Per un'esecuzione di "Ryoanji" di J.Cage 

da lunedì 19 settembre alle ore 16.00 - a sabato 24 settembre alle ore 23.00 

Carpegna (Montefeltro, Pesaro e Urbino - Italy) 

Docente: Enrico Francioni 

PROGRAMMA DEL SEMINARIO: 

lunedì 19 settembre: saluti e presentazione del seminario 

martedì 20 settembre: : Introduzione a "Ryoanji" 

mercoledì 21 settembre: l'allestimento tecnico 

giovedì 22 settembre: l'organizzazione della partitura 

venerdì 23 settembre: cenni sull'algoritmo necessario per il live electronics 

sabato 24 settembre: esecuzione di "Ryoanji" 

tutti i giorni dalle ore 16.00 alle ore 19.00 

per info: 

cell: 3383124493 

p.e.: francioni61021@libero.it 

SU RYOANJI: 

"In 1983 started a composition in progress called Ryoanji, named after the rock garden in Kyoto, Japan. This garden is a collection of 15 rocks, placed in a landscape of raked, white sand. In the summer of 1983 Cage started a series of drawings entitled Where R=Ryoanji, using 15 different stones and drawing around these. Around that time the oboist James Ostryniec asked Cage to write a piece for him, which resulted in the first part of Ryoanji. Between 1983 and 1985 Cage added 4 more parts for voice, flute, double bass and trombone. In July 1992 Cage made sketches (during an interview with Joan Retallack and Michael Bach, described in Musicage - Cage muses on Words, Art, Music. ), together with Michael Bach, for a cello part he never completed. 

The solos (in any combination or as solos) are always accompanied by a percussion part or a similar 20 member orchestral part. 

Every solo is a series of 8 songs (9 in the voice version). A song is created on 2 pages, each of which contains 2 rectangular systems. In every rectangle Cage traced parts of the perimeters of the given stones. These curves should be played as glissandi, within the given pitch ranges. In some places, contours overlap, thus being impossible to play for a soloist. In these cases, tape recordings are used to allow the soloist to play duets or trios. 

The percussion part is a single complex of 2 unspecified sounds, played in unison, wood and metal (not metal and metal). The metres for these materials are twelve, thirteen, fourteen or fifteen. 

The twenty musicians of the orchestra each independently choose a single sound, which they use for the entire performance. They should play in "Korean unison", their attacks being close, but not exactly together. These parts are a series of quarter notes (like in the percussion part) with notations (different for each instrument) to play slightly before, slightly after or more or less on the beat. 

The soloists represent the stones of the garden, the accompaniment the raked sand."