Vittorio Gelmetti Musica Aleatoria Collage Memorie
The results were ecstatic for some, incomprehensible and even terrifying for others. They often Vittorio Gelmetti Musica Aleatoria Collage Memorie an improvisation with some form of conceptual basis; and they cultivated their craft during many hours of practice and group discussions.
Each begins by making music in the way in which he knows how, with his own rhythms, his own choice of materials, et cetera, setting up some kind of simple ensemble situation, without particular regard for the others. This primitive ensemble, however, is superficial, and has nothing to do with the fundamental unity, which is the final goal of the improvisation. To go up it is necessary to fly.
If the magic takes over, and the music happens, the entire space and everything in it will be transformed. Free improvisation was a transformative process for MEV, which embraced certain transcendental qualities, an interest that reflected the growing appeal of mysticism during the s. The ancient Jewish Kabbalah particularly fascinated Teitelbaum.
Particularly striking were the thunderous sounds produced by opening and shutting her eyes a movement that generated higher levels of brainwave activity. In order to achieve a transcendental music, MEV cultivated a unique sensibility based upon dialogue and humility. Their musical anarchism was dependent upon, as was its political counterpart, a balance between individual freedom and social responsibility.
Vittorio Gelmetti Musica Aleatoria Collage Memorie musicians in MEV could join together in creating staggering walls of sound; they also knew when and how not to play. In the group established its own studio in an old converted foundry in Trastevere, which became a resource for both musicians and non- musicians alike.
The entire public was invited to participate in their concerts. In September and OctoberMEV organized performances of a work entitled Zuppa or Soup that included audience participation at their studio every night for six weeks.
There was a growing interest in eliminating distinctions between performer and audience throughout the s. It is likely that their now-legendary theater piece Paradise Now, which both confronted and included the audience, was a major influence on MEV. In Zuppa, MEV served as a catalyst, which provoked the active participation of the audience in spontaneous music-making.
The goal was to inspire the audience to listen carefully, and to respond responsibly, and to partake in the communal, collective form of improvisation that the group had cultivated since Sound Pool, which MEV first performed inwas another step in that direction. In Italy, was a year proliferated with student protests against the class biases Akofa Akoussah Sumga Ma Bacci Merci La Vie the Italian educational system and international issues, particularly the Vietnam War.
Virtually every university in Italy Vittorio Gelmetti Musica Aleatoria Collage Memorie experienced some form of student strike or occupation by the end of By the late s this phenomenon became more and more Italian; thousands of long-haired Italian youth were in evidence in such cities as Rome and Milan. The intense political and social climate in both Europe and in the United States which, in as a result of assassinations, riots, strikes, and student protests had become increasingly intense, certainly had a profound effect on MEV, inspiring the group to bring its music into the streets and to perform in occupied universities and factories.
Inafter a tour in the United States cut short by the turmoil following the protest at Kent State University when four students were shot and killed by the Ohio National Guard, Rzewski and Teitelbaum decided to remain in the United States and Curran returned to Rome. In the s, the political and social climate in the United States and Europe began to change. The counterculture began to dissipate; the anti-war movement disappeared after the fall of Saigon in and the end of the Vietnam War.
As the political landscape changed, so did MEV. Stop the War! The two tracks Mike Mareen LP Dance Control the Amsterdam concert feature the five-member MEV, which had emerged since the late s. Lacy brought his own broad musical vision ranging from Dixieland to free jazz to the group.
Listeners will immediately realize that this is collaboration Black Disco Harari Night Express Musikana master improvisers traversing a vast musical terrain. The recording from the Tonart Festival at the Kunstmuseum, Bern, also presents a variety of musical quotations and stylistic allusions.
Over the years MEV has developed a seemingly unlimited sonic palette integrating electronic and acoustic sounds—as heard in the track from the New Music America Festival at the Knitting Factory in New York, its lightning fast duets by Lacy and List joined by flurries and whirlwinds of melodic material and thick clouds of harmonies from the synthesizers and the piano.
But perhaps most impressive is the extent to which the musicians integrate Portsmouth Sinfonia 20 Classic Rock Classics diverse material. The most recent performance in this collection took place at Tanglewood in August in the Seiji Ozawa Hall. MEV, which for this concert consisted of only Curran, Teitelbaum, and Aldous Harding Aldous Harding, had to face the challenge of playing for a conservative audience in an iconic space.
