Andrea Aguzzi: The first question is always the classic one: how born of his love and interest in the guitar and what sounds or instruments played? What is your musical background?
Angelo Mirante: My passion for the guitar was born, thanks to listening to friends, great musicians and performers such as Segovia, Paco de Lucia, Williams, Bream through CDs or cassettes with them and I started to know part of the World wonderful classical guitar.
AA: How did your interest in the contemporary repertoire and what the current style in which she recognizes the most?
AM: In this answer I can not quote my Maestro Eugenio Becherucci that has been and is a true Guru for me. I remember the first day of the conservatory: entering class to class for the first time with Master Becherucci, I found him playing Helmut Lachenmann "Salut für Caudwell." With this I think I've said it all! Still say with pride that " Prof "hath raised on bread and Lachenmann. And 'no doubt that my current favorite style is contemporary, I do not say it was an easy relationship with it now, but soon we liked!
AA: You studied with Maestro Eugenio Becherucci, as beams with his music education?
AM: How have you got to understand the response previous year, "Prof" I was very good, and I am still very good (still good under his wing). I have often thought to have been very fortunate to have a teacher like him as calm and esauruiente to explain, full of passion for the instrument, with a great culture of music in general. A quality that never deny that the Professor is certainly taught me that music is expression, is excited, vibrate their wrists and then hold back her tears almost for its beauty and charm ... so for me it is a real Master of Life, and I wish anyone to know.
AA: It seems to have created a small classical guitar music scene dedicated to innovative and contemporary repertoire, as well as she can think of the names of Elena Casoli, Arturo Talini, Maurizio Grandinetti, Marco Cappelli and David Tanenbaum, David Starobin, Marc Ribot with the studies of John Zorn ... one can speak of a music scene? There are other guitarists who you know and we can advise which run on this musical path?
AM: With complete humility to approach this great music for me too. I have not much experience in this area and in general, so I leave the discovery of new talent on to the Masters and cited the "Prof" to be exact. I'm sorry I can not help you! Surely teaching, my disciples speak of this practice, this way of playing guitar Free.
AA: I sometimes feel that our time in the history of music to flow without a particular interest in its chronological course, in our disco-music library before and after, past and future become interchangeable elements, this may not present a risk for an interpreter and composer of a vision for a uniform? Of a "globalization" of music?
AM: I hope that there is absolutely never a musical globalization in the negative sense of the word. I hope however that we can work on its positive side because, if properly managed, this situation can create some interesting scenarios and situations in their complexity. This of course is in our common sense, because we musicians are the architects and executioners of our musical life and not.
AA: Luciano Berio wrote "The retention of the past also has a negative sense, as it becomes a way of forgetting the music. The listener derives from them an illusion of continuity that enables you to select what appears to confirm that same continuity and censor everything seems to bother you, "what role they can take the music and composers in this context?
AM: I have often preferred, although with difficulties, not pull, the better to mix the two things. You need to be prepared before the mind and spirit in the contemporary genre, these are the first feelings that I had, and we need to flow nell'esecutore and feelings in the listener that they are good or / and bad, but ' is important to stream something for me. A phrase that I remember with affection Berio is that drugs are machines, programmed like computers.
AA: affirmation of Berio Luigi Nono seems to have responded by writing: "Any other thoughts, other sounds, other sounds, other ideas. When you listen, you often try to find himself in others. Finding it works, system, rationalism, in the other. And this is a violence quite conservative. "... Now .. experimentation free from the burden of having to remember?
AM: Absolutely not otherwise coffin and coffin if it is not free run.
AA: What is the significance of improvisation in his music research? You can go back to talking about improvisation in the classical repertoire as well as coded or you're forced to leave and turn to other directories, jazz, contemporary, etc.?
AM: Very important life almost from the musical point of view. Why is the true essence of a person. Mix at the time what you feel: apotheosis!
Dario Fo for the theater says "We must learn to go to subject, distracting the logic from its normal pattern, an irreplaceable way to bring out what is wrong, is wrong with the world. Politicians, for example, do not know go to person "
However we must not refer to the current genre or because they have different histories and cultures, are conceived as improvisations for other reasons, other intentions, surely the same end.
AA: In 1968, Derek Bailey Steve Lacy asked to define in 15 seconds the difference between improvisation and composition, the answer was "In 15 seconds the difference between composition and improvisation is that in composition one has time to decide what to say in 15 seconds, while in improvisation has a 15 / 2 ".. Lacy's answer was too ironic, or is true?
AM: I agree!
AA: You have made for his Guitar Alchemist Project Improvvisation , we want to talk about this experience and how he found himself recording with this new reality?
AM: Experience beautiful in its entirety: For the photos that were used for the video presentation, to record the songs and the songs themselves. I hope in the growth of Alchemist as a landmark of our special music scene and hope to have more and more widespread.
AA: What is the role of error in his musical vision? Where by mistake mean an incorrect procedure, an irregularity in the normal operation of a mechanism, a discontinuity on an otherwise smooth surface that can lead to new developments and unexpected surprises ...
