Name: Kathinkas Gesang Als Luzifers Requiem
Start: 2019-06-13T00:00:00.000Z
End: 2019-06-13T00:00:00.000Z
Location: San Giacomo Apostolo(Chiesa Di San Giacomo)

Admin

Ravenna Festival

Conductor

Antonio Caggiano

Orchestra

Chigiana Percussion Ensemble

Instrumentalist

Antonio Restuccia

Vibrafono

Manuel Zurria

Flute

Riccardo Terlizzi

Percussion

Alessio Cavaliere

Berardo Di Mattia

Jamil Zidan

Jin Sun You

Kathinkas Gesang Als Luzifers Requiem

Forli

Italy

San Giacomo Apostolo(Chiesa Di San Giacomo)

Kathinkas Gesang Als Luzifers Requiem: Psappha Xenakis (+3 More)

Public

Private

Concert

Oratorio / Orchestral

Psappha

I Funerali Di Achille

Vibra Elufa

Samstag aus Licht

Larissa Andrea Pereira

Approved

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Baritone

Singer

Bass-baritone

Soprano

Tenor

Countertenor

Contralto

Mezzo-soprano

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

Over a quarter of a century, from 1978 to 2003, Karlheinz Stockhausen wrote the 16 hours of music (extendible to 29) of Licht – Die sieben Tage der Woche (The Seven Days of the Week), seven works associated to each day of the week and each one of the seven planets of the ancient age, structured through the relationships of only three characters: Lucifer, Michael, and Eve. It is a symbolic world connecting the daily and eternal life, myths and religions of the Western and Eastern worlds. It is, above all, a challenge to the passing time. Stockhausen also meant to challenge the Day (something he did with Klang, stopping at the 21st hour though), then the Hour, the Minute, and even the Second. The song of Kathinka belongs to Saturday, the day of Saturn, therefore Lucifer’s: a shift toward the Light. In this piece, the function of the song is to protect the dead souls from temptations, through – as Stockhausen himself explained – “musical exercises to listen to regularly for 49 days after the physical death”. Likewise Vibra Elufa is taken as an independent work from the last scene of Friday, representing the temptation of Eve by Lucifer. Licht can be described as a great music rite, just like Giacinto Scelsi’s I funerali di Achille (1962); the composer “officiated” the funerals of Alexander the Great and Charlemagne as well, and preferred to describe himself as an “intermediary” rather than the creator of his own pieces. Also Iannis Xenakis’s Psappha (1975) – the ancient name of poetess Sappho – is permeated by a masculine and archaic ritualistic power: it is built on 2.396 segments that take the place of the traditional musical notation, creating rhythmic cells that bridle both the performer and the audience in a joined participation without any chance to flee.

English

In un quarto di secolo, dal 1978 al 2003, Karlheinz Stockhausen compose le 16 ore di musica (estendibili a 29) di Licht – Die sieben Tage der Woche (I sette giorni della Settimana), sette opere associate a ciascun giorno della settimana e ai sette pianeti dell’antichità, articolate attraverso le relazioni di tre soli personaggi: Luzifer, Michael ed Eva. È un mondo simbolico che collega vita quotidiana ed eterna, miti e religioni sia orientali sia occidentali. È soprattutto una sfida allo scorrere del tempo. Stockhausen voleva lanciarla anche al Giorno (cosa che fece in Klang, interrompendosi alla ventunesima ora), poi all’Ora, al Minuto e addirittura al Secondo. Il canto di Kathinka appartiene al Sabato, giorno di Saturno, quindi di Lucifero: una transizione verso la Luce. In questo passaggio, la funzione del canto è di proteggere dalle tentazioni l’anima dei defunti, tramite – spiega lo stesso Stockhausen – “esercizi musicali da ascoltare regolarmente per 49 giorni dopo la morte fisica”. Similmente Vibra Elufa è ricavato come brano autonomo dalla penultima scena di Venerdì, che simboleggia la tentazione di Eva da parte di Luzifer. Licht può esser definito un grande rito musicale, così come I funerali di Achille di Giacinto Scelsi (1962), che “officiò” pure le esequie di Alessandro Magno e di Carlo Magno, e che preferiva definirsi “intermediario” anziché creatore delle sue musiche. Di mascolina e arcaica potenza rituale è permeato anche Psappha (l’antico nome della poetessa Saffo) di Iannis Xenakis (1975), costruito su 2.396 segmenti che si sostituiscono alla tradizionale notazione musicale, creando cellule ritmiche che imbrigliano esecutore e ascoltatore in una partecipazione comune senza possibilità di fuga.

italiano

Kathinkas Gesang Als Luzifers Requiem by Xenakis, Scelsi, Stockhausen, Od (2019/2019), Dirigent Antonio Caggiano, San Giacomo Apostolo(Chiesa Di San Giacomo), Forli, Italy

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