{"id":1850,"date":"2020-03-01T11:46:32","date_gmt":"2020-03-01T11:46:32","guid":{"rendered":"https:\/\/luisnaon.com\/?p=1850"},"modified":"2023-07-10T13:33:41","modified_gmt":"2023-07-10T13:33:41","slug":"fermata-2010-urbana-24","status":"publish","type":"post","link":"https:\/\/luisnaon.com\/en\/fermata-2010-urbana-24\/","title":{"rendered":"Fermata (2010) (Urbana 24)"},"content":{"rendered":"

For Soprano, Mezzosoprano, 2 clarinets, horn, violin, viola, cello, double bass and electronic.<\/strong><\/p>\n

Commissioned by the State of France for the Ensemble Itin\u00e9raire.<\/strong>
\nCirca 27 minutes.<\/em><\/p>\n

\n

Fermata<\/strong> \u00a0is the last piece of the Urbana cycle<\/strong>, which officially started in 1998 and that includes prior works. The oldest, \u201cM\u00e1s all\u00e1 del rojo\u201d\u00a0 is from 1991. The cycle has 25 pieces (24+1) which range from electroacoustics and soloist with electronics to chamber music, chamber opera, monodrama and orchestra.<\/span><\/p>\n

<\/p>\n

The composition of Fermata<\/strong> had as a starting point a kind of recapitulation of the whole cycle. Although this idea is still underlying the work, the content was disrupted by the death of my mother, Alicia Amado<\/strong>, to whom the composition is dedicated.<\/span><\/p>\n

For this tribute I decided to work on the base of 5 classic sonnets from Shakespeare, Cervantes<\/em> and Tasso<\/em>, which constitute the climax of the work and which are \u201cframed\u201d by images, phrases by my mother and myself, reflection about immobility, annihilation.<\/span><\/p>\n

As a result of all this is a particular shape that includes, in its own way, the critique and commentary of work within the interior work itself.<\/span><\/p>\n

The musical timing doesn\u2019t respond to the habitual canons of a traditional drama.<\/span><\/p>\n

Its delicate manipulation was the guide for the creation of each moment (for me, music might be defined as the \u201cintrigue\u201d of what is to come in an unknown theme).<\/span><\/p>\n

In \u201cFermata\u201d it is spoken about time through the extraordinary texts which I chose to work with, and through other more modest ones which frame it. It is the fact that working with time and its abolition or \u201cbraking\u201d which led me to stretch it and contrast it.<\/span><\/p>\n

The singing is stated by the voiceover (coming from the electronics) of actress Agn\u00e8s Sourdillon<\/strong>, with whom a great complicity has developed through years of collaboration.<\/span><\/p>\n

The \u201coutlook\u201d Fermata<\/strong> makes of sixteenth century does not include musical quotation. The will to be faithful to these sonnets has entailed an unavoidable passage through madrigalism. However, this is not the nostalgia which has guided my steps, but the respect towards these true literary monuments.<\/span><\/p>\n

\n

The composition has ten parts which link each other:<\/strong><\/p>\n

\u00ab Introducci\u00f3n \u00bb
\n\u00ab Qu\u00e9 es Fermata ? \u00bb
\n\u00ab\u00a0En el silencio de la noche\u00a0\u00bb \u00a0 Miguel de Cervantes<\/em>
\n\u00ab\u00a0Int\u00e9rieur \u2013 Ant\u00e9rieur\u00a0\u00bb
\n\u00ab\u00a0When I took my way\u00a0\u00bb \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0William Shakespeare<\/em>
\n\u00ab Una plegaria \u00bb
\n\u00ab\u00a0Dadme se\u00f1ora\u00a0\u00bb \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Miguel de Cervantes<\/em>
\n\u00ab\u00a0Al tempo I\u00a0\u00bb \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Torquato Tasso<\/em>
\n\u00ab\u00a0Or I shall live\u00a0\u00bb \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0William Shakespeare<\/em>
\n\u00ab\u00a0Al tempo (final)\u00a0\u00bb \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Torquato Tasso<\/em><\/p>\n

\n

Fermata (Urbana 24)
\nLes textes des 10 mouvements.<\/strong><\/p>\n

\u00ab\u00a0Introduction\u00a0\u00bb<\/strong><\/p>\n

Textes chuchot\u00e9s par les musiciens et repris par le dispositif <\/em><\/p>\n

Palabras que ya no est\u00e1n [parole qui n\u2019est plus]
\nPalabras que se van [paroles qui s\u2019en vont]
\nUn sentiment de n\u2019avoir pas su, de n\u2019avoir pas pu
\nLa frustration de ne savoir courir assez vite pour
\nEt ce pincement entre la gorge , les narines
\nqui fait monter les larmes,
\nest-ce l\u00e0 l’approche de la mort ?<\/p>\n