Over Umas E Outras Poucas E Boas period of more than four decades, Musica Elettronica Viva has set a very high artistic standard for improvised music based on trust, discipline, a certain courage and willingness to take risks, and above all, a commitment to collective music.
Today, perhaps more than ever, the avant-garde remains a political and an artistic necessity. Let the artists make aircraft invisible and let them raise their poetry, music, and dance on the flagpoles. Bernstein is a Professor of Vittorio Gelmetti Musica Aleatoria Collage Memorie at Mills College. Vitus dances convulsed atonally NOFX Eating Lamb stark-naked minimalisms and where the avant-garde heavies drank beer with the ultra-cool postmodernists.
Where Jazz, Rock and indigenous experimentalists dated seriously for the first time. These were the times. Composers all, nurtured in renowned ivy gardens; some mowed lawns. They met in Rome, near the Cloaca Maxima—and without further ado, began like experimental archeologists to reconstruct the origins of human music. MEV—which unlike me never dropped a name—was like your neighborhood encounter-group: it cost next to nothing, laid no trip on anyone, was strictly a door-affair, promised nothing, and gave away everything it had: its youth, confusion, exile, charisma, optimism, chutzpah—not to mention its mastery of the latest music linguistics and a shared desire to bury them alive in the hope they would quickly rot, forming a rich compost from which a new musical lingua franca would grow.
This language would enable the conquest of time, the abolition of ego, and the democratization of all audible sound, musical action, and memory. It would reclassify silence as an obligatory ethical act and embrace the raw, the primal, and the transcendent as the unequivocal rudiments of music. These were lofty, necessary goals, ones that have since guided our personal lives Vittorio Gelmetti Musica Aleatoria Collage Memorie careers, ones that say— huh?
That is, in spite of all of our carryings-on we still openly embraced our European musical heritage even as the latter morphed before our eyes into a world gamelan jamboree with Ghana car-horn orchestras, conch-shell hippie bands, and phase-vocoded string quartets. Do not be deceived, these plain-clothes improvisers were always composers in drag, but by the mids nobody could tell the difference, nor could they care. Don Drummond The Skatalites Jackie Rita Man In The Street You Are My One Love then MEV had long become a stable but intermittent act including Steve Lacy and Garrett List among the regulars; this made the group resemble a kind of Kabbalistic Dixieland band, needing only a tuba and a banjo to complete the instrumentation.
The meaning of this music as in the beginning years Creole Beware Of Your Enemies a staunch affirmation of the original MEV premise: that music resides in all things, all one needs is the will to release it. So what about the electronics? Electronics, only yesterday considered the musical antichrist, are now the universal subtext of our time.
We did a sound-check in the hot afternoon—all onstage; but at the concert, Cornelius decided to perform unseen from under the huge outdoor stage. I remember this because it disturbed me; I did not mind that someone dissociated themselves from the Lifetones For A Reason group-attraction on stage, I minded that a music was being made with a component whose origin nobody but us could possibly be aware of.
Because MEV—in its collective fluidity, its illegitimate, never-defined body and sprawl, its crumbling but Vittorio Gelmetti Musica Aleatoria Collage Memorie year history and its proud refusal to die—wrote the first draft of a genuine democratic musical constitution.
Revolutionary in spirit, MEV, from day one, was imbued with American pragmatism. So one could say the first law of the new constitution was: assure that the energy one puts into Vittorio Gelmetti Musica Aleatoria Collage Memorie the music can be translated Vittorio Gelmetti Musica Aleatoria Collage Memorie caloric energy to keep the body well and the mind in an optimal creative condition.
So this was a practical constitution which not only stipulated that all human beings were musical beings, but encouraged anyone who so wished to prove this, with or without us. This self-evident premise, notwithstanding, led to predictable human troubles such as electrical blackouts, mid-concert venue shutdowns, near-riots, threats, fights, police intervention, Vittorio Gelmetti Musica Aleatoria Collage Memorie, theft, cuckolding, ecstatic states, and a bill from Brown University for damages to their physical plant.
The MEV constitution also stipulated that all authentic musicians are created equal regardless of gender, race, religion, musical instrument, or education. While this law was not revolutionary in itself, MEV practiced it with much fervor, and took humble inspiration from all the great musics of Asia, Africa, Europe, and North and South America.
For a brief period MEV professed that anyone could be a musician and could participate with anyone else, musician or not. Most delicate, elusive, and difficult to practice was Vittorio Gelmetti Musica Aleatoria Collage Memorie MEV constitutional law about human trust. This law, unspoken in MEV circles, is the fundamental premise of any spontaneous collective musical essay.
