Poetic Space of Stefano Gervasoni

Collected in nearly three contemporary pieces on this new single CD by Bergamasque Stefano Gervasoni, they are three compositions with a remarkable aesthetic affinity that closely blend sound, piano, poetry, and electronics.

Schumann Doubling: This is the concept that directs the work of the composer to rewrite it Another itemAnd the Tribute to Robert Schuman (2015/17) for piano and electronics. Drawing on the German author’s various piano compositions, Gervasoni brings out this distant, trembling “other voice” that seems to emanate from the piano (Aldo Orvieto) through the magic of electronics. The tool itself is subject to deformation and capitation An unknown light of the evening (1) They are a microtonal keyboard. Multiple sounds are unfolding in space Mood siren (2) Ghostly sounds like the auditory hallucinations that haunted Schumann at the end of his life. Diffuse resonance with the singing voice – Monica Bachelli’s voice – is heard in Lonely red flowers (An excerpt from Jungle scenes(3), a lie for which Gervasoni wrote the melody to a poem written by Friedrich Hebel. Aura of sound, distortion and a constant frequency, like tinnitus, pass through the pages Sparrow of the Prophet (Also taken from Jungle scenes(4) Manned by internal sounds when the electronic wave engulfs the piano Teacher Alba That closes this nightly, intimate and idyllic cycle.

That was soon, or maybe it was winter, Six Words by Lorenzo Calogero (2016) is a course written by Lieder (Schumann’s Relic) on verses written by Calabrian Lorenzo Calogero (1910-1961), in which it brought together not two but three accomplices: mezzo-soprano Monica Bacelli, pianist Aldo Orvieto, and sound designer Alvise Vidolin. Each melody generates its own sound space as the spoken sound often conveys the sung or whispers behind it like its double shadow (What was he crying). If the sound and the piano appear to constitute a single musical instance, then the electronic part, like the third letter, participates in the phonological and spatial “scaling” of each poem. Model the sounds of the piano under the influence of transducers that feed the sound back into the piano sound board. Treating the singer’s voice (encircling him or even striking him) or adding others such a strange frequency that was preserved during the fourth poem As well as for waves and shocks … In this gerphonic, innovative and haunted way, to make the text appear without obscuring its meaning.

Wall of hymns (2016), which gives the album its title, is a six-channel podcast. It was originally the “sound groove” that went through the installation of plastic artist Cacavallo, Street songs It aims to “revive” the stone on the exterior wall of the Hotel Gullift, by engraving in particular the verses of the poet Giacomo Leopardi, A night song of a wandering shepherd from Asia. This “night song” recorded on the electronic frame serves as a common thread for Wall of hymns. The poem is said in two or even three voices (but only by Monica Bachelli) and in a segmented fashion insofar as each sentence is interrupted before the end of the line, as if it were silent. Conservative, subtle and subject to the same treatment as the phoneme, the electronic part, stylist Marco Leoni, intervenes in the gaps of the text and takes part in this poetic meditation on the meaning of life.

(Visited 1 times, 1 day visits)