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I composed Clue-Up Due Abyss in 2012 and
2013. It is a solo piano piece dedicated to my friend Marco Rapattoni,
a great musician. And it was made in celebration of the 150 years
of Claude Debussy's birth, and for the 95 years of his disappearance.
Claude Debussy was a composer who always exerted an enormous
influence in my life. My grandfather named my mother Guiomar
- name from the Germanic mythology - because of the great Brazilian
pianist Guiomar Novaes, pupil of Claude Debussy, who he admired
so much.
When I was a boy, my father made movies as an amateur. He also
spread out loudspeakers all over our home, as we could listen
to classical music everywhere. He also connected the sound output
of his movie projector in this network. Then, at late evenings,
I slept listening the sounds of his movies. Many times he used
Debussy's pieces.
Debussy died few weeks before my father was born.
So, I was born with Debussy and grew up with him.
The title Clue-Up Due Abyss is an almost anagram of the name
Claude Debussy. "Clue-up" means something inside its
zeitgeist. Something tuned with the moment. Perhaps we could
read the title as something like: "tuned clue of the abyss".
Here, the abyss is the time. The entire structure of this piece
pertains to a logic that is strange to the Western music tradition.
But, even such phenomenon is, many times, subtle, delicate. It
is a music like a kind of archipelago, surrounded by silence.
Islands of music, islands connected by silence. Clue-Up Due Abyss
is based on Debussy's Images 1 and 2 for piano.
The method of composition was not the virtual four-dimensional
world as I've done since long ago. Essentially I worked on stochastic
filtering of frequencies and sound events, creating clusters
of connections, translations between different digital processing
and, in this way, the elaboration of a principle of order in
a non hypotactic logic, inside a teleonomic environment.
All notes are in Debussy's Images.
The integral version of Clue-Up Due Abyss has three hours. The
world première at Monte Verità is of only forty
minutes. Originally, the concert was thought - because of its
three hours - to be performed with people lying on mattresses.
But unfortunately this was not possible. Therefore, the world
premiere will take only forty minutes and people will be seated
on chairs.
All thanks to my dear friend Lucrezia De Domizio Durini, with
whom I've collaborated in mutual projects in the last twenty-five
years, a little everywhere in this small planet.
My sincere thanks also to Marco Rapattoni, wonderful musician
- and to Lorenzo Sonognini and Claudia Lafranchi from the Monte
Verità Foundation.
To be at Monte Verità for the world première of
Clue-Up Due Abyss is a special moment to me. The first time I
was at Monte Verità was in 1987, by the hands of my dear
and unforgettable friend René Berger. Then I started collaborating
with him, with the brilliant Rinaldo Bianda and also with Lorenzo
Bianda, marvelous photographer, for the Video Art and Electronic
Art Festivals, the first of the world. In that formidable movement
there also were Nan June Paik, Francis Ford Coppola, Edgar Morin,
Bill Viola, Daniel Charles and many more. This collaboration
finished in 1996. In that year, I received the information that
my father was seriously ill in the hospital in the middle of
a lecture I was giving at Monte Verità. My father passed
away few days later. Unfortunately, the festivals ended few years
later. In 2005 I made another world première at Monte
Verità: Fifteen Stones, concert for piano and computer,
to celebrate René Berger's ninety years.
Monte Verita also reminds me of another friend, Harald Szeemann,
a great friend of Lucrezia De Domizio Durini, who introduced
us in the 1990s. Szeemann was a discoverer of the Monte Verità.
I wrote a Requiem for him in 2005.
Monte Verita also reminds me of another friend, Harald Szeemann,
great friend of Lucrezia De Domizio Durini, who introduced us
in the 1990s. Szeemann was a discoverer of the Monte Verità.
I wrote a Requiem to him in 2005.
Now, it is another world. Everything changed in our small planet.
And continues changing.
What reminds John Cage when he said: "Every something is
an echo of nothing".
.
Emanuel Dimas de Melo Pimenta . 2014
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