Located in the UK
Located in the USA
Located in Europe
- Gualtiero Dazzi
... en bordure d’espaces ... (2001)
(... en bordure d’espaces ...)- Chester Music Ltd (World)
Commissioned by Art Zoyd for Mons Musiques
- 1110/1010/perc+eperc/2kbd/str(3.2.2.1)
- 12 min
Programme Note
...en bordure d’espaces... (2001)
Sinfonietta in the form of a diptych
Toujours à la poursuite
des sables errants
Il est comme le filet
dispersé sur d'autres rives.
La nébulosité
gagne sur l'ombre
et s'agrandit
figures de rêve
j'ai vu danser
les habitants
d'obscure éternité
et se perdre
en bordure d'espace
dans l'aspiration
d'une aube émerveillée.
There is no programme to look for in these two incombustible poems by Giacinto Scelsi. They have simply always been at my side during my work. Faithful travelling companions.
I composed most of this work in the countryside, far away from the urban quicksands. No buildings in front of my eyes, in my ears only silence.
I could speculate on the technical aspects of the work: why two such apparently different movements? What is the connection between the electronic sound-world and the instrumental one? I will only say this: each musical work opens a space. It is up to the audience to inhabit it.
I dedicate this work to Giulia and Corrado. Once again their house has been a salutary refuge for me, allowing me to finish my work.
© Gualtiero Dazzi, July 2001
Sinfonietta in the form of a diptych
Toujours à la poursuite
des sables errants
Il est comme le filet
dispersé sur d'autres rives.
La nébulosité
gagne sur l'ombre
et s'agrandit
figures de rêve
j'ai vu danser
les habitants
d'obscure éternité
et se perdre
en bordure d'espace
dans l'aspiration
d'une aube émerveillée.
There is no programme to look for in these two incombustible poems by Giacinto Scelsi. They have simply always been at my side during my work. Faithful travelling companions.
I composed most of this work in the countryside, far away from the urban quicksands. No buildings in front of my eyes, in my ears only silence.
I could speculate on the technical aspects of the work: why two such apparently different movements? What is the connection between the electronic sound-world and the instrumental one? I will only say this: each musical work opens a space. It is up to the audience to inhabit it.
I dedicate this work to Giulia and Corrado. Once again their house has been a salutary refuge for me, allowing me to finish my work.
© Gualtiero Dazzi, July 2001