Science and Technology Production
Congress
Authorship
Date
2011
Publishing House and Editing Place
Aristotle University of Thessaloniki
Summary
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SIGEVA
The availability of the materials provided by the whole music history represents a fundamental attribute of the musical poetic of Gerardo Gandini (1936) -one of the most significant Argentinean composers. Gandini regards composition as a result of a conversation of different musics in an imaginary sound museum, a universalist stance distinctive of many contemporary art manifestations developed in Buenos Aires. This discursive trait could be associated with what the composer himself calls reread...
The availability of the materials provided by the whole music history represents a fundamental attribute of the musical poetic of Gerardo Gandini (1936) -one of the most significant Argentinean composers. Gandini regards composition as a result of a conversation of different musics in an imaginary sound museum, a universalist stance distinctive of many contemporary art manifestations developed in Buenos Aires. This discursive trait could be associated with what the composer himself calls rereading: a compositional reelaboration of materials and/or formal configurations taken from his own works or from works by other composers. (The music by Mozart, Schumann, Debussy, Schoenberg and Berg occupy a relevant place in Gandini's music as a basis for reworking.) This procedure establishes the objets troves -such the denomination Gandini gives to the materials integrated in his works- as a compositional substrate and transforms them in various ways, and through different works. The study of this compositive technique embodies not a restoration of disguised identities, but a characterization of the strategies of reinterpretation, transparency and opacity merged in the works. The reinterpretation of materials coming from different historical contexts shapes Gandini's music as a complex interpretative network, whose analysis involves the recognition of structural, semantic and historical aspects, as they relate and manifest in the music itself. This paper explores these assumptions through the analysis of the rereading procedure applied to the piano piece Vogel als profet by Schumann (Waldszenen op. 82) in works such as Gandini's Estudios for violin and piano (1990), and his Diary III (1960-87) for piano. This reworking poses the question of whether a distant perspective from European culture results in an particular approach for the reinterpretation of its music.
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Key Words
MÚSICA CONTEMPORÁNEA ARGENTINAGERARDO GANDINIROBERT SCHUMANNMÚSICA EUROPEA