Soprano et Mezzo (d\u2019abord chuchot\u00e9 puis chant\u00e9)<\/em><\/p>\n

S’arr\u00eater et voir. Oui s’arr\u00eater. Avant que le c\u0153ur ne s’emballe. Jamais le temps de poser l’\u00e9coute. Avant que le c\u0153ur ne s\u2019arr\u00eate.
\nJ’ai toujours couru, un peu triste un peu d\u00e9sesp\u00e9r\u00e9. Jamais le temps de poser l’\u00e9coute,<\/p>\n

\n

\u00ab\u00a0C\u2019est quoi Fermata\u00a0?\u00a0\u00bb \u00a0\u00a0\u00a0 1 min 38<\/strong><\/p>\n

C\u2019est \u00e7a ?<\/p>\n

C\u2019est \u00e7a ?!<\/p>\n

C\u2019est \u00e7a Fermata? (en temps)<\/em>\u00a0 Une photo?\u00a0 Une posture\u00a0?\u00a0 C\u2019est l\u2019arr\u00eat\u00a0!<\/p>\n

Une photo est un symbole de l\u2019\u00e9ternit\u00e9, puisque le temps s\u2019y est arr\u00eat\u00e9 d\u00e9finitivement<\/p>\n

Les textes entre parenth\u00e8se sont fix\u00e9s sur le support et diffus\u00e9s en 5\u00a0 points<\/em><\/p>\n

Freiner le mouvement jusqu\u2019\u00e0 son arr\u00eat, pour entrevoir, enfin le temps<\/p>\n

Soprano (chant\u00e9) et Voix Off\u00a0:
\n<\/em>Les rues \u00e9taient des simulacres des v\u00e9ritables rues.
\nma langue ne s’est pas faite avec les livres, ni avec l\u2019enfermement mais avec le d\u00e9sir de la fuite.<\/p>\n

Mezzo (chant\u00e9) et Voix Off\u00a0:
\n<\/em>\u00e0 Dole les trains se composent de rouille et de gris.
\nMais les arbres – toujours les arbres – me montrent, par leur \u00e9l\u00e9vation, leur regard et leur multiplication, le vrai sens de mon arr\u00eat.<\/p>\n

Voix Off\u00a0:\u00a0<\/em>La Soprano parle, pendant que la Mezzo chante, comme en apart\u00e9 , librement\u00a0:<\/em><\/p>\n

Gare de Lyon, \u00a0heure de pointe.\u00a0 Dans la foule incessante, une petite vieille dame, \u2026 \u00ab\u00a0Fermata\u00a0\u00bb,\u2026\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Immobile, la dame tend ses journaux.<\/p>\n

\u00ab\u00a0Fermata\u00a0\u00bb c\u2019est la voix de l\u2019arr\u00eat du mouvement\u00a0;<\/p>\n

mais c\u2019est aussi ma m\u00e8re
\nimmobile
\naussi\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 immobile.
\nCe sont aussi les paroles dites, chuchot\u00e9s,
\nLa voix de l\u2019interruption, de l\u2019arr\u00eat.
\nC\u2019est la cessation m\u00eame.<\/p>\n

\n

\u00ab\u00a0En el silencio de la noche\u00a0\u00bb (p 30) \u00a0 \u00a0 \u00a0 \u00a0 6′ 22 \u00a0 \u00a0 \u00a0Miguel de Cervantes<\/strong><\/p>\n

En el silencio de la noche, cuando
\nocupa el dulce sue\u00f1o a las mortales,
\nla pobre cuenta de mis ricos males
\nestoy al cielo y a mi Clori dando.<\/p>\n

Y al tiempo cuando el sol se va mostrando
\npor las rosadas puertas orientales,
\ncon suspiros y acentos desiguales
\nvoy la antigua querella renovando.<\/p>\n

Y cuando el sol, de su estrellado asiento
\nderechos rayos a la tierra env\u00eda,
\nel llanto crece y doblo los gemidos.<\/p>\n

Vuelve la noche, y vuelvo al triste cuento,
\ny siempre hallo, en mi mortal porf\u00eda,
\nal cielo, sordo; a Clori, sin o\u00eddos.<\/p>\n

\n

\u00ab\u00a0Int\u00e9rieur \u2013 Ant\u00e9rieur\u00a0\u00bb\u00a0\u00a0\u00a0\u00a0 (p 45)\u00a0 10 \u201810<\/strong><\/p>\n

