17 GENNAIO 2014 ORE 08:45 MAXWELL DAVIS–OTTO CANZONI—GUARDATE SE VI PIACE, O MEGLIO SE RIUSCITE A SEGUIRLO—UN’INSTALLAZIONE MUSICALE? PARE PIU’ TEATRO CHE UN CONCERTO, SE SI POTRA’ CAPIRE COSA DICO! PERO’ RAGAZZI, DOVE VIVIAMO? UNO NATO NEL ’34 FA UNA MUSICA A ME REPELLENTE? A VOI? MI VIENE DA DIRE: COSA CI SIAMO PERSI? CHIARA SENZ’ALTRO: TUTTA LA SECONDA META’ DEL NOVECENTO, E SULLA PRIMA META’…4 SCHEMETTI DI TRABALLO! NON PIANGO NON PIANGO–CERCARE DI VIVERE NEL PROPRIO SECOLO E’ COME ESSERE SISIFO- OGGI E’ ANCORA GRIGIO E PIOVE—DOMANI CI AGGRAPPAREMO A QUELLO CHE ABBIAMO CAPITO, SIETE D’ACCORDO?-

 

PETER MAXWELL DAVIS  –OTTO CANZONI PER UN RE PAZZO

 

 

 

COSA E’ MITO?

http://www.comune.torino.it/settembremusica/edizioniprecedenti/

UN PICCOLO STRALCIO DA COS’E’ “MITO”:

“A partire dal 1982, oltre ai tradizionali concerti sinfonici e da camera con programmi di repertorio e alle frequenti incursioni nel jazz e nella canzone d’autore, Settembre Musica ha promosso significative operazioni monografiche sui principali compositori contemporanei: Andriessen, Berio, Boulez, Carter, Donatoni, Dutilleux, Gubajdulina, Henze, Kurtag, Ligeti, Maxwell Davies,  Messiaen, Nono, Pärt, Petrassi, Reich, Schnittke, Sciarrino, Takemitsu, Yun, Xenakis.

Negli ultimi anni si è rivolta una particolare attenzione alla musica etnica con importanti progetti dedicati alla musica centroafricana, cinese, a quella proveniente dalle regione dell’Himalaya, da Giava, Indonesia, dalla Cambogia, dalla regione del Kerala, India del Sud, dall’Iran, dal Vietnam e dalla Corea.
A partire dal 2004 il numero degli appuntamenti si è stabilizzato intorno agli 80 in ciascuna città, collocati all’interno delle consuete tre settimane di programmazione del festival.

 

VOI QUANTI NE CONOSCETE?  CHIARA PREFERISCE NON DIRLO!

Dal 1978 sono stati ospiti di Settembre Musica Severino Gazzelloni, Daniel Barenboim, Maurizio Pollini, Vladimir Ashkenazy, Salvatore Accardo, Uto Ughi, Alfred Brendel, Gidon Kremer, Marta Argerich, Lorin Maazel, Riccardo Muti, Yuri Temirkanov, Claudio Abbado, Kurt Masur, Uri Caine, Neville Marriner, Krystian Zimerman, Murray Perahia, Zubin Mehta, Myung-Whun Chung, Colin Davis, Mstislav Rostropovic, Natalia Gutman, HK Gruber, Jordi Savall, Chet Baker, Chick Corea, Herbie Hancock, Paolo Conte, Hanna Schygulla, Dee Dee Bridgewater, Michel Petrucciani, Goran Bregovic, Ornette Coleman, Ivano Fossati, Vinicio Capossela, Brad Mehldau, Ute Lemper, Cassandra Wilson, Bobby McFerrin, Enrico Rava, Fiorella Mannoia, Mau Mau, Africa United, Richard Galliano, Stefano Bollani, Franco Battiato, Mc Coy Tyner.”

 

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NON HO TROVATO NIENTE IN ITALIANO!

Sir Peter Maxwell Davies, CH, CBE (born 8 September 1934) is an English composer and conductor and is Master of the Queen’s Music.^[1]

 

Davies is a prolific composer who has written music in a variety of styles and idioms over his career, often combining disparate styles in one piece  (HA SCRITTO MUSICA IN VARI STILI, SPESSO METTENDOLI INSIEME IN UN UNICO BRANO).

Early works include the Trumpet Sonata (1955), written while he was at college, and his first orchestral work, Prolation (1958), written while under the tutelage of Petrassi. (PETRASSI E’ STATO SUO MAESTRO-TUTORE) Early works often use serial techniques (for example Sinfonia for chamber orchestra, 1962), sometimes combined with Mediaeval and Renaissance compositional methods.(LE SUE PRIME MUSICHE USANO LA TECNICA SERIALE SPESSO COMBIANTI CON METODI COMPOSITIVI DEL MEDIOEVO O DEL RINASCIMENTO) Fragments of plainsong ((CANZONI PER BAMBINI?)) are often used as basic source material to be adapted and developed in various ways.

