Stefano Gervasoni's string quartet Strada non presa is analyzed as a recent example of music applying montage as its formal model. In the quartet, seven different textures alternate according to a technique of »cut and paste«, establishing the co-existence of two opposite tendencies of the musical material: one based on noise effects, the other one based on determined pitch. The analysis of the compositional process throws light on the complex formal procedures as well as it reveals some central elements of Gervasoni's poetic, especially the role of perception. In spite of the remarkable complexity of the formal outline, the means of expression that Gervasoni chooses are characterized by a certain »discretion«, thus allowing a quiescent reception of the tensions the composition unfolds.
Diskrete Form. Die Montage in Stefano Gervasonis Streichquartett “Strada non presa”
Pietro Cavallotti
2007-01-01
Abstract
Stefano Gervasoni's string quartet Strada non presa is analyzed as a recent example of music applying montage as its formal model. In the quartet, seven different textures alternate according to a technique of »cut and paste«, establishing the co-existence of two opposite tendencies of the musical material: one based on noise effects, the other one based on determined pitch. The analysis of the compositional process throws light on the complex formal procedures as well as it reveals some central elements of Gervasoni's poetic, especially the role of perception. In spite of the remarkable complexity of the formal outline, the means of expression that Gervasoni chooses are characterized by a certain »discretion«, thus allowing a quiescent reception of the tensions the composition unfolds.
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