Ricardo Eizirik: “adolescência” for five performers (2022/23) World Premiere – approx. 60′
Carola Schaal (Clarinet)
Roberto Maqueda (Electronics)
Jennifer Torrence (Modified Drum Set and amplified Percussion)
Francesco Palmieri (Electric Guitar)
Håkon Stene (Modified Drum Set and amplified Percussion)
Ricardo Eizirik (Electronics)
Remember when you were young, you shone like the sun.
DEMOCRATIC MUSIC IN THE HERE AND NOW:
THE COMPOSER RICARDO EIZIRIK (EXCERPT)
by Gerardo Scheige
Ironically – or perhaps not – “adolescência” for five performers (2022/23) is to be premiered at the Darmstadt Summer Course, the same echo chamber that rigidly set the agenda for contemporary composition in the 1950s. Back then, alternative artistic approaches and results were judged without mercy or compromise, even though the Boulez-Nono-Stockhausen triumvirate strove for a democratization of all musical parameters in their serially organized pieces. And in parallel with the erasure of the composing subject thus achieved, the body of rules grew. Seventy years have passed since then, but at times this legacy still hangs over the course’s history and discourse like a sword of Damocles. This is precisely what Eizirik, who first visited Darmstadt as a student in 2012, takes as his starting point: the focus is on human beings, in this case Carola Schaal, Roberto Maqueda, Jennifer Torrence, Francesco Palmieri, Håkon Stene and Ricardo Eizirik himself. The physical presence of the five musicians and the relationships between them are crucial to the piece. All senses are involved and every action matters: reciprocal glances, attentive listening and interaction with the audience, which should ideally also be involved. In puberty, the body’s process towards sexual maturity is the central focus. At the same time, it is a phase of extensive questioning in the search for one’s own place in society. Corporeality becomes a powerful engine in “adolescência”, including the physical experience of loudness, light or acceleration; Eizirik has been focusing especially on the last of these aspects in recent years. One could break his approach down radically to the maxim ‘Prima l’esperienza, poi la reflessione’: experience precedes reflection. And when Darmstadt’s Centralstation is immersed in darkness, the here and now are all that matters. Rewind and play.
Translation: Wieland Hoban
It went in all directions. I wanted to hear everything by Ligeti on the one hand, but also the Japanese noise band Hanatarash or every album by the Brazilian musician Tom Zé. The whole thing wasn’t organized in the sense of European music history; there was no structured chronology. I listened to whatever I could get my hands on, whatever it was. If a friend brought me a record, a book or a film, I listened to it, read it or watched it.