Pieces from the late 1960s take up these techniques and tend towards experimental and a violent character – these include Revelation and Fall (based on a poem by Georg Trakl), the music theatre pieces Eight Songs for a Mad King and Vesalii Icones, and the opera Taverner. Taverner again shows an interest in Renaissance music, taking as its subject the composer John Taverner, and consisting of parts resembling Renaissance forms. The orchestral piece St Thomas Wake (1969) also shows this interest, and is a particularly obvious example of Davies’s polystylism, combining, as it does, a suite of foxtrots (played by a twenties-style dance band), a pavane by John Bull and Davies’s “own” music (the work is described by Davies as a “Foxtrot for orchestra on a pavan by John Bull”). Many works from this period were performed by the Pierrot Players which Davies founded with Harrison Birtwistle in 1967 (they were reformed as the Fires of London in 1970, disbanded in 1987).

Davies is known for his use of magic squares as a source of musical materials and as a structural determinant. In his work Ave Maris Stella (1975) he used a 9×9 square numerologically associated with the moon, reduced modulo 9 to produce a Latin square, to permute the notes of a plainsong melody with the same name as the piece and to govern the durations of the notes.^{[citation needed]}

Worldes Blis (1969) indicated a move towards a more integrated and somewhat more restrained style, anticipating the calm which Davies would soon find at his new home in Orkney. Some have drawn a comparison^{[weasel words]} between this later style and the music of Jean Sibelius. His present style is regarded as much more accessible, to the point where Alexander Goehr no longer regarded him as a modernist.^{[19][not in citation given]}

Since his move to Orkney, Davies has often drawn on Orcadian or more generally Scottish themes in his music, and has sometimes set the words of Orcadian writer George Mackay Brown. He has written a number of other operas, including The Martyrdom of St Magnus (1976), The Lighthouse (1980, his most popular opera), and The Doctor of Myddfai(1996). The ambitious, nihilistic parable Resurrection (1987), which includes parts for a rock band, was nearly twenty years in gestation.

Davies also became interested in classical forms, completing his first symphony in 1976. He has written nine numbered symphonies since—a symphonic cycle of the Symphonies Nos.1–7 (1976–2000), a Symphony No. 8 titled the ‘Antarctic’ (2000), a Ninth Symphony (premiered on 9 June 2012 by the Royal Liverpool Symphony Orchestra), a Sinfonia Concertante (1982), as well as the series of ten Strathclyde Concertos for various instruments (pieces born out of his association with the Scottish Chamber Orchestra, 1987–1996). In 2002, he began work on a series of string quartets for the Maggini String Quartet to record on Naxos Records (the so-called Naxos Quartets). The whole series was completed in 2007, and is viewed by the composer as a novel in ten chapters”.^[20]

Davies’s lighter orchestral works have included Mavis in Las Vegas and Orkney Wedding, With Sunrise (which features the bagpipes), as well as a number of theatre pieces for children and a good deal of music with educational purposes. Additionally he wrote the scores for Ken Russell‘s films The Devils and The Boy Friend.

Maxwell Davies’s short piano piece Farewell to Stromness entered the Classic FM Hall of Fame in 2003, his first ever entry, and was at that time the fastest-rising new entry in the chart’s history.^{[citation needed]}

He also writes with particular affinity for young and non-professional performers; for example, his Fanfare: A salute to Dennis Brain is targeted at players of grade 6 standard or above,^[21] and he has composed several children’s operas including A Selkie Tale, The Great Bank Robbery and The Spider’s Revenge. Other children’s works include Chat Mossand A Hoy Calendar both written for first performance by the children of St Edward’s College Liverpool.

A Hymn to the Spirit of Fire was commissioned by the Liverpool Metropolitan Cathedral Concerts Society as the culmination of the city’s Capital of Culture year 2008 and was given its world premiere at the Cathedral on Saturday 13 December.^{[citation needed]}

His Violin Concerto No. 2 received its UK premiere on 8 September 2009 (the composer’s 75th birthday) in the Royal Albert Hall, London, as part of the 2009 season of the BBCProms.

On 13 October 2009, his string sextet The Last Island was first performed by the Nash Ensemble at Wigmore Hall in a 75th birthday concert for the composer.

His Symphony No. 10 is due to have its world premiere at the Barbican Hall, London on 2 February 2014.^[22]

 

 

PER CHI NON SA L’INGLESE, FORSE – CON UN PO’ DI BUONA VOLONTA’, LO SPAGNOLO E’ PIU’ ACCESSIBILE

 

Música[editar · editar código]

Davies es un prolífico compositor que ha escrito música en una variedad de estilos e idiomas a lo largo de su carrera, a menudo una combinación de estilos dispares en una sola pieza. Sus primeros trabajos incluyen la Trumpet Sonata (1955), escrita mientras estaba en la universidad, y su primera obra para orquesta, Prolation (1958), escrita bajo la tutela de Petrassi. Las primeras obras suelen usar técnicas seriales (por ejemplo, la Sinfonía para orquesta de cámara, 1962), a veces combinadas con métodos de composición medievales y renacentistas. Fragmentos de canto llano (un género medieval vocal, a capella, monódico y modal, con un rítmica verbal) se utilizan a menudo como fuente básica de material para ser adaptado y desarrollado de diversas formas.

