Aldo Orvieto, Saori Furukawa, Alvise Vidolin - Stefano Gervasoni: Le Pré (2016) [Hi-Res]
![Aldo Orvieto, Saori Furukawa, Alvise Vidolin - Stefano Gervasoni: Le Pré (2016) [Hi-Res]](https://www.dibpic.com/uploads/posts/2022-07/1657519288_aldo-orvieto-saori-furukawa-alvise-vidolin-stefano-gervasoni-le-pre-2016.jpg)
BAND/ARTIST: Aldo Orvieto, Saori Furukawa, Alvise Vidolin
- Title: Stefano Gervasoni: Le Pré
- Year Of Release: 2016
- Label: Winter & Winter
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:00:27
- Total Size: 224 mb / 1.07 gb
- WebSite: Album Preview
Tracklist
01. Prés-First Book-For Piano: Pré ludique
02. Prés-First Book-For Piano: Pré lubrique
03. Prés-First book-For Piano: Pré public
04. Prés-First Book-For Piano: Prémisse
05. Prés-First Book-For Piano: Précipice
06. Prés-First Book-For Piano: Prémices
07. Sonatinexpressive-For Violin and Piano
08. Prés-Second Book-For Piano: Précieux
09. Prés-Second Book-For Piano: Prétentieux
10. Prés-Second Book-For Piano: Pernicieux
11. Prés-Second Book-For Piano: Pré épuré
12. Prés-Second Book-For Piano: Pré carré
13. Prés-Second Book-For Piano: Pré paré
14. Luce ignota della sera (D'après Schumann)-For Piano & live electronics
15. Prés-Third Book-For Piano: Prétérit
16. Prés-Third Book-For Piano: Pré d'après
17. Prés-Third Book-For Piano: Pressenti
18. Prés-Third Book-For Piano: Pré d'avant
19. Prés-Third Book-For Piano: Prédicatif
20. Prés-Third Book-For Piano: Pré de près
21. Adagio ghiacciato (D'après Mozart)-For Violin and prepared Piano
![Aldo Orvieto, Saori Furukawa, Alvise Vidolin - Stefano Gervasoni: Le Pré (2016) [Hi-Res]](https://www.dibpic.com/uploads/posts/2022-07/1657519355_aldo-orvieto-saori-furukawa-alvise-vidolin-stefano-gervasoni-le-pre-2016-back.jpg)
The concept of the album can be summed up by the word 'pre': inexPREssive, PRÉ... „Pré as a word (in English 'pré' means: meadow or grassland), or a PREfix (PRE-something): before the exPREssion, before being exPREssed, or 'before the game' as in PRÉ-lude (in a pré, a meadow, where children play). In other words: the peculiar state in which something does not yet exist in an accomplished 'adult' form. Childhood as a way of having a premonition of an adult life, with its negative aspects (losing the magic of a non-rational relationship with words, no longer being innocent in grasping and knowing things, losing the ability to marvel at the wonders of beauty) and some positive ones (acquiring a logical, rational, pragmatic relationship with reality). That is why the program includes pieces for children played by adults (looking for an 'impossible' way of getting back to infancy). The 'Sonatinexpressive' (track 7) which could also be called a 'Sonatine expressive' or a 'Sonate inexpressive' (ambiguously suspended between adulthood and childhood) quotes a few elements from the composition 'Précieux (Prés - second book)' (track 8) as a piano accompaniment to a very simple, celestial violin melody.
