Publicação
Hélène de Montgeroult: rebel woman, offbeat artist. A concert-melologue
| Resumo: | So many times we have seen music preceded by words that explained or commented on what was to be played! But what would happen if the words were spoken during the performance of the musical works? Would the magic be lost? Or could it be, instead, a way of achieving a deeper connection with the audience? That is what I am exploring in this new chapter of my inVERSIONS project, starting with the nineteenth-century practice of the melologue and filtering it through some striking musical experiments from the last half-century (I am thinking, in particular, of Frederic Rzewski's De Profundis and his other works for speaking pianist.) The idea is to make these words part of the artistic product, talking and playing at the same time: not only comments between works in the form of interludes accompanied by piano improvisations, but also sentences and thoughts inserted in strategic places in the works themselves. This L8Nite Performance for EPARM 2023 focuses on the extraordinary studies of Hélène de Montgeroult (1764-1836). A leading figure on the Parisian musical scene at the time of the Revolution, her activity as an improviser, composer and treatise writer left a mark of incalculable depth on the history of the piano. Until very recently, however, the works and the person of Montgeroult have been almost totally forgotten, despite the fact that the interplay between her life, her music and their subsequent reception makes her one of the most fascinating cases in the history of music. It is then doubly interesting to present this extraordinary woman in the framework of this reinvention of the concert format that I propose here: there is so much to share with the audience, in the form of music and of ideas! This is what I propose with this intimate reinvention of the classical recital format: an alternative way of living together with the audience a musical experience that turns into emotion what we could read in a hand program. Biographical details, stylistic nuances, metaphorical readings and the musicological research itself become the basic material of a creative way of sharing knowledge, applicable to the most diverse situations. |
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| Autores principais: | Chiantore, Luca |
| Ano: | 2023 |
| País: | Portugal |
| Tipo de documento: | documento de conferência |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Aveiro |
| Idioma: | inglês |
| Origem: | RIA - Repositório Institucional da Universidade de Aveiro |
| Resumo: | So many times we have seen music preceded by words that explained or commented on what was to be played! But what would happen if the words were spoken during the performance of the musical works? Would the magic be lost? Or could it be, instead, a way of achieving a deeper connection with the audience? That is what I am exploring in this new chapter of my inVERSIONS project, starting with the nineteenth-century practice of the melologue and filtering it through some striking musical experiments from the last half-century (I am thinking, in particular, of Frederic Rzewski's De Profundis and his other works for speaking pianist.) The idea is to make these words part of the artistic product, talking and playing at the same time: not only comments between works in the form of interludes accompanied by piano improvisations, but also sentences and thoughts inserted in strategic places in the works themselves. This L8Nite Performance for EPARM 2023 focuses on the extraordinary studies of Hélène de Montgeroult (1764-1836). A leading figure on the Parisian musical scene at the time of the Revolution, her activity as an improviser, composer and treatise writer left a mark of incalculable depth on the history of the piano. Until very recently, however, the works and the person of Montgeroult have been almost totally forgotten, despite the fact that the interplay between her life, her music and their subsequent reception makes her one of the most fascinating cases in the history of music. It is then doubly interesting to present this extraordinary woman in the framework of this reinvention of the concert format that I propose here: there is so much to share with the audience, in the form of music and of ideas! This is what I propose with this intimate reinvention of the classical recital format: an alternative way of living together with the audience a musical experience that turns into emotion what we could read in a hand program. Biographical details, stylistic nuances, metaphorical readings and the musicological research itself become the basic material of a creative way of sharing knowledge, applicable to the most diverse situations. |
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Atividades financiadas
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