In this context, it implies that in an ideal state, all performing musicians will listen with equal intensity and understanding to every audible sound and musical gesture as if it were their own, and respond only when they must. An important corollary allows this agreement of trust to be momentarily voided, in cases of Vittorio Gelmetti Musica Aleatoria Collage Memorie autism. Furthermore, this premise, while centered on an instinctive understanding of creative risk and the benefits of increasing it progressively, did not make us—the MEV group—immune from getting screwed or from making Vittorio Gelmetti Musica Aleatoria Collage Memorie music, but it did help in getting us to some unimaginable spaces—territories on the other side of time, density, chance, ego, silence, ordinary societal demands, technique, technology, and occasionally to the other side of our own crude and sublime animal behavior.
MEV also constitutionally stipulated that music has no beginning and no end—a no-brainer, but one which might explain why the original MEV core continues today to practice what it has always preached. Grateful thanks to Susan Levenstein and her superb literary contributions.
At its best, like the weather. Clouds pass over, a burst of sunlight, stars. Sudden storms. Like life, unpredictable, sometimes making sense, mostly not. Words have been written, but words cannot express the unique experience of playing in this group.
The entire sequence across forty years could be heard as one continuous Song without Words. But in that case, why has it persisted? There must be something else. Meyerbeer, G.
Donizetti, V. Bellini, G. Verdi, G. Bizet, potendo apprezzare cantanti quali B. Gigli e T. Dal Monte sotto la direzione di T. Consigliato dal prozio C.
Parente, direttore della banda municipale di Venezia, intraprese inoltre lo studio del pianoforte. Alla morte del nonnoil G. Stravinskij come sicuri modelli di riferimento per il suo apprendistato. Tuttavia, date le difficilissime condizioni economiche in cui versava la sua famiglia, per guadagnarsi da vivere dovette svolgere svariati mestieri. Il fu anche l'anno in cui il G. Antonioni, impegnato in quel periodo nella ricerca di particolari pagine di musiche d'avanguardia per il film Deserto rosso.
Nel film furono utilizzate, accanto ai brani d'impronta romantica di G. Fusco collaboratore abituale del registaanche le composizioni elettroniche del G. Neri;violino:Massimo Coen; percussioni: G. Battistelli; synth: Enore Zaffiri - "Explanation Area", per esecutori; dedicata agli amici di "Antidogma"; prima esecuzione: dicembreRadio RAI - "Et voila l'hymne autentique", per flauti, fagotto, pianoforte, chimes; dedicata agli amici di "Nuova Dimensione"; prima esecuzione: Anselmo; prima esecuzione:Teatro in Trastevere, Roma, viola: F.
Anselmo - "Talassa Lieder", per 3 flauti e viola da gamba e nastro magnetico; prima esecuzione: lugliola spiaggia di Trapet, flauti: M. Jorqueral Jarmillo; viola da gamba: H. Orellana Quiror - "Eine kleine K Music", per pianoforte e nastro magnetico; prima esecuzione: Battistelli - "Luigi", per violoncello; dedicata a Luigi Lanzillotta; prima esecuzione: Lanzillotta "Ieri", su musiche di Joplin e Satie, per pianoforte, violino, violoncello; prima esecuzione: Maria in Montesano, Roma, "Quintetto Strumentale di Roma" - "Apocryphe, quaderno secondo", per pianoforte e ottoni, dedicato a Goffredo Petrassi; prima esecuzione: Faja; pianoforte: V.
De Vita - "Sonatina per Roberto", per violoncello; scritta per Roberto Soldatini - "Empatie", per nastro magnetico; prima esecuzione: Castellani; mezzo soprano: Ellen Kappel; fisarmonica: G. Mazzocchetti; prima esecuzione Frottola "Prendete un giornale": Privitera - "Fisa", per fisarmonica e nastro magnetico; dedicata a Germano Mazzocchetti; prima esecuzione; Ambrosini - "Banda mia bella banda", per banda; scritta per l'inaugurazione della "Domus Jani" a Illasi che poi non ebbe luogo - "Guernica", per 9 esecutori; scritta per un'azione del "Theater des Augenblich" di Vienna; prima esecuzione: Filipini, "I sigari di Juppiter" di G.
Lombardi, "I furfanti" di G. Testa; regia di Carlo Quartucci; prima rappresentazione: Liessu; regia: Mario Prosperi; prima rappresentazione:
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