The album includes two re-elaborations/adaptations: In 'Adagio ghiacciato' (Adagio for Glasharmonika) after Mozart – usually considered as an easy piano piece for children – a silent violin with a metal practice mute plays just a few higher and lower notes and exceeds the two-octave range of a toy piano (again infancy and apparent simplicity). The other adaptation after Schumann is also written for children (adults trying to be children). The piece is composed for four-hand piano. One pianist has to play only a monodic line with one hand: a singing piano. This line is a beautiful vocal line, an 'inner voice', magic and insane - typical of Schumann. The sounds are created with electronics and projected inside the piano. This piece contains some bars from 'Pressenti (Prés - third book)' (track 17) which is a homage to Luigi Nono, ideally linked to Schumann - two 'adult' visionary artists. Again: stupor, premonition, prophetic vision, past (the infancy of PREsent) projected to the future (the declining 'Abend' melody by Schumann turned into an ascending utopian line by Nono, composer of a violin piece with live electronics entitled 'La lontananza nostalgica utopica futura').
Plenty of symmetries and cross-references in this program. The piano is not a piano, the violin is not a violin. When the violin could sing, it is an inner melody made by a transformed piano, when there is a real violin, it is reduced to a toy instrument, the whistling sounds of a Glasharmonika becoming real harmonics produced by the piano and by the small violin ...
The work is inspired by Francis Ponge’s book 'La fabrique du Pré' ('The making of the Pré“) in which the French author opens the doors of his atelier and offers the readers the opportunity to witness the creation of his text 'Le Pré'.
I give a double interpretation to this title: constructing from zero, creating a story starting from the beginning of life (infancy or the infancy of the world); or working on the preliminaries of existence, trying to give consistency to this magic zone where childhood starts its long process of becoming adult (it takes a whole life), magic starts to separate from reality, infancy from adult life and the reverse, adult life feeling deprived and nostalgic of a purely emotional relationship with reality, children and adults becoming aware of the lack of an ecstatic relationship with the world, later replaced by an aesthetic one (in art), by faith (in religion), by love, or by drugs, meditation, extreme sports or any artificial method to go beyond this present, heavy, concrete world. I think this is the leading thread and the deep meaning of this program.
Prés is a cycle of eighteen pieces, divided into six groups of three. Their main characteristics are brevity and simplicity (more or less apparent), making them belong to the category of pieces for children (in the twofold and ambiguous sense of being performable by non adult pianists or taking their inspiration from the world of childhood).
Eighteen small préludes, so small as to merit the name prés, that is “meadows” in French. Thence the underlying theme of the cycle, portrayed in six different ways, three pieces for each one: the apparent carefree atmosphere of a meadow where children play and the premonition of something bad that is about to happen and that the innocent gaze of a child is able to perceive beforehand, with all the sense of foreboding that an adult cannot or doesn’t want to comprehend.
Aldo Orvieto, piano
Saori Furukawa, violin
Alvise Vidolin, electronic
01. Prés-First Book-For Piano: Pré ludique
02. Prés-First Book-For Piano: Pré lubrique
03. Prés-First book-For Piano: Pré public
04. Prés-First Book-For Piano: Prémisse
05. Prés-First Book-For Piano: Précipice
06. Prés-First Book-For Piano: Prémices
07. Sonatinexpressive-For Violin and Piano
08. Prés-Second Book-For Piano: Précieux
09. Prés-Second Book-For Piano: Prétentieux
10. Prés-Second Book-For Piano: Pernicieux
11. Prés-Second Book-For Piano: Pré épuré
12. Prés-Second Book-For Piano: Pré carré
13. Prés-Second Book-For Piano: Pré paré
14. Luce ignota della sera (D'après Schumann)-For Piano & live electronics
15. Prés-Third Book-For Piano: Prétérit
16. Prés-Third Book-For Piano: Pré d'après
17. Prés-Third Book-For Piano: Pressenti
18. Prés-Third Book-For Piano: Pré d'avant
19. Prés-Third Book-For Piano: Prédicatif
20. Prés-Third Book-For Piano: Pré de près
21. Adagio ghiacciato (D'après Mozart)-For Violin and prepared Piano
The concept of the album can be summed up by the word 'pre': inexPREssive, PRÉ... „Pré as a word (in English 'pré' means: meadow or grassland), or a PREfix (PRE-something): before the exPREssion, before being exPREssed, or 'before the game' as in PRÉ-lude (in a pré, a meadow, where children play). In other words: the peculiar state in which something does not yet exist in an accomplished 'adult' form. Childhood as a way of having a premonition of an adult life, with its negative aspects (losing the magic of a non-rational relationship with words, no longer being innocent in grasping and knowing things, losing the ability to marvel at the wonders of beauty) and some positive ones (acquiring a logical, rational, pragmatic relationship with reality). That is why the program includes pieces for children played by adults (looking for an 'impossible' way of getting back to infancy). The 'Sonatinexpressive' (track 7) which could also be called a 'Sonatine expressive' or a 'Sonate inexpressive' (ambiguously suspended between adulthood and childhood) quotes a few elements from the composition 'Précieux (Prés - second book)' (track 8) as a piano accompaniment to a very simple, celestial violin melody.
