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profiles - works

Works

Stefano Gervasoni
An
(1989)
quasi una serenata con la complicità di Schubert
for Flute in g, Clarinet and String trio


Length: 11:00
Editor: Ricordi
1� Performance: Milano - 11/1990

I collect some definitions of my work in a temporary definition (the aesthetic resolutions are the way to a destination, that the more is approached the more becomes inconsistent): composing is individuating the poetically effective results of the attentive and continuous observation exerted on objects in a condition of "negligibility".
Negligibility is a default or a limit of eyesight. The composition - exercise of observation - is the poetic possibility of giving importance to what is not usually considered important (the objects neglected "because of too much proximity": the usual, obvious; the objects neglected "because of too much distance": the minimum). The condition of "lack" can be poetically transformed in a condition of "fullness".
Seeing what is not directly visible or usually escapes the sight is a continuous exercise of observation. Composing is then a microscopic and anamorphic observation, a keener and divergent glance, the possibility of giving and at the same time taking away a centre. Poetic strength can originate from such a tension: from the challenge of making remarkable (surprisingly able to attract the sight but not to stop it) what is negligible. Poetic strength is to be found in seduction not in exceptionality. It is to be found in the not striking complexity, which does not appear in the multiplication of external structures, but can be caught only by indirect ways, as a quiet or restless amazement of realising you have been caught by some events you would not have noticed in other conditions. The poetic effect will be as much great as more "endless" is the glance and the negligibility of the objects on which the glance is exerted.