AM: Someone said: "It 'devilishly charming" and I found myself in this sentence. You can think of error as well and then suddenly walk, stumble, fall for a thousand reasons. I think so: when everything is beautiful, perfect, "Linda and pinto" is not realistic for the way I have of understanding life and music.
AA: How does the crisis in the music market, with the transition from digital downloading in mp3 and all this new scenario? All of these steps tend to be updated and have tons of mp3 that can hardly be heard with due care does not involve the risk of neglecting the real assimilation of ideas and creative processes?
AM: We can not change the process and the speed of events and as I said in the previous question, is the only our intelligence, but especially in our responsibility to be good at understanding what is good or not for us.
AA: We advice you needed five discs, you always have with you .. classic five discs for the desert island .. What music do you listen to usually?
AM: Here are the most difficult question! Surely Bach, Maderna, Petrassi and I think the concert for orchestra, Bettinelli and sorry I'm biased, the tracks of Eugene Becherucci, I think especially to "Noches!"
AA: What are its five scores required?
AM: The Bach Prelude, Fugue and Allegro BWV 998 (Not for nothing, I'm still studying them and I hope that at least on a deserted island to have enough time to learn it well), La Serenata per un satellite Bruno Maderna, the Catalan Fantasie for guitar and violin by Eugene Becherucci, rare Sylvano Bussotti and Light Frameworks by Nicola Jappelli.
AA The Blog is also read by young school leavers and graduates, what advice would you give to those who, after years of study, decided to start a career as a musician?
AM: Not to put limits to their knowledge and to approach this with absolute humility .
AA: Who would you like to play and who would play? What's next projects? What are you working?
AM: I think Juan Falu (person exquisite). A Brouwer. A Jappelli, in Tallinn, with my Master ... I like to imagine (so it does not cost anything) to play with Villa Lobos, etc. etc. Maderna. I'd like to play "Night Sounds" and "Nunc" Goffredo Petrassi, the 'Improvisation for solo guitar by Bettinelli and I think agl'ultimissimi songs Jappelli. Now I work mainly on a Diploma program this year that I have a guitar, fingers crossed!
AA: Last question, let us turn to the music of the three questions JPSartre to the literature: Why do you make music? And again: what the place of those who make music in contemporary society? The extent to which music can contribute to the evolution of this company?
AM: It is music to understand the true essence of life, to enjoy it in all its facets and to get away from it. In that place I do not know and now I do not poses the problem, but sooner or later I'd like to create me a space in this world. Music can contribute to the evolution of society and in certain important: I hate to think of the children of the orchestra of Venezuela!
Angelo Mirante: My passion for the guitar was born, thanks to listening to friends, great musicians and performers such as Segovia, Paco de Lucia, Williams, Bream through CDs or cassettes with them and I started to know part of the World wonderful classical guitar.
AA: How did your interest in the contemporary repertoire and what the current style in which she recognizes the most?
AM: In this answer I can not quote my Maestro Eugenio Becherucci that has been and is a true Guru for me. I remember the first day of the conservatory: entering class to class for the first time with Master Becherucci, I found him playing Helmut Lachenmann "Salut für Caudwell." With this I think I've said it all! Still say with pride that " Prof "hath raised on bread and Lachenmann. And 'no doubt that my current favorite style is contemporary, I do not say it was an easy relationship with it now, but soon we liked!
AA: You studied with Maestro Eugenio Becherucci, as beams with his music education?
AM: How have you got to understand the response previous year, "Prof" I was very good, and I am still very good (still good under his wing). I have often thought to have been very fortunate to have a teacher like him as calm and esauruiente to explain, full of passion for the instrument, with a great culture of music in general. A quality that never deny that the Professor is certainly taught me that music is expression, is excited, vibrate their wrists and then hold back her tears almost for its beauty and charm ... so for me it is a real Master of Life, and I wish anyone to know.
AA: It seems to have created a small classical guitar music scene dedicated to innovative and contemporary repertoire, as well as she can think of the names of Elena Casoli, Arturo Talini, Maurizio Grandinetti, Marco Cappelli and David Tanenbaum, David Starobin, Marc Ribot with the studies of John Zorn ... one can speak of a music scene? There are other guitarists who you know and we can advise which run on this musical path?
AM: With complete humility to approach this great music for me too. I have not much experience in this area and in general, so I leave the discovery of new talent on to the Masters and cited the "Prof" to be exact. I'm sorry I can not help you! Surely teaching, my disciples speak of this practice, this way of playing guitar Free.
AA: I sometimes feel that our time in the history of music to flow without a particular interest in its chronological course, in our disco-music library before and after, past and future become interchangeable elements, this may not present a risk for an interpreter and composer of a vision for a uniform? Of a "globalization" of music?
AM: I hope that there is absolutely never a musical globalization in the negative sense of the word. I hope however that we can work on its positive side because, if properly managed, this situation can create some interesting scenarios and situations in their complexity. This of course is in our common sense, because we musicians are the architects and executioners of our musical life and not.
