND LET RESOUND SOME NOTES DESPITE OTHERS , THE RESOUNDING NOTES MAY OR MAY NOT HAVE A DIFFERENT “COLOUR”. THE COLOUR MAY REGARD FOR EXAMPLE THE INTERVALLC STRUCTURE (IN THE CASE OF HARMONIC SOUNDS OR CHORDS). IF THE INTERVALIC STRUCTURE IS DIFFERENT WE WILL HAVE SOMETHING LIKE A BODY AND ITS DISTORTED SHADOW. THIS IS ONE OF THE POETICAL MEANINGS OF RESONANCE: A PARALLEL DISTORTED WORLD. IN “PAIN IS NOT LINEAR FOR SOLO PIANO (THE PIECE IS DEDICATED TO THOMAS ROSENKRANZ) THE RESONANCES ARE VERY IMPORTANT, THEY HAVE AN STRUCTURAL ROLE. THE RESONANCES ARE OF MANY KINDS: NOTES THAT LAST LONGER THAN OTHERS; HARMONICS THAT REMAIN SOUNDING WITHOUT BEING PLAYED, NOTES THAT RESOUND BECAUSE ITS FUNDAMENTAL HAS BEEN PRESSED AND SO ON. THE TITLE: BECAUSE THE DEEP EVENTS OF OUR PSYCHICAL LIFE DON’T FOLLOW A STRAIGHT WAY. IT IS LIKE THE DEEP MOVEMENTS OF WATER UNDER THE SURFACE OF THE OCEAN: IT HAS ITS OWN VELOCITY, A DIFFERENT TIME; IT MAY SEEM TO DISSAPPEAR AND THEN RETURNS WITH ALL THE STRENGTH. SO IN THE PIECE THERE IS SOMETHING THAT ALWAYS RETURNS IN DIFFERENT WAYS AND DIFFERENT ENVIRONMENTS. IN MY PIECES FOR SOLO GUITAR I EXPLORE IN A SYSTEMATICAL WAY THE POSSIBILITIES OF RESONANCE. THE GUITAR, BECAUSE OF THE TUNING OF THE STRINGS, IS ABLE TO PRODUCE A LOT OF RESONANCE’S HARMONICS, SO AS TO SAY, NOTES THAT SOUNDS WITHOUT BEING PLAYED. IT IS A FASCINATING IDEA: THEY ARE LIKE GHOSTS. I HAVE MADE A RESEARCH OF ALL THE POSSIBILITIES; IN FIDEAL I USED SOME OF THEM IN THE LAST SECTION: THE POETICAL MEANING: THEY REMIND SOMEONE WHO IS NOT PRESENT ANYMORE. A MORE COMPLEX USE OF THE RESONANCE DERIVES FROM THE POSSIBILITY OF CREATING 2 HARMONIC FIELDS: THE ONE WITH THE DIRECT RELATIONSHIPS AND THE OTHER ONE OF THE RESOUNDING NOTES. THEY MAY OR NOT AGREE ONE TO EACH OTHER AND THEY MAY HAVE A DIFFERENT EVOLUTION. FIDEAL IS PART OF A LARGER PROJECT: A CYCLE OF 5 PIECES FOR SOLO GUITAR AND ELECTRONICS WHICH WILL BE DEVELOPED AS A MULTIMEDIAL PROJECT NAMED “LIMEN”. ANOTHER FEATURE IS THE FUSION OF DIFFERENT STYLES: IS THE CASE OF “MALAMBO” FOR SOLO GUITAR WHICH IS BASED IN THE HOMONYMOUS ARGENTINIAN DANCE. ALSO “SIWASITO” FOR MIXED CHOIR BASED ON THREE ANDINIAN TRADITIONAL MELODIES OR “LA FOLIA DE ESPANA” BASED ON THE FAMOUS RENAISSANCE MELODY. ANOTHER FEATURE MAY BE ALSO THE RYTHMIC TENSION NOTICEABLE IN MANY PIECES “DE PUNA Y PAMPA” AND THE SUITE “TUPAC AMARU” BELONG TO THE PRODUCTION RELATED WITH ARGENTINIAN MUSIC. “DANZANDO ATTORNO ALL’UNO” AND “COSTELLAZIONI” BELONG TO THE FIELD OF MULTIMEDIAL WORKS, THE MUSIC IS PRODUCED WITH DIGITAL PROGRAMS. Marcela Pavia: Degree in Composition at the Universidad Nacional de Rosario (Argentina). Master courses with Dante Grela, Francisco Kropfl in Argentina and with Franco Donatoni (Italy) and in the Accademia Chigiana di Siena. Seminars and Masterclasses in Composition with Giorgy Ligeti, Ennio Morricone and Henri Pousseur. Artist in residence at the Virginia Center for the Creative Arts (USA); Studio Krone (Aargauer Kuratorium-Culture Section of the Stadt Aarau, Switzerland). Awards: Dundee Guitar Festival, the Composition Contest of the Percussive Arts Society (Italy) and so on. Publishers: Edizioni Curci (Milano), by Bčrben Edizioni Musicali (Ancona), Editions Delatour,(France), Sconfinarte (Milano)- Festivals: World Bass Clarinet Convention (Rotterdam), the 6th Annual Women New Music Festival (California State University, USA), the 2008 Beijing International Festival of Women in Music, the 2008 International Computer Music Conference (Belfast) the Brinkhall Summer Concert 2009 (Finlandia); FILE 2009 - Electronic Language International Festival (Sao Paulo, Brasil); next: Festival Rebus (Teatro Dal Verme, Milano) Festival Gare Du Nord (Basilea) Halls: Teatro dei Filodrammatici (Milan), the General Consulate of Repubblica Argentina in Milan, the Sibelius Academy (Helsinki); next: Centro Experimentacion Teatro Colon (Buenos Aires) Ensembles: North/South Consonance Ensemble (New York), the “Goffredo Petrassi” Choir (Rome); CUBE Ensemble (Chicago) and the Kiev State Philarmonic Orchestra. Commissions by the Ensemble Barcelona Nueva Musica, I Piccoli Pomeriggi Musicali, the Fondazione Adkins Chiti and several performers. www.marcelapavia.com Mailto: info@marcelapavia.com |
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