martedì 25 marzo 2014

Supernova - Interview with Arturo Tallini


Dear Arturo ... well, when will you be quiet and relaxed?. Maybe all what you do in your "normal" activities like worldwide concerts and teaching at the Conservatory of Santa Cecilia in Rome si not enough, now you now have created this new project Supernova .. Would you talk about it?

I start with a clarification: I don’t like guitars’ orchestras. Supernova is rather achanging and prismatic sound object: you can call it an “iperguitar” if you like, a changing sound magma with the purpose to give life to a universe of sound.
This is possible thanks to the excellent standard of all the components , I contacted them last year.
This idea of ​​" iperchitarra " guides me both for the choice of repertoire and the transcriptions: when I think of an adaptation for the ensemble , the distribution of the parts is always in terms of 'space' and not structured according to the piano principle that provides high register to the left and lower to the right.
In the Sonata BWV 1079, for example , the parts are distributed like a 'star' to which, for example, the flute’s part is entrusted to the position n . 1 and 5 , the other to position 2 and 6, and so on, creating a sort of three-dimensionality of the sound that gives this adaptation a very peculiar depth.

So let's summarize : 8 young talents , all aged between 17 and 28 years old, all over from Italy under your guidance . What have they in common between and what “drive” them to make the team?

They have in common their skills, they are all musicians , with a career in front of and desire to reach the highest possible level . I think what drive them to make their team are their high level skills for which the desire is to make music knowing that they share the same goals with the rest of the group.

You know, the thing that struck me was the dedication to contemporary repertoire , we know that it is true that contemporary and avant-garde music has always looked for in favor of guitar, revitalizing the bit ' cramped repertoire, is nice to see , especially in our country a similar initiative for a peculiar ensemble, I think we have never seen 9 classical guitars together, I believe that the only experiences in this regard are the League of Crafty Guitarists by Robert Fripp, the guitar’s ensembles by Glenn Branca and Rhys Chatham , the Ensemble Forestare in Canada ....

Yes, Robert Fripp, I was very impressed by him and I would say that he inspired this idea .... You are right , 9 guitars, in fact often I stop conducting and I join them playing or managing electronics. This is part of my vision of a magmatic ensemble. Perhaps playing Cage, Maderna , Stockhausen, Bussotti, who have signed these last few years of my career, helped me to open to the possibility and the need to change my roles inside the ensemble: as an instrumentalist, as an interpreter and , in this case, as a conductor .

Why the choice to include In C by Terry Riley ?The choice is in line with what I just said : InC is a sound magma constantly evolving , you never know what will become and assumed a total listening by each of the members to one another . It's like a moving mass of sound that expands, moves , turns, multiply ..... Then , our version is enriched with electronic sounds played by me using the computer and small percussion instruments played in turn.

Do you want to talk about the score composed for you to Maurizio Pisano ?

This a passage, as always happen when we talk about the music of this brilliant man, full of gestures, playful and always in touch with the music : everything Maurizio makes is a way to expression yourself, the interpreter and the possibilities of the same sound material . And I ( this is the third piece written by Maurizio Pisati by my request, after Guitar Click I and Cha -Hack ) always try to add a bit of invention that I think he really likes ....
The guitarists expand their gestures , their sounds , their be - instrumentalists and they become sound-persons, it is like their sound becomes more by the mere guitar’s sound.

I know you have a direct experience with Electric Counterpoint by Steve Reich .. would you play it with SuperNova ?

Absolutely yes, it is already planned in future proposals , and of course in that case, Supernova will be complemented by other guitarists ( 2 for 2 bass guitars )

Let's talk about improvisation ... you think you can make a space for improvisation in SuperNova ? I do not think it is easy for an ensemble of 9 people ... but you know I like challenges ...

Yes, it is a challenge for Riley, who is already an improvised piece , and for Serenade for a Satellite, which we played in our debut , I actually plan to tackle Tierkreis by Stockhausen, that will play with percussionist Gianluca Ruggeri and DJ , whose name is still a secret .....

Your next project? Are you thinking about a recording ?

A CD is definitely in our plans , not immediate , though: Supernova is a photograph of a complex and dense sound object with a judicious use of technology. Our artistic project is to get to create our own version of Stockhausen's Tierkreis on the one hand , and complete the Sonata BWV 1079 for Flute, Violin and Harpsichord from the Offerta Musicale by JS Bach .... you know , the other face of the Spiral ( Asimov would say ) yes, two different worlds , separated by centuries but united by a research that draws from the poetry and the number of its lifeblood .

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