Lara Morciano (1968)
Parola che mi manca (2006)
for soprano and ensemble
- General information
Composition date :
- Duration : 15 mn
- Publisher : Suvini Zerboni, nº ESZ.12829
- Commission: Ministère français de la culture
Libretto (details, author) :
- Composition date : 2006
- Vocal music and instrument(s) [Solo voice and ensemble of up to 9 instruments]
- soloist : 1 solo soprano
- 1 flute, 1 clarinet, 1 piano, 1 percussionist, 1 violin, 1 cello
1 January 2006
l'ensemble Accroche-Note, Françoise Kluber : soprano.
Commissioned by the French Ministry of Culture, Parola che mi manca for female voice, flute, clarinet in Bb, violin, 'cello, piano and percussion on a text by Giuliano Corti was performed on September 27 of 2006 at the Cité de la Musique et de la Danse in Strasbourg, with the soprano Françoise Kubler and the ensemble Accroche Note, during the city's music festival. The writer of the text, Giuliano Corti, spoke of the inspiration for Morciano's new work: "There is always a word missing when trying to describe images. The word that goes round and round in search of itself in order to define a centre, that punctiform place whence the imaginary cosmology of every language is born. For approximations, for approaches, for syncopated dances, words that are sometimes slow, sometimes frenetic, fluted, pizzicato strokes, create worlds, houses and rooms. The word dances within the interval of the senses and captures its own sense in the sound that it wears". This is how Lara Morciano tried to translate the poetic invention of Corti into sound: "An imagined "emotional" path within the work that is "unreal", a little "visionary"... The (first) word, the verse ("che manca"), the language like 'house' or 'place to be', represent the starting point, the initial inspiration for the treatment of the phonetic/sound material that crosses different expressive plains, underlining them with a continuous transformation of colour and of the sound material during the process of repeating the sound/word. Alliterations, resonances and echoes, the alternation of different acoustic spaces, the fracturing and rebuilding of timbres in the texture of sound (in a search for homogeneity/differentiation between the gestures of the instrument and of the voice) give rise to frequent changes in the form and to internal sections that accompany and interpret the 'narrative' path, suggesting connections and references that are subtle and symbolic".