Voix Off\u00a0:<\/em><\/p>\n

Une photo est un fragment de l\u2019\u00e9ternit\u00e9, puisque le temps s\u2019y est arr\u00eat\u00e9 d\u00e9finitivement.
\nQui est fermata? Une Photo\u00a0?
\nun regard qui attend, sans pleurs
\n(on) voit une plaine avec une jeune fille, souriante, confiante
\nelle regarde de c\u00f4t\u00e9, avec son b\u00e9ret qui couvre une partie
\nde la chevelure, comme ses yeux ch\u00e2tains.
\nElle est belle, mais pas superbe (juste belle)
\nelle est belle, et jeune, et c\u2019est la puret\u00e9 m\u00eame
\nElle est le sourire et la puret\u00e9 m\u00eame.
\nAvant, bien avant, elle \u00e9tait l\u00e0, avec ce regard, dans ces champs
\n(C\u2019est une photo imaginaire,\u00a0photo d\u2019une m\u00e9moire qui n\u2019est pas,
\nqui n\u2019a pas \u00e9t\u00e9, qui n\u2019auras pas pu \u00eatre et ne sera pas)<\/p>\n

\n

\u00a0<\/strong>\u00ab\u00a0When I took my way\u00a0\u00bb \u00a0\u00a0\u00a0\u00a0 (p 57) \u00a0 \u00a0 \u00a0 \u00a011\u201953 \u00a0 \u00a0 \u00a0 \u00a0 William \u00a0Shakespeare<\/strong><\/p>\n

How careful was I, when I took my way,
\nEach trifle under truest bars to thrust,
\nThat to my use it might unused stay
\nFrom hands of falsehood, in sure wards of trust!
\nBut thou, to whom my jewels trifles are,
\nMost worthy of comfort, now my greatest grief,
\nThou, best of dearest and mine only care,
\nArt left the prey of every vulgar thief.<\/p>\n

Thee have I not lock’d up in any chest,
\nSave where thou art not, though I feel thou art,
\nWithin the gentle closure of my breast,
\nFrom whence at pleasure thou mayst come and part;
\nAnd even thence thou wilt be stol’n, I fear,
\nFor truth proves thievish for a prize so dear.\u00a0<\/strong><\/p>\n

\n

\u00ab\u00a0Une pri\u00e8re\u00a0\u00bb \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 15\u201913 \u00a0<\/strong><\/p>\n

\u00a0<\/strong>Orationem meam \u2013 Exaudi
\nRequiem \u00e6ternam Dona eis.<\/p>\n

\n

\u00ab\u00a0Dadme se\u00f1ora\u00a0\u00bb\u00a0\u00a0\u00a0\u00a0 18\u201901 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Miguel de Cervantes<\/strong><\/p>\n

Dadme, se\u00f1ora, un t\u00e9rmino que siga,
\nconforme a vuestra voluntad cortado;
\nque ser\u00e1 de la m\u00eda as\u00ed estimado,
\nque por jam\u00e1s un punto de \u00e9l desdiga.<\/p>\n

Si gust\u00e1is que callando mi fatiga
\nmuera, contadme ya por acabado;
\nsi quer\u00e9is que os la cuente en desusado
\nmodo, har\u00e9 que el mismo Amor la diga.<\/p>\n

A prueba de contrarios estoy hecho
\nde blanda cera y de diamante duro,
\ny a leyes del Amor el alma ajusto.
\nBlando cual es, o fuerte, ofrezco el pecho;
\nentallad o imprimid lo que os d\u00e9 gusto;
\nque de guardarlo eternamente juro.<\/p>\n

\n

\u00ab\u00a0Al tempo I\u00a0\u00bb\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 22\u201904\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Torquato Tasso<\/strong><\/p>\n

Le texte est chant\u00e9 par Soprano et Mezzo et chuchot\u00e9 ou parl\u00e9 par les instrumentistes<\/em><\/p>\n

Vecchio ed alato dio, nato col sole
\nad un parto medesmo e con le stelle,
\nche distruggi le cose e rinnovelle
\nmentre per t\u00f2rte vie v\u00f2le e riv\u00f2le.\u00a0<\/strong><\/p>\n

\n

\u00ab\u00a0Or I shall live\u00a0\u00bb\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 24\u201925\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 William Shakespeare<\/strong><\/p>\n

\u00a0<\/strong>Le texte est chant\u00e9 par Soprano et Mezzo et chuchot\u00e9 dans les hauts parleurs<\/em>\u00a0<\/strong><\/p>\n

