Per violoncello solo - Andrea Valle

Andrea Valle

Scialoje, I-XV

(ovvero: Alfabeto in Sogno, I serie: da Toti Scialoja)

Per violoncello solo

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Performing notes

1 General remarks

Scialoje have been composed following the idea of exploring and

exploiting the peculiar phonological patterns of Toti Scialoja’s

poetry. For each selected poem, a mapping has been defined,

that associates each letter to a certain pitch, selected from a

16 steps-per-octave scale. While composing, a sound synthesis

device has been designed that allowed the composer literally

to play each letter once typed. So, each piece of the cycle has

been first rehearsed and performed on a computer keyboard by

typing each associated poem with a specific tempo and mood;

a log file of the “best performances” has been stored; finally the

data have been processed in order to automatic obtain music

notation. The mapping strategy is clearly revealed by special

symbols (see 3.4) that are associated to various punctuation

characters in Scialoja’s texts. A general consequence of such a

composition process is that the cello is in some way treated as

an expanded, microtonal harpsichord.

2 Total duration

10’ circa.

3 Notation

3.1 Staff

The cycle is written in piano staff.

3.2 Durations

The cycle uses the so-called time-notation, where space is proportional

to duration. The short vertical lines placed on the

central staff indicate the “subdivisions” (1/16), while the long

dotted line crossing the whole staff system indicates the “measure”

(4/16). Thus, each measure lasts one beat of the indicated

metronome. The metronome marking (in quarters) is crucial because

the space/time relation changes in each piece.

Each page contains a piece of the cycle. At the end of each

piece an approximate duration is indicated, in relation to the

indicated tempo. Note, however, that each piece can be performed

faster or slower, the relevant constraint being the respect

of proportionality among written durations.

For each note the attack only is indicated, as the duration is left

to the performer (that is, each note can be performed ranging

from staccato to legato).

3.3 Pitches

The only alteration mark used to indicate the twelve chromatic

pitch classes is ♯ (e.g. c - c♯ - d - d♯ - e - f . . .).

In the cycle the tone is divided into eighth parts. The ratio is

not to use 48 steps for octave but to provide the possibility of

defining 16 steps for each octave by means of a further binary

subdivision of the tone. By means of 1/8 of tone it is thus

possible to notate a step of 3/8 of tone. Microtonal alterations

are indicated by placing above a pitch the symbol ^ with the

number of eights of tone required to rise it. Thus, for example,

the symbol 2 above C♯ indicates C♯ + 2/8 of tone = C♯ + 1/4

of tone. All alterations (be they chromatic or microtonal) are

always rising.

Perfect intonation of microtones is not relevant per se, rather

the goal of the performer should ensure the perception of a

non-tempered pitch space (note also that not all pieces use microtonal

alterations). As a consequence, the use of vibrato must

be limited, in order not interfere with pitch perception.

3.4 Special symbols

a. b. c.

a. right hand hard pizzicato on the low C open string, while

the left hand touches the string without pressing it on the

fretboard in a position where no harmonics will sound

b. jeté on the low C open string while the left hand touches the

string C without pressing it on the fretboard in a position

where no harmonics will sound(see above)

c. with the bow over the bridge on the open high A string, pulling

the bow away and letting resonate as possible, sforzato

as possible.

3.5 Dynamics

Dynamics are not indicated as they are left to the performer. It

is important to ensure a good balance between the “note” and

the materials noted through the symbols section 3.4. To this

end, it is also possible to use amplification of the instrument.

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I.

Tra un ostacolo e l’altro

tredici passi è il calcolo

vantato - vola il veltro

lungo l’ombra del palco

L’ombra di una falcata

di due metri e novanta

si avventa - mi scavalca

tra un crepuscolo e l’altro

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II.

Per spengere la fiamma delle candele un soffio

ti basta ed è il sospiro che esali quando soffri

sognando il tuo paese di miele, o mio elefante:

fossero mille accese si spengono all’istante.

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III.

Sere, ma quali sere,

quali deserte attese,

quali rose severe

in azzurro paese.

Chi detesta l’estate

sente pungere l’erbe

e confonde le date

in fondo al verde debole.

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IV.

Il coccodrillo artritico che scricchiola

arranca lungo il greto verso un croco

giallo cromo, lo fiuta, fa una lacrima

se il croco raggrinzisce a poco a poco.

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V.

O magre gru, magari,

magari, grigie gru,

raggiungervi laggiù.

Vedervi aprire le ali

sulle paludi blu.

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VI.

L’ape che fuma pepe

lo stipa nella pipa

lo aspira come un papa

lo sputa cupa cupa

oltre le siepi in fior.

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VII.

un letto di piuma

un bagno di schiuma

un piatto che fuma

è il sogno del puma

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VIII.

Una libellulla non pesa nulla

non pensa nulla se oscilla sulle

lappole lilla - non si ribella

alla folata che la cancella.

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IX.

Lo sciacallo sciancato sotto un antico scialle

color sciacallo allunga il muso nell’aiola

strappandola coi denti mi procura una viola

poi col suo passo scialbo mi accompagna al cancello

rosso di rose e roso di ruggine e d’amor.

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X.

La lepre ha il più crudele dei musi quando morde

i leggeri lillà sulla radura brulla,

strappa i fiori d’aprile, li ricaccia nel nulla,

col labbro che strafà profumato di verde.

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XI.

I grandi gatti avanzano

a balzi e soffi tra le calde rose,

i caldi gatti balzano

a strappi e graffi tra le azzurre rose,

le grandi rose azzardano

ciuffi di spine contro i gatti azzurri,

i caldi azzurri danzano

nella zuffa dei gatti e delle rose

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XII.

Sopra un mare d’inchiostro

all’alba vola basso

l’albatro d’alabastro

sopra un mare bluastro.

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XIII.

Dove sono le nevi

addormentate un tempo

nel silenzio di brevi

inverni senza vento?

Estate. Il chiar di luna

luccica sulle pietre.

Accanto alla fontana

morrò sempre di sete.

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XIV.

Il merlo che in becco ha una perla

leggero saltella sull’orlo

del tetto, lo insegue con l’urlo

chi spera che lasci caderla.

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XV.

La memoria mormora come un mare ammansito

la memoria mormora con labbra che sembrano morenti

la memoria mormora come chi maschera malori

ma insieme rapidissima a stornare gli orli dell’oggi

che dico dell’ “oggi”? d’ogni primo attimo del presente

per lei ogni nuovo respiro è già stato respirato

ogni prima scintilla spenta soffiata lontanissimo.

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15 poesie di Toti Scialoja

“Con molta pazienza imparando la tecnica mentre opero e senza sapere prima che cosa verrà fuori dopo”

B. Munari, Codice ovvio

The realization of this work would not have been possible without the use of a large amount of open source software:

SuperCollider: I/O processing and sonification, general programming and scripting for algorithmic composition (http://supercollider.sourceforge.net/)

NodeBox: graphic notation generation (http://nodebox.net).

NB: SuperCollider/NodeBox bridge (many thanks to Mark Polishook) (http://www.polishook.org/).

Python: NodeBox programming (http://www.python.org/)

TEX: automated typesetting engine (http://www.ctan.org/)

ConTEXt: TEX-based document preparation system for typesetting (http://www.pragma-ade.nl/)

Smultron: all TEX-editing (http://smultron.sourceforge.net/)

Scalptum in Ciriaco, vulgo Cirié, A.D. MMVIII. Ultima revisione: 30 dicembre 2012. Pur sempre alle OfficineDiBuffalmacco.