AA: Luciano Berio wrote "The retention of the past also has a negative sense, as it becomes a way of forgetting the music. The listener derives from them an illusion of continuity that enables you to select what appears to confirm that same continuity and censor everything seems to bother you, "what role they can take the music and composers in this context?
AM: I have often preferred, although with difficulties, not pull, the better to mix the two things. You need to be prepared before the mind and spirit in the contemporary genre, these are the first feelings that I had, and we need to flow nell'esecutore and feelings in the listener that they are good or / and bad, but ' is important to stream something for me. A phrase that I remember with affection Berio is that drugs are machines, programmed like computers.
AA: affirmation of Berio Luigi Nono seems to have responded by writing: "Any other thoughts, other sounds, other sounds, other ideas. When you listen, you often try to find himself in others. Finding it works, system, rationalism, in the other. And this is a violence quite conservative. "... Now .. experimentation free from the burden of having to remember?
AM: Absolutely not otherwise coffin and coffin if it is not free run.
AA: What is the significance of improvisation in his music research? You can go back to talking about improvisation in the classical repertoire as well as coded or you're forced to leave and turn to other directories, jazz, contemporary, etc.?
AM: Very important life almost from the musical point of view. Why is the true essence of a person. Mix at the time what you feel: apotheosis!
Dario Fo for the theater says "We must learn to go to subject, distracting the logic from its normal pattern, an irreplaceable way to bring out what is wrong, is wrong with the world. Politicians, for example, do not know go to person "
However we must not refer to the current genre or because they have different histories and cultures, are conceived as improvisations for other reasons, other intentions, surely the same end.
AA: In 1968, Derek Bailey Steve Lacy asked to define in 15 seconds the difference between improvisation and composition, the answer was "In 15 seconds the difference between composition and improvisation is that in composition one has time to decide what to say in 15 seconds, while in improvisation has a 15 / 2 ".. Lacy's answer was too ironic, or is true?
AM: I agree!
AA: You have made for his Guitar Alchemist Project Improvvisation , we want to talk about this experience and how he found himself recording with this new reality?
AM: Experience beautiful in its entirety: For the photos that were used for the video presentation, to record the songs and the songs themselves. I hope in the growth of Alchemist as a landmark of our special music scene and hope to have more and more widespread.
AA: What is the role of error in his musical vision? Where by mistake mean an incorrect procedure, an irregularity in the normal operation of a mechanism, a discontinuity on an otherwise smooth surface that can lead to new developments and unexpected surprises ...
AM: Someone said: "It 'devilishly charming" and I found myself in this sentence. You can think of error as well and then suddenly walk, stumble, fall for a thousand reasons. I think so: when everything is beautiful, perfect, "Linda and pinto" is not realistic for the way I have of understanding life and music.
AA: How does the crisis in the music market, with the transition from digital downloading in mp3 and all this new scenario? All of these steps tend to be updated and have tons of mp3 that can hardly be heard with due care does not involve the risk of neglecting the real assimilation of ideas and creative processes?
AM: We can not change the process and the speed of events and as I said in the previous question, is the only our intelligence, but especially in our responsibility to be good at understanding what is good or not for us.
AA: We advice you needed five discs, you always have with you .. classic five discs for the desert island .. What music do you listen to usually?
AM: Here are the most difficult question! Surely Bach, Maderna, Petrassi and I think the concert for orchestra, Bettinelli and sorry I'm biased, the tracks of Eugene Becherucci, I think especially to "Noches!"
AA: What are its five scores required?
AM: The Bach Prelude, Fugue and Allegro BWV 998 (Not for nothing, I'm still studying them and I hope that at least on a deserted island to have enough time to learn it well), La Serenata per un satellite Bruno Maderna, the Catalan Fantasie for guitar and violin by Eugene Becherucci, rare Sylvano Bussotti and Light Frameworks by Nicola Jappelli.
AA The Blog is also read by young school leavers and graduates, what advice would you give to those who, after years of study, decided to start a career as a musician?
AM: Not to put limits to their knowledge and to approach this with absolute humility .
AA: Who would you like to play and who would play? What's next projects? What are you working?
AM: I think Juan Falu (person exquisite). A Brouwer. A Jappelli, in Tallinn, with my Master ... I like to imagine (so it does not cost anything) to play with Villa Lobos, etc. etc. Maderna. I'd like to play "Night Sounds" and "Nunc" Goffredo Petrassi, the 'Improvisation for solo guitar by Bettinelli and I think agl'ultimissimi songs Jappelli. Now I work mainly on a Diploma program this year that I have a guitar, fingers crossed!
AA: Last question, let us turn to the music of the three questions JPSartre to the literature: Why do you make music? And again: what the place of those who make music in contemporary society? The extent to which music can contribute to the evolution of this company?
AM: It is music to understand the true essence of life, to enjoy it in all its facets and to get away from it. In that place I do not know and now I do not poses the problem, but sooner or later I'd like to create me a space in this world. Music can contribute to the evolution of society and in certain important: I hate to think of the children of the orchestra of Venezuela!
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