Agenda Venezia

The roads of research

Suggestion and sensibility in the evolution of contemporary musical language

 

The dialogue with Giorgio Battistelli, director of the 49th Venice International Contemporary Music Festival and internationally renowned composer also active in musical theatre, begins with a strenuous defence of the creativity of Italian music.

Yes, the sector which I define as “contemporary art music” (in order to distinguish it from commercial and consumer music) is passing through a period of crisis, especially in Italy. But I would like to remind people of the works commissioned from the composers Roberto Doati and Carlo De Pirro, as well as the presence of three young Italian composers with symphonic works: Luca Antignani, Matteo Franceschini, Silvia Colasanti.

 

According to you, what is the importance of the Contemporary Music Biennale?

The Music Biennale is a tradition, an inheritance which should be protected and an international presence. Thus it is correct to work on it ambitiously. It is recognised for the results obtained in the most important years, when there were historical first performances. But at the same time, it must be able to tune into, to know how to hear the evolution, the change, the sensibility of musical thought in a general sense, both from the point of view of musical writing and that of listening, both of which have doubtless undergone transformations. It believe that the Biennale must preserve both past results and the work of contemporary research in music and become a meeting ground for many visions and types of musical thought.

What is the reason for the presence of the Spanish School that is participating in the festival?

Spain and some northern European countries seem to me to be particularly interesting thanks to the work they did in the past on a cultural and political level. They have structures which function quite well and for years they have invested in schools, in orchestras, in the divulgation of music, in “making” music, in practice, supported by a Cultural Ministry which functions well. The distance from Italy is evident. The Biennale’s activity is also useful for shedding light on our lack of such things and it is a moment of reflection on the theme and the value of this artistic activity.

 

The relationship between Theatre and Music is the hinge of the Venetian festival...

This year I have chosen the theme of musical theatre. The title of the Festival, Music and its Double, refers to multiple doubles of music: the text, the relationship with the space of the stage, with the scenery, with light, with the presence of the musicians. This also implies innumerable modes and thoughts on musical theatre. I consider the Biennale’s true inauguration to be the work of Luigi Nono. The work Y entonces comprendió is a very peculiar one done by a very young Nono.

Andrea Oddone Martin (translation of Eric Todd Racher)