Entrevista a Ottavio Dantone, director de Byzantine Academy

Entrevista a Ottavio Dantone, director de Byzantine Academy

 

Entrevista Ottavio Dantone2

 

Entrevista Ottavio Dantone3

 

Entrevista Ottavio Dantone4

 

Entrevista Ottavio Dantone5

 

 

His project is called "Revolution". What is the real revolution of Baroque music?

Revolution Baroque music in the last fifty years has experienced various stages, as the stage of rediscovery of ancient instruments, the language and its communication to the general public. Our project wants to extend the temporary space of early music this term extending until the nineteenth century, in order to show that the music of the nineteenth century is still nourished by many gestures and expressive codes from centuries past, that the listener can reveal today still hidden aspects and details, capable of producing new emotions, already forgotten.

Venetian composers Albinoni, Marcello, Vivaldi y Galuppi. What each brings special baroque?

All these composers, along with many other, They have helped create a style that in the eighteenth century Venice attracted musicians and music lovers from all over Europe. A rhythmic style that presents solutions, melodic and harmonic characteristics, product of influences from the many cultures that crisscrossed in a multiform and multifaceted city as the Venice of the time. A style, Besides, who has had a great influence on many musicians; first of all, J. S. Bach.

Why express baroque music in such a precise feelings and passions?

The link between the composer of Baroque music with the executing agency and ultimately the listener is characterized by an aesthetic that conceives emotions and passions in an order that determines the moments, in certain sensations are experienced. Definitely, we are talking about musical rhetoric, whose application enables us to understand this time and relive the emotions and passions stronger and sincere.

Do you think the codes currently used to transmit and receive baroque music are different from those used at the time of its composition? How it is evolving musical language?

In my opinion, Today is absolutely necessary to use the same codes then, because it is the only way we have to get as close as possible to what was in the mind of the composer and getting, so, the musical and emotional result is stronger and more communicative. What changes today from the past is perhaps the sound perception in relation to the spaces, with the consequent risk of distorting the meaning of the musical material.

Delving into the knowledge of Baroque music opens an infinite universe of communication and knowledge, no solo musical. After many years of career and a thorough study, semiotic cases, Baroque music, What is your diagnosis for this genre today?

I have spent over forty years studying ancient music and all aspects that characterize, not only music, but also historical, philosophical, sociological, etc. All this has allowed me to understand how much remains to be done to understand and learn new things that can be transmitted to others. It has also helped me to realize that this music still gets talk, and now seem despite the passage of time.

What we can expect is his new album: "Concerts for Strings III and concertos for viola d'amore" para prestigious Vivaldi Edition (classical naïve)?

Our last recording aims to highlight the extraordinary ability to tell Vivaldi always something new and original, albeit through a brief and seemingly stereotyped as Concerto for Strings. We wanted to delve, in deep, in the details, sometimes, hidden, that make these wonderful "miniatures", to make emerge the thousands of different solutions that are able to implement this great composer, while maintaining its recognizable and unique style. The Concertos for Viola d'amore They represent a body of work unique in its kind, allowing us to better understand the timbral and expressive possibilities of this mysterious and little-known instrument.

Through videos of his latest work we realize the importance of image and staging. How important is the aesthetic audiovisual communication as an element of his art?

I believe the visual element is, definitely, important to communicate and convey emotions quickly and effectively at all listening levels. Let us not forget that at the time baroque, the look "synesthetic", even music, It was very important. sounds, colors, effects, choreography or visual spectacle fascinated the listener and strongly conditioned the perception.

Is it a contradiction to say that Baroque music takes us back to the future?

Modern man, unlike previous centuries, look at the art and so also the music, moving elements of the past to contemporary aesthetics and sensitivity. Y, evidently, past and future are intertwined with researching their roots, and aesthetic requirements and future.

What makes Ottavio Dantone when not making music?

I relax in my house with my family, although the music does not leave me practically never.