Sarà dolce tacere

Luigi Nono: Sarà dolce tacere, para 8 solistas vocales (1960)

ANCHE TU sei collina
e sentiero di sassi
e gioco nei canneti,
e conosci la vigna
che di notte tace.
Tu non dici parole.

C’è una terra che tace
e non è terra tua.
C’è un silenzio che dura
sulle piante e sui colli.
Ci sono acque e campagne.
Sei un chiuso silenzio
che non cede, sei labbra
e occhi bui. Sei la vigna.

È una terra che attende e non dice parole.
Sono passati giorni
sotto cieli ardenti.
Tu hai giocato alle nubi.
È una terra cattiva –
la tua fronte lo sa.
Anche questo è la vigna.

Ritroverai le nubi
e il cannetto, e le voci
come un’ombra di luna.
Ritroverai parole
oltre la vita breve
e notturna dei giochi,
oltre l’infanzia accesa.
Sarà dolce tacere.
Sei la terra e la vigna.
Un acceso silenzio
brucerà la campagna
come i falò la sera.

Cesare Pavese, ‘Anche tu sei collina’ (Roma, 30-31 de octubre de 1945), de “La terra e la morte”.

Referencias:
– Cesare Pavese: Poesía – Taifa Literaria
– Fondazione Archivio Luigi Nono ONLUS
– Manfred Schreier: Neue Vocalsolisten Stuttgart – Col legno

La arquitectura del silencio (Jürg Frey)

THE ARCHITECTURE OF SILENCE
There is a music in which the time-space of sound and the time-space of silence appear in their own particular realms. Even when the sounds are often very soft, the music is not about falling into silence. The sounds are clear, direct and precise. Because they have left musical rhetoric behind, there is instead a sensitivity for the presence of sound and for the physicality of silence. There are long time spans for the presence of sound, and long time spans for the absence of sound. The two together form the “time present” of the piece.

In the silence a space is opened which can only be opened with the disappearance of sound. The silence which is then experienced, derives its power from the absence of the sounds we have just heard. Thus the time-space of silence comes into being, and then comes the physicality of silence.
Permeability, which is the physicality of silence itself, consists of the impossibility of saying anything about its content. Sounds can approach this permeability, but cannot achieve it. Sounds always occur as a formation or a shaping. They come into being by crossing a border which divides them from all others. At this border, everything formed becomes particular. Silence does not know this border. There is no silence through production. Silence is just there, where no sound is.
There are pieces in which the absence of sound has become a fundamental feature. The silence is not uninfluenced by the sounds which were previously heard. These sounds make the silence possible by their ceasing and give it a glimmer of content. As the space of silence stretches itself out, the sounds weaken in our memory. Thus is the long breath between the time of sound and the space of silence created.

Silence can also be present in the sounds. In order to have silence in sounds, one must let go of everything which gets in the way of this silence. This sound is a sound without the idea of what it can mean or how it should be used. This sound achieves a hint of permeability, which otherwise belongs only to silence. This sound is the Da-sein (being there) of sound. Its presence and charisma make themselves felt in the composition.

Silence requires one decision: sound or no sound. Sound requires a great many more decisions. These shape the sound and give it its quality, feeling and its content. Thus silence, in its comprehensive, monolithic presence always stands as one against an infinite number of sounds or sound forms. Both stamp time and space, in that they come into appearance, in an existential sense. Together they comprise the entire complexity of life.
Jürg Frey
Translation: Michael Pisaro

Referencias:
– wandelweiser – https://www.wandelweiser.de
– Jürg Frey: l’âme est sans retenue I – http://erstwhilerecords.bandcamp.com/

Jankélevitch: Música y silencio [playlist #1]

1. “Vuillemin: Soirs Armoricains – 1. Au large des clochers” – LYDIA JARDON
2. “Mussorgsky: Cuadros de una exposición – El viejo castillo” – IVO POGORELICH
3. “Mussorgsky:Cuadros de una exposición – Bydlo” – IVO POGORELICH
4. “Liszt: La lúgubre góndola II” – KRYSTIAN ZIMERMAN
5. “Liszt: Valse oubliée, for piano No. 4, S. 215/4” – LEIF OVE ANDSNES
6. “Debussy: L’Isle Joyeuse (1903-04)” – ANGELA HEWITT
7. “Fauré: En sourdine, (Cinq Mélodies ‘de Venise’), Op. 58/2 (VERLAINE)  – CHARLES PANZÉRA
8. “Rachmaninov: The isle Op 14 N 2” – DIMITRI KHARITONOV, LEIF OVE ANDSNES
9. “Chabrier: L’Île heureuse” – STÉPHANE DEGOUT, HÉLÉNE LUCAS

Referencias:
– Vladimir Jankélévitch: La música y lo inefable

Öde · Fülle · erquicke

Johannes Brahms: Rhapsodie para voz de alto, coro de hombres y orquesta, Op. 53

Suspensiones · Pausas · Silencios

Adagio [cc. 1-47] Poco Andante [cc. 48-115] Adagio [cc. 116-175]
c. 18
Entrada Alto
c. 115
Cambio Tempo
c. 127
Texto anterior:
So erquicke sein Herz!
c. 47
Cambio Tempo
c. 161 (con suspensión)
Texto anterior:
erquicke sein Herz!
cc. 171-172 (3 tiempos)
Texto anterior:
erquicke
Texto posterior:
sein Herz!

 

Vacío · Plenitud · reconforto

 

Adagio [cc. 1-47]
Salto 9ª descendente
die Öde verschlingt ihn.
Poco Andante [cc. 48-115]
Salto 12ª ascendente
aus der Fülle der Liebe trank!
Adagio [cc. 116-175]
Grados conjuntos / 3ª’s
erquicke sein Herz!


Fuentes:
– Johannes Brahms: Alto Rhapsody, Op.53 (1869)
– Johann Wolfgang von Goethe: Harzreise im Winter
– Regina Gorter: Analysis of Brahms Alto Rhapsody Opus 53
– Rudolf Drux: „Aber abseits wer ist’s?“. Goethes Harzreise im Winter und die Rhapsodie des Johannes Brahms (im Kontext romantischer Winterreisen)
– Amedeo Poggi y Edgar Vallora: Brahms, Repertorio completo
– Kathleen Ferrier; Erik Tuxen: Oslo Philharmonic Orchestra, Men of the Oslo Philharmonic Chorus
– Mildred Miller; Bruno Walter: Columbia Symphony Orchestra, The Occidental College Concert Choir
– Marilyn Horne; Robert Shaw: Atlanta Symphony Orchestra & Chorus