{"id":2016,"date":"2020-03-01T16:27:31","date_gmt":"2020-03-01T16:27:31","guid":{"rendered":"https:\/\/luisnaon.com\/?p=2016"},"modified":"2023-07-10T13:07:21","modified_gmt":"2023-07-10T13:07:21","slug":"ultimos-movimientos-last-movements-2014","status":"publish","type":"post","link":"https:\/\/luisnaon.com\/en\/ultimos-movimientos-last-movements-2014\/","title":{"rendered":"Ultimos Movimientos (Last movements) (2014)"},"content":{"rendered":"

For soprano, clarinet & electronics.<\/strong><\/p>\n

Commissioned by the French Ministry of Culture.<\/strong><\/p>\n

Dedicated to Fran\u00e7oise Kubler and Armand Angster.<\/span><\/em><\/p>\n

<\/p>\n

\u00ab \u00daltimos movimientos \u00bb, written between 2002 and 2004 on a Guggenheim Foundation grant, is R.E. Fogwill’s last work of poetry. These final poems are a deep introduction into his own day-to-day life, as a pretext for a reflexion on the meaning of the art of poetry, the trace of man on earth, and the material of the poetry itself.<\/span><\/p>\n

These texts have an undeniable musical character and they seem like a translation into words of many situations and realities usually attached to contemporary musical descriptions.<\/span><\/p>\n

The music I wrote is articulated in 7 parts corresponding to 7 poems – alternating between two main categories and thus generating a contrasting global form.<\/span><\/p>\n

Three long movements, with a broad sonority and freely worked in a madrigal style, alternate with 4 brief sequences, which are sharp, accurate and close to the diction, while the short movements are each built on a single unique idea.<\/span><\/p>\n

The electronic part has a dual role: the widening of the instrumental sphere and a parallel discourse. The material is composed almost exclusively with sounds of voice and clarinets processed in a traditional manner and in real time.<\/span><\/p>\n

Here is an attempt of a translation of one of the 7 poems, which is particularly close to my musical approach:<\/span><\/p>\n

PUNTUACIONES (bref)<\/em>
\nMATERIA ES EL MOTIVO (long)<\/em>
\nON\u00c1N EN LA ESCRITURA (bref)<\/em>
\nMADRE MATERIA (long)<\/em>
\nM\u00c9TRICA (bref)<\/em>
\nPASAN LOS MUERTOS (bref)<\/em>
\nHAST\u00cdO DE LA TRAMA (long)<\/em><\/p>\n\n\n\n\n\n\n\n\n\n
\n

MADRE MATERIA \u00a0<\/span><\/p>\n

Hace lo inmaterial
\ndesde los ruidos
\nlimpi\u00e1ndolos, borrando ecos
\nrecombinando
\npara que sean sonidos
\ny vibren justo
\nsin existir
\nen el espacio,
\nen la materia del aire<\/span><\/p>\n

Casi lo inmaterial logrado.<\/span><\/p>\n

Pero despu\u00e9s de cada palabra
\nrecupera su mundo :
\nsombras, ecos, recuerdos
\nideas embrionarias
\nefectos de otros mundos
\ninesperados.
\n<\/span><\/p>\n

Es el fracaso
\nde la materia humana.<\/span><\/p>\n

Es el trabajo humano
\ncon el fracaso interpretado :
\nbuena raz\u00f3n para insitir.<\/span><\/p>\n<\/td>\n

\n

MOTHER MATERIAL<\/span><\/p>\n

From noises
\n<\/span>Cleaning them,
\nerasing echoes,
\n<\/span>Recombining
\n<\/span>For they become sounds,
\n<\/span>And vibrate, tuned
\n<\/span>Not existing
\n<\/span>in the space
\n<\/span>in the air material<\/span><\/p>\n

\u00a0\u00b5
\n<\/span>Almost the immaterial accomplished<\/span><\/p>\n

But after every word
\n<\/span>He recuperates his world :
\n<\/span>Shadows, echos, souvenirs,
\n<\/span>Embrionary ideas,
\n<\/span>Unexpected effects,
\n<\/span>From somewhere else.<\/span><\/p>\n

Is the failure
\n<\/span>of the human material
\n<\/span>Is the human work<\/span><\/p>\n

With the interpreted failure
\n<\/span>A good reason to insist.<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

PUNTUACIONES<\/span><\/p>\n

La coma, el intervalo
\nde respirar. El punto :
\nla se\u00f1al de su espera
\nde lo que viene.<\/span><\/p>\n

Es el que lee y oye
\nsu voz o alguna voz, venida
\nde la memoria o de un fondo
\nsupuesto, imaginario.<\/span><\/p>\n

Y lo que queda en el papel.
\nTrabajo humano, la civilizaci\u00f3n
\nde los papeles y los signos,
\nel tiempo, y el polvo que sepulta
\ntantas cosas in\u00fatiles que yacen : \u00a1libros !<\/span><\/p>\n