The album includes two re-elaborations/adaptations: In 'Adagio ghiacciato' (Adagio for Glasharmonika) after Mozart – usually considered as an easy piano piece for children – a silent violin with a metal practice mute plays just a few higher and lower notes and exceeds the two-octave range of a toy piano (again infancy and apparent simplicity). The other adaptation after Schumann is also written for children (adults trying to be children). The piece is composed for four-hand piano. One pianist has to play only a monodic line with one hand: a singing piano. This line is a beautiful vocal line, an 'inner voice', magic and insane - typical of Schumann. The sounds are created with electronics and projected inside the piano. This piece contains some bars from 'Pressenti (Prés - third book)' (track 17) which is a homage to Luigi Nono, ideally linked to Schumann - two 'adult' visionary artists. Again: stupor, premonition, prophetic vision, past (the infancy of PREsent) projected to the future (the declining 'Abend' melody by Schumann turned into an ascending utopian line by Nono, composer of a violin piece with live electronics entitled 'La lontananza nostalgica utopica futura').
Plenty of symmetries and cross-references in this program. The piano is not a piano, the violin is not a violin. When the violin could sing, it is an inner melody made by a transformed piano, when there is a real violin, it is reduced to a toy instrument, the whistling sounds of a Glasharmonika becoming real harmonics produced by the piano and by the small violin ...
The work is inspired by Francis Ponge’s book 'La fabrique du Pré' ('The making of the Pré“) in which the French author opens the doors of his atelier and offers the readers the opportunity to witness the creation of his text 'Le Pré'.
I give a double interpretation to this title: constructing from zero, creating a story starting from the beginning of life (infancy or the infancy of the world); or working on the preliminaries of existence, trying to give consistency to this magic zone where childhood starts its long process of becoming adult (it takes a whole life), magic starts to separate from reality, infancy from adult life and the reverse, adult life feeling deprived and nostalgic of a purely emotional relationship with reality, children and adults becoming aware of the lack of an ecstatic relationship with the world, later replaced by an aesthetic one (in art), by faith (in religion), by love, or by drugs, meditation, extreme sports or any artificial method to go beyond this present, heavy, concrete world. I think this is the leading thread and the deep meaning of this program.
Prés is a cycle of eighteen pieces, divided into six groups of three. Their main characteristics are brevity and simplicity (more or less apparent), making them belong to the category of pieces for children (in the twofold and ambiguous sense of being performable by non adult pianists or taking their inspiration from the world of childhood).
Eighteen small préludes, so small as to merit the name prés, that is “meadows” in French. Thence the underlying theme of the cycle, portrayed in six different ways, three pieces for each one: the apparent carefree atmosphere of a meadow where children play and the premonition of something bad that is about to happen and that the innocent gaze of a child is able to perceive beforehand, with all the sense of foreboding that an adult cannot or doesn’t want to comprehend.
Aldo Orvieto, piano
Saori Furukawa, violin
Alvise Vidolin, electronic
Year 2016 | Classical | FLAC / APE | HD & Vinyl
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