2. Introduction
NMGS0030-117
`a tue-tˆete
Fruitful
Contradictions
Acknowledgements
Nicola Bernardini 10/08/2014 2 of 24
Context
Scelsi Revisited project
Scelsi’s tape NMGS0030-117
Fabien L´evy’s piece `a tue–tˆete, premi`ered in Darmstadt on
August 9, 2014
Not a full fledged musicological analysis of the piece. . .
. . . but rather a meditation upon all the implications of the
Scelsi Revisited project. . .
. . . conducted with the composer himself, using `a tue–tˆete
as “contingent inspiration”
9. Introduction
NMGS0030-117
`a tue-tˆete
Fruitful
Contradictions
Acknowledgements
Nicola Bernardini 10/08/2014 9 of 24
`a tue–tˆete (2)
`a tue–tˆete not a “folklorization of Scelsi’s uncommon
work” but rather. . .
. . . “a questioning our listening habits through the prism
of [L´evy’s] musical language”
L´evy has picked up a number of metalinguistic elements
which are ubiquitous in Scelsi’s production but are also
strongly related to L´evy’s present compositional interests
12. Introduction
NMGS0030-117
`a tue-tˆete
Fruitful
Contradictions
Acknowledgements
Nicola Bernardini 10/08/2014 12 of 24
`a tue–tˆete (5)
`a tue–tˆete is built over a small number of musical
constraints:
sonic center revolving over an ubiqutous b and a small set
of clustering adjacent notes (peculiar to this piece)
(strongly related to Scelsian writing)
constantly re-iterated sixteen note pulse arranged through
the generalized “cross–rhythm” technique which is
absolutely characteristic of L´evy’s writing
16. Introduction
NMGS0030-117
`a tue-tˆete
Fruitful
Contradictions
Acknowledgements
Nicola Bernardini 10/08/2014 16 of 24
`a tue–tˆete (9)
the generalized cross–rhythm technique was developed by
L´evy after a period of ethnological studies with Simha
Arom
the idea is to transcend the analytical logic of occidental
musical writing (and structuralism) to create music that is
actually closer to perception
looking at other cultures (central Africa, China, etc.) to
find new solutions
how closer can you get to Scelsi’s thinking?
17. Introduction
NMGS0030-117
`a tue-tˆete
Fruitful
Contradictions
Acknowledgements
Nicola Bernardini 10/08/2014 17 of 24
`a tue–tˆete (10)
Even subtler still:
L´evy “deconstructs” and “transcends” occidental writing
using a lot of new techniques and technologies available
today (“trans–parametric music inflection” suggested by
samplers, “generalized cross–rhythms” assisted by
software, etc.)
much like Scelsi, which was using the new techniques of its
time (engravers, tape recorders, ondiolas, etc.)
24. Introduction
NMGS0030-117
`a tue-tˆete
Fruitful
Contradictions
Acknowledgements
Nicola Bernardini 10/08/2014 24 of 24
My grateful thanks go to Fabien L´evy, Giacinto Scelsi, Nicola
Sani, Alessandra Carlotta Pellegrini, Sandro Marrocu, Irmela
Heimb¨acher, the Fondazione Isabella Scelsi, the Istituto
Centrale dei Beni Sonori e Audiovisivi, his director Massimo
Pistacchi, his technicians Bruno Quaresima and Carlo Cursi,
Thomas Sch¨afer, Bj¨orn Gottstein, Michael Kunkel, Sven
Hartberger, the Scelsi Revisited project and the Darmstadt
Ferienkursen.