Y todo eso y la libertad :
\nbanderas de abundancia
\ny olvido.<\/span><\/p>\n<\/td>\n

\n

PONCTUATIONS<\/span><\/p>\n

La virgule, l\u2019intervalle
\nde l\u2019inspiration. Le point :
\nle signe de l\u2019attente
\nde ce qui vient.
\n<\/span><\/p>\n

C\u2019est celui qui lit et entend
\nsa voix ou une voix, qui vient
\nde la m\u00e9moire ou d\u2019un fond
\nsuppos\u00e9, imaginaires.
\n<\/span><\/p>\n

Et ce qui reste sur le papier.
\nTravail humain, la civilisation
\ndes papiers et des signes,
\nle temps, et la poussi\u00e8re qui ensevelit
\ntant de choses inutiles qui gisent : livres !
\n<\/span><\/p>\n

Et tout ceci et la libert\u00e9 :
\nbanni\u00e8res d\u2019abondance
\nEt d\u2019oubli.
\n<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

ON\u00c1N EN LA ESCRITURA<\/span><\/p>\n

Las escritras cuentan
\notra historia de On\u00e1n
\nSu repudio parcial
\nde la mujer, la viuda
\nde su hermano
\nimpuesta por la ley.<\/span><\/p>\n

El deseo de su cuerpo
\n– hundirlo, penetrarlo \u2013 ard\u00eda.<\/span><\/p>\n

Pero el desprecio de su estirpe
\nlo llevaba a vertir
\nsus jugos en la tierra
\nneg\u00e1ndole los hijos
\na esa mujer, y por ella
\na La Ley.<\/span><\/p>\n

Amaba On\u00e1n
\ncomo un carnero
\no como un toro
\npero s\u00f3lo reproduc\u00eda
\nsus actos, no carne
\nni cuerpos para la guerra
\nni para los trabajos del rey
\ny los profetas.<\/span><\/p>\n<\/td>\n

\n

ONAN DANS L\u2019\u00c9CRITURE<\/span><\/p>\n

Les \u00e9critures racontent
\nd\u2019Onan une autre histoire.
\nSon apparent rejet
\nde la femme,\u00a0la veuve
\nde son fr\u00e8re
\nimpos\u00e9e par la loi.<\/span><\/p>\n

Le d\u00e9sir de son corps
\n– le fendre , le p\u00e9n\u00e9trer \u2013 br\u00fblait.<\/span><\/p>\n

Mais le m\u00e9pris de sa lign\u00e9e
\nlui faisait rependre
\ndans la terre ses jus
\nen refusant les fils
\n\u00e0 cette femme, et par elle
\n\u00e0\u00a0La Loi.<\/span><\/p>\n

Onan aimait
\ncomme un b\u00e9lier
\nou comme un taureau
\nmais il reproduisait
\nses actes, pas la chair
\nni des corps pour la guerre
\nni pour les travaux du roi
\net des proph\u00e8tes.<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u00a0MATERIA ES EL MOTIVO<\/p>\n

S\u00ed : es la materia.
\ncausa y finalidad del ruido del poema.
\nMotivo : movimiento.
\nRuido para la nuez de la garganta
\ny la piedra que gira en la cabeza
\ny a veces entrechoca
\npiedras y brillos
\nde sangre.
\nSangre materia.
\nPulso : n\u00famero entrecortado de la sangre.
\nEl pulso es el motivo,
\ny la insistencia del motivo y del cuerpo.
\nEl cuerpo insiste : traza
\nmarcas, versos, se\u00f1ales
\nde la mente en la mente
\nmateria del deseo.<\/p>\n<\/td>\n

\n

\u00a0LA MATIERE EST LE MOTIF<\/p>\n

Oui : c\u2019est la mati\u00e8re.
\nCause et finalit\u00e9 du bruit du po\u00e8me.
\nMotif : mouvement.
\nBruit pour la noix de la gorge
\net pour la pierrre qui tourne dans la t\u00eate
\net parfois entrechoque
\npierres et scintillements
\nde sang.
\nSang mati\u00e8re.
\nPulsation : nombre entrecoup\u00e9 du sang.
\nLe pulse est le motif,
\nEt l\u2019insistance du motif et du corps.
\nLe corp comme ti\u00e9deur : trace
\nmarques, vers, signaux
\nde l\u2019esprit \u00e0 l\u2019esprit
\nla mati\u00e8re du d\u00e9sir.<\/p>\n<\/td>\n<\/tr>\n

\n

M\u00c9TRICA<\/p>\n

A la hora del t\u00e9, si oye el sonido
\nt\u00e9, ve una tacita
\nen el centro del verso
\ny a derecha e izquierda
\nla simetr\u00eda bilateral
\nde dos manos
\nque dividen el d\u00eda
\nen grupos
\nde cinco s\u00edlabas.<\/p>\n