Or I shall live your epitaph to make,
\nOr you survive when I in earth am rotten;
\nFrom hence your memory death cannot take,
\nAlthough in me each part will be forgotten.<\/p>\n

Your name from hence immortal life shall have,
\nThough I, once gone, to all the world must die:
\nThe earth can yield me but a common grave,
\nWhen you entombed in men’s eyes shall lie.<\/p>\n

Your monument shall be my gentle verse,
\nWhich eyes not yet created shall o’er-read,
\nAnd tongues to be your being shall rehears
\nWhen all the breathers of this world are dead;
\nYou still shall live–such virtue hath my pen–
\nWhere breath most breathes, even in the mouths of men.<\/p>\n

\n

\u00a0<\/strong>\u00ab\u00a0Al tempo (final)\u00a0\u00bb \u00a0 27\u2019 13 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Torquato Tasso<\/strong><\/p>\n

\u00a0<\/em>Chant\u00e9\u00a0:
\n<\/em>il mio cor, che\u00a0 languendo egro si duole
\nnon ha, se non sei tu, chi piu ‘l console<\/p>\n

voix Off\u00a0:<\/em><\/p>\n

des parachutes comme des copeaux de neige, un tigre bleu qui laisse voir sa patte derri\u00e8re la porte, un vaisseau g\u00e9ant, plein de lumi\u00e8res\u00a0; et une larme constante \u00e0 l’\u0153il droit\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 les textes entre parenth\u00e8ses ne sont pas inclus dans Fermata<\/em><\/p>\n

(Vecchio ed alato dio, nato col sole
\nad un parto medesmo e con le stelle,
\nche distruggi le cose e rinnovelle
\nmentre per t\u00f2rte vie v\u00f2le e riv\u00f2le,)\u00a0<\/em><\/p>\n

Voix Off\u00a0:<\/em><\/p>\n

[et un arbre pousse]<\/p>\n

{Derri\u00e8re le masque souriant} un arbre pousse sur le ventre de la morte, on ne voit pas la morte, mais l’arbre, lui, pr\u00e9sente tous les signes de puiser.<\/p>\n

Puiser son regard vers le ciel et vers sa chevelure sans feuilles (c’est l\u2019hiver) et puiser sa s\u00e8ve dans le ventre d’une vie qui n’est plu.<\/p>\n

toutes les larmes ont arros\u00e9 cet arbre, pour qu’un jour un oiseau y chante
\nun chant insouciant d’amour au printemps.<\/p>\n

Chant\u00e9\u00a0:<\/em><\/p>\n

il mio cor, che\u00a0 languendo egro si duole
\n(e che le cure sue spinose e felle
\ndopo mille argomenti una non svelle)
\nnon ha, se non sei tu, chi piu ‘l console<\/p>\n

(Tu ne sterpa i pensieri e\u00a0 di giocondo
\noblio\u00a0 spargi le piaghe,\u00a0 e tu disgombra
\nla frode onde son pieni i regi chiostri;
\ne tu la verit\u00e0 traggi dal fondo
\ndov’\u00e8 sommersa e, senza velo ed ombra,
\nignuda e bella gli occhi altrui si mostri.<\/p>\n

\n

[ Urbana Cycle ]
\n<\/a>[ Chamber Music ]<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

For Soprano, Mezzosoprano, 2 clarinets, horn, violin, viola, cello, double bass and electronic. Commissioned by the State of France for the Ensemble Itin\u00e9raire. Circa 27 minutes. Fermata \u00a0is the last piece of the Urbana cycle, which officially started in 1998 and that includes prior works. The oldest, \u201cM\u00e1s all\u00e1 del rojo\u201d\u00a0 is from 1991. The … Continue reading Fermata (2010) (Urbana 24)<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[60,65],"tags":[],"class_list":["post-1850","post","type-post","status-publish","format-standard","hentry","category-cycle-urbana-en","category-6-chamber-music"],"yoast_head":"\nFermata (2010) (Urbana 24) - Luis Na\u00f3n \/ compositeur<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/luisnaon.com\/en\/fermata-2010-urbana-24\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fermata (2010) (Urbana 24) - Luis Na\u00f3n \/ compositeur\" \/>\n<meta property=\"og:description\" content=\"For Soprano, Mezzosoprano, 2 clarinets, horn, violin, viola, cello, double bass and electronic. 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Commissioned by the State of France for the Ensemble Itin\u00e9raire. Circa 27 minutes. Fermata \u00a0is the last piece of the Urbana cycle, which officially started in 1998 and that includes prior works. The oldest, \u201cM\u00e1s all\u00e1 del rojo\u201d\u00a0 is from 1991. 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