Piezas de finales de 1960 comienzan a ocuparse de estas técnicas y tienden hacia el expresionismo y un carácter violento —como Revelation and Fall (basada en un poema deGeorg Trakl), la mencionada Eight Songs for a Mad King, Vesalii Icones y la ópera Taverner—. Taverner demuestra una vez más su interés en la música del Renacimiento, tomando como tema al compositor John Taverner, y consta de partes que se asemejan a las formas renacentistas. La pieza orquestal St Thomas Wake (1969) también muestra este interés, y sobre todo es un ejemplo evidente del poliestilismo de Davies, combinando, como hace, un conjunto de foxtrot (tocado al estilo de los años veinte por una banda de baile), una pavana de John Bull y música del propio Davies (la obra es descrita por Davies como “Foxtrot for orchestra on a pavan by John Bull” («Foxtrot para orquesta sobre una pavana de John Bull»). Muchas obras de este período fueron interpretadas por el «Pierrot Players», el grupo que Davies fundó con Birtwistle en 1967 (en 1970 se transformaron en «The Fires of London» («Incendios de Londres») y se disolvieron en 1987).

Davies es conocido por su uso del cuadrado mágico como una fuente determinante de materiales musicales y de la propia estructura. En su obra Ave Maris Stella (1975) ha utilizado un cuadrado de 9×9, numerológicamente asociado a la luna, reducido el módulo 9 para producir un cuadrado latino para permutar las notas de una melodía de «canto llano» con el mismo nombre de la pieza y para regular la duración de las notas.

Worldes Blis (1969) indica un movimiento hacia una mayor integración y un estilo un poco más restringido, anticipando la calma que Davies pronto iba a encontrar en su nuevo hogar en las Orcadas. Algunos han establecido una comparación entre este estilo tardío y la música de Jean Sibelius. Su estilo actual se considera mucho más accesible, hasta el punto de que Birtwistle ya no se le considera como un modernista.⁵

Desde su traslado a las Islas Orcadas, Davies ha trabajado a menudo sobre las Islas, o, más generalmente, sobre temas musicales escoceses, y en ocasiones ha puesto en música textos del escritor orcadiano George Mackay Brown. Ha escrito una serie de óperas como The Martyrdom of St Magnus («El Martirio de San Magnus», 1976), The Lighthouse («El faro», 1980, su ópera más popular) y The Doctor of Myddfai («El Doctor en Myddfai]», 1996). Finalmente ha acabado, tras casi veinte años de gestación, una de sus óperas más ambiciosa, Resurrección (1963-87), una parábola nihilista que incluye piezas de banda de rock.

Davies también se interesa en las formas clásicas, completando su Primera Sinfonía en 1976. Ha escrito ocho Sinfonías numeradas —un ciclo sinfónico inicial de sinfonías desde la 1 a la 7 (2000) y la Sinfonía nº 8, la Antártida (2000)—, una Sinfonía Concertante (1982), así como la serie de diez «Strathclyde Concertos», escritos para diversos instrumentos (piezas surgidas de su asociación con la Scottish Chamber Orchestra, 1987-96). En 2002, comenzó a trabajar en una serie de cuarteto de cuerdas para el Maggini String Quartetpara ser grabados en el sello Naxos (los llamados Naxos Quartets). Su último cuarteto es el nº 9 (2006).

Davies ha compuesto algunas obras orquestales ligeras, como Mavis in Las Vegas y Orkney Wedding, With Sunrise («Boda en las Orcadas, con sonrisa») (que incluye una gaita), así como una serie de piezas teatrales para niños y una buena parte de música con fines educativos. Además, escribió las partituras para las películas de Ken Russell The Devils(1971) y The Boy Friend (1971).

También escribe con especial afinidad por los jóvenes e intérpretes no profesionales, por ejemplo, su Fanfare: A salute to Dennis Brain («Fanfarria: Un saludo a Dennis Brain», un famoso trompista inglés (1921-57)) está concebida para interpretes de sexto grado o superior,⁶ y ha compuesto varias óperas para niños, como A Selkie Tale, The Great Bank Robbery y The Spider’s Revenge.

La pieza corta de piano Farewell to Stromness entró en 2003 en el «Hall of Fam»e de la Classic FM, en su primera entrada y fue en ese momento la nueva entrada más rápida de la historia.