Horas endecas\u00edlabas del t\u00e9.
\nHoras en punto de la tarde.
\nHoras a punto de escaparse
\npor el vac\u00edo de la frase
\nque descubree
\nuna memoria de t\u00e9 y de madre
\nen la lengua materna.<\/p>\n<\/td>\n

\n

\u00a0M\u00c9TRIQUE<\/p>\n

\u00c0 l\u2019heure du th\u00e9, s\u2019il entend le son
\nth\u00e9, il voit une petite tasse
\nau centre m\u00eame du vers
\net \u00e0 droite et \u00e0 gauche
\nla sym\u00e9trie bilat\u00e9rale
\nde deux mains
\nqui divisent le jour
\nen groupes
\nde cinq sillabes.<\/p>\n

Heures endecasillabes du th\u00e9
\nHeures justes de l\u2019apr\u00e8s-midi.
\nHeures sur le point d\u2019\u00e9chapper
\npar le vide de la phrase
\nqui d\u00e9voile
\nune m\u00e9moire de th\u00e9 et de m\u00e8re
\ndans la langue maternelle.<\/p>\n<\/td>\n<\/tr>\n

\n

PASAN LOS MUERTOS<\/p>\n

Y cu\u00e1ntos son, y c\u00f3mo
\nse suman por la gracia
\nde disolverse,
\ny la magia
\nde su sagrada descomposici\u00f3n.<\/p>\n

Y el arte de enterrarlos, negarlos
\ny volverlos relatos
\nen la memoria.<\/p>\n

Un desfile de nombres,
\nim\u00e1genes veladas,
\nsonrisas, rictus, gui\u00f1os
\nde una luz que pas\u00f3.<\/p>\n

O de una sombra que atraviesa el tiempo
\ncon todo el movimiento del d\u00eda.<\/p>\n<\/td>\n

\n

\u00a0LES MORTS PASSENT<\/p>\n

Et combien nombreux , et comment
\nil s\u2019additionnent par la gr\u00e2ce
\nde se dissoudre
\net la magie
\nde leur d\u00e9composition sacr\u00e9e.<\/p>\n

Et l\u2019art de les mettre en terre, de les nier
\net les convertir en histoires
\nde la m\u00e9moire.<\/p>\n

Un d\u00e9fil\u00e9 de noms,
\nimages voil\u00e9es,
\nsourires, rictus, clignotements
\nd\u2019une lumi\u00e8re qui n\u2019est plus.<\/p>\n

Ou d\u2019une ombre qui traverse le temps
\nAvec tout le mouvement de la journ\u00e9e.<\/p>\n<\/td>\n<\/tr>\n

\n

HAST\u00cdO DE LA TRAMA<\/p>\n

No es el hast\u00edo
\nni el hasta ah\u00ed geom\u00e9trico
\nni el hartazgo
\nde los dibujos
\nni la torsi\u00f3n calculada del hilo.<\/p>\n

Ser\u00e1 la regularidad, la causa
\nrepetitiva de las formas,
\nla paciencia del hombre como renuncia,
\ny lo que se dispone a ser :
\nun hacer que no acierta a saber
\nqu\u00e9 es, e insiste
\ny teje
\nsu trama alrededor del vac\u00edo.<\/p>\n<\/td>\n

\n

LASSITUDE DE LA TRAME<\/p>\n

Ce ne pas la lassitude
\nni ce \u00ab jusque l\u00e0 \u00bb, g\u00e9om\u00e9trique
\nni la morne r\u00e9p\u00e9tition
\ndes dessins
\nni la torsion calcul\u00e9 du fil.<\/p>\n

Ce sera la r\u00e9gularit\u00e9, la cause
\nr\u00e9p\u00e9titive des formes,
\nla patience de l\u2019homme comme un renoncement
\net ce qui est pr\u00eat \u00e0 \u00eatre :
\nun faire qui ne r\u00e9ussi pas au savoir
\nce que c\u2019est, et insiste
\net tisse
\nsa trame autour du vide.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Ultimos Movimientos<\/strong> – babelscores<\/p>\n

Sur des textes de Quique Fogwill<\/strong><\/p>\n

Enseble Accroche Note<\/strong>
\nFran\u00e7oise Kubler<\/strong>, soprano<\/em>.
\nArmand Angster,<\/strong> clarinette<\/em><\/p>\n

N\u00b0 1 – 2 – 3 – 5 – 7<\/p>\n

\n

 <\/p>\n

[ Chambre Music\u00a0]<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

For soprano, clarinet & electronics. Commissioned by the French Ministry of Culture. Dedicated to Fran\u00e7oise Kubler and Armand Angster.<\/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":[65],"tags":[],"class_list":["post-2016","post","type-post","status-publish","format-standard","hentry","category-6-chamber-music"],"yoast_head":"\nUltimos Movimientos (Last movements) (2014) - 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\/ultimos-movimientos-last-movements-2014\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ultimos Movimientos (Last movements) (2014) - Luis Na\u00f3n \/ compositeur\" \/>\n<meta property=\"og:description\" content=\"For soprano, clarinet & electronics. 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