«Music is easy», says a well-known aphorism and work of art by Giuseppe Chiari: everyone makes music, even unconsciously, and everything is music. Consequently everything can be heard and «the repertoire is a field». We don't need to be ‘experts’ to listen, we don't need to have spent long years studying at the Conservatory. The progressive emancipation from the score allows Chiari the composer to make music, i.e. from the lines of a text, reading it or interpreting its prescriptions through the gestures of a body that ‘resonates’ in the environment. The lines of the text can then become a painting and take on the dignity of a work of art, just as the photographs taken during the respective happenings. Chiari’s music and its performative context between (lack of) scores, gestures and images disclose a message of profound protest against the politics of classical repertoires and the traditional venues designated to make and listen to music. This paper wants to reflect on his multifarious approach, always at the boundaries between urgency of sonorous action, inner listening and contemplation. But what has happened to his message today? And above all: can we still consider it relevant?
Music is easy. Giuseppe Chiari's global listening and multi-layered art against the dictatorship of repertoires / C. Scuderi. Immanence et critique sociale dans la création musicale contemporaine Paris 2024.
Music is easy. Giuseppe Chiari's global listening and multi-layered art against the dictatorship of repertoires
C. Scuderi
2024
Abstract
«Music is easy», says a well-known aphorism and work of art by Giuseppe Chiari: everyone makes music, even unconsciously, and everything is music. Consequently everything can be heard and «the repertoire is a field». We don't need to be ‘experts’ to listen, we don't need to have spent long years studying at the Conservatory. The progressive emancipation from the score allows Chiari the composer to make music, i.e. from the lines of a text, reading it or interpreting its prescriptions through the gestures of a body that ‘resonates’ in the environment. The lines of the text can then become a painting and take on the dignity of a work of art, just as the photographs taken during the respective happenings. Chiari’s music and its performative context between (lack of) scores, gestures and images disclose a message of profound protest against the politics of classical repertoires and the traditional venues designated to make and listen to music. This paper wants to reflect on his multifarious approach, always at the boundaries between urgency of sonorous action, inner listening and contemplation. But what has happened to his message today? And above all: can we still consider it relevant?Pubblicazioni consigliate
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