The Art of Conducting: Luigi Gaggero
Вставка
- Опубліковано 12 вер 2024
- This conversation between composer Samuel Andreyev and conductor Luigi Gaggero was filmed in Strasbourg, France on December 6th, 2023.
==
ABOUT LUIGI GAGGERO
luigigaggero.com/
SUPPORT THIS CHANNEL
www.samuelandre...
/ samuelandreyev
PRIVATE LESSONS IN COMPOSITION AND ANALYSIS
Contact me via samuel.andreyev (at) gmail (dot) com
NEW ALBUM OUT NOW
Order a physical copy: www.kairos-mus...
Listen on Spotify: open.spotify.c...
Listen on iTunes: / samuel-andreyev-music-...
LINKS
Website: www.samuelandre...
Twitter: / samuelandreyev
THE SAMUEL ANDREYEV PODCAST
On Buzzsprout: www.buzzsprout...
On Spotify: open.spotify.c...
On iTunes: podcasts.apple...
What a wonderful and intelligent discussion. Thank you both very much. Much appreciated.
The listening shapes our time perception.
Frank Zappa like Stockhausen strove for complete control of his work. It's a complex subject. Fascinating discussion 🖖
Frank certainly had more control over his work than anyone else in the world of Rock n Roll for many years...maybe until Zeppelin got huge, but Stockhausen could do it and make a good living because he obtained a kind of cult like status for a contemporary classical composer in his time and knew that there would always be a devout group of followers waiting to consume and promote every new piece he did
Great conversation!
This really was an important and fascinating discussion...for me, the takeaway is this: As composers in the 21st Century, the best we can do is be honest with ourselves (and not aim to stand out within the community for some novel gestures) and find that real need, within whichever community we identify, and "arise" up to the challenge of embodying that need in our works. All done in a way that is honest and appropriate to ourselves and that community with which we truly identify and if we must stand out, stand out by our examples in this way.
Bathsheba Sculpture Hypercube B (11cm)
❤
Love the interview! You have a great series, and I'm so appreciative. But, I'm not a fan of the camera framing here, which is disconcerting, or the endless fidgeting with the cubist toy, which is quite distracting. (Kind of rude to the guest too IMO) Would you like to see a juggler on stage in the midst of a Mahler symphony? PS there's a strange sense of deja vu from comments in the fifties which were said almost identically in the forties.
I agree with your pars destruens, the current system made contemporary music irrelevant. But I am not sure I understood Gaggero's proposition, can the old models still be used in such a different society, with such different and sophisticated instruments of self promotion? I have the impression in the future we will not have a lot of Shakespeares and a Beethovens, but relatively small communities with purchasing power, defined by different tastes and values, each gathering around a different group of artists that fulfils the artistic needs of their community. For this to happen I think artists must learn to promote themselves online
In the future? That is already the case, and has been for a few years now.
@@samuel_andreyev of course you're right, I phrased that wrongly, I meant that I don't see a different future where an old model can be used to speak to the whole society, but only an expansion of this model of fragmented groups
Thank you for your comment, I try to explain better what I wanted to say: I think that the main problem is not that contemporary art is ‘complex’ (of course it is, but often in the past artists were difficult to understand for their contemporaries); the problem is rather that Beethoven, or Furtwängler, although they have very strong personalities, always say “We”, and not “Me”. I mean, you can feel, in their music (or music interpretations) that an entire community of people is speaking, and not only an isolated personality. With other words: I believe that a language can be symbolic, and therefore ‘artistic’, only if it is shared by a community of people. If people will be more and more “atomized”, isolated, the possibility of an artistic language won’t be there anymore. And this is precisely what is happening right now. Therefore my proposal would be to let us inspire from models of the past (of course, not to ‘copy and paste’ them, since each époque has its own structures): a good starting point would be, for instance, to rebuild a productive relationship between commissioner, composer, performer and society, where a work of art arises really involving all these parts, so that the work of art can really represent those shared moral values that those people ‘dream’ of and aspire to… It is difficult, but not impossible… Maybe a next video could be dedicated entirely to the ‘pars construens’ :)
@luigigaggero thank you very much for your answer, what I am wondering is what you mean by community. I think the community for which artists of the past were creating was a much more unified thing, with a common aesthetic sense and a set of values people shared. Now I am not sure this is possible anymore, I think society is too fragmented in small groups with different artistic interests and needs; the system I mentioned in the previous comments seems to me a valid alternative, keeping in mind that the possibility of reaching people from all over the world can make these "small" communities big enough to be able to support artists who create for that community.
@@dariocaporuscio8701 You are right, the point is precisely what we mean with the word “community”. The groups of people “with purchasing power, defined by different tastes and values” which one might reach online, is not exactly what I would define “community”, although this word is often used to define them. A community, for me, is a group of people united together by social, linguistic and moral relationships, common interests and customs. And this is, in my humble opinion, the only “fertile ground” where Art can grow. Moreover, I think that the system where the groups of “(contemporary) music lovers” are completely isolated from the rest of the society, has no future: when something is considered irrelevant from the majority (and classical music has already become irrelevant), soon or later it will be substituted by something else.
I do perfectly agree with you that “society is too fragmented in small groups with different artistic interests and needs”; and this is precisely where our choice resides: or adapt ourselves to this context (but, as far as I can see, this is bringing rapidly to both the impossibility of conceiving great masterpieces and to the social irrelevance of what we are doing; and that’s why I do not believe in this ‘path’); or, indeed, try to ‘mend’ those society-fragments, bringing them together again, ’fighting’ against the main tendency. It is an enormous work, but one could start, for instance, by restoring that ‘virtuous circle’ between commissioner, performer, public, which I have already mentioned. This won’t happen throwing our ‘messages in a bottle’ into the online-world, but rather bringing together real, physical people, who recognize each other for having ‘something’ in common. In other words, rather that hoping that art can transform itself for the new society, I would wish instead that art can bring together people again, against the fragmenting tendency which we can observe everywhere…