Monday night i attended a concert in the Conservatory of Lausanne. The played works were all composed by a composer of today, Mr. Stefano Gervasoni (who were present in the hall; nice, shy gentleman BTW). i didn't know him nor his works and i have been thrilled by this music.
Back home, i googled to know more about it and i found out there's a large website consacred to him. And i was shocked and pleased to discover that many of his works are available for free download. That's why i post about it here. I recommend this great music to all who have the ears for that kind of atonal poetry.
Let me know what you think about it.
Cheers
http://www.stefanogervasoni.net/
ordirect link to the download page
topic for contemporary music lovers
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- KVRAF
- 3266 posts since 22 Sep, 2003 from under the sun
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- KVRAF
- Topic Starter
- 3266 posts since 22 Sep, 2003 from under the sun
so nobody cares or nobody likes?
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- KVRAF
- 2107 posts since 12 May, 2003 from gone
this is beautiful 
thank you
thank you
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- KVRAF
- 3588 posts since 13 May, 2004 from montreal
He's obviously very talented, but there's a bit too much plink-plonk-wibble here for my taste, and not quite enough gravitas.
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- KVRAF
- Topic Starter
- 3266 posts since 22 Sep, 2003 from under the sun
you're welcome, Muff
dystonia, i see what you mean. however, i think it's nonetheless a very "grave" music, as Gavard-Perret beautifully notices(1).
for starters, i particularly recommend: Animato, Concerto pour alto, Su un Arco di bianco, and, with voice: Quattro Voici & Godspell
(1)
dystonia, i see what you mean. however, i think it's nonetheless a very "grave" music, as Gavard-Perret beautifully notices(1).
for starters, i particularly recommend: Animato, Concerto pour alto, Su un Arco di bianco, and, with voice: Quattro Voici & Godspell
(1)
La musique de Stefano Gervasoni se retourne ainsi contre elle-même, comme s'il s'agissait d'une sorte de musique morte, happée par la mort que viennent souligner des accents aigus çà et là. C'est de cette façon qu'une certaine émotion demeure mais, parfois, afin de mieux la réduire dans la dérision, jusqu'à ce que les sons semblent perdre le contact jusqu'avec les instruments, comme s'ils leur échappaient, pour mieux dire l'absolu solitude, pour détruire leur potentialité.
(...)
Seuls les musiciens naïfs peuvent croire, en effet, à la musique comme ersatz d'absolu. Stefano Gervasoni n'en fait pas partie. Sa musique n'est donc plus qu'une variété du vide, elle n'est que l'ombre d'elle même. Et le créateur italien arrache un dernier masque, celui qui cache cette irréalité du son, son manque foncier, sa fausse possession que suggère cette éternité renversée qui ne s'ouvre sur rien, pas même sur la mort appelée, épelée.
Jean-Paul Gavard-Perret
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- KVRAF
- 3588 posts since 13 May, 2004 from montreal
Took another listen, and it still grates a little - I think it's the emphasis on fluttery flute/woodwinds that does me in, and the lack of the sort of extended low end tone-cluster rumbling that made Penderecki's 60's compositions so forceful. Guess I just prefer my contemporary music a little more apocalyptic. To each his/her own!