Dario Calderone


Impuls Academy-report

Just finished Impuls academy. With a tip of sadness I’ve been locking my room for the last time. It has been a time for enrichment , getting in touch with glittering auras of so many people. A fist thank goes to my “students”, Maggie, Charis, Jonathan and Cody. Teaching has been for me a way of learning things such as communication (but please pardon my english) and intuition; but probably the best discovery was that there’s no way of teaching without opening your hart and let your soul communicate directly. There’s no teacher, there’s no pupil: there’s only an exchange in both ways. Thanks guys for that.

A special thank goes to all the composers who wrote for the Call-for-Scores for solo doublebass. I’ve received 17 new pieces, and I’ve been looking into them deeply together with the composers, finding solutions for better results, understanding intentions and finding together the best way to notate them. Probably the best part of this was sharing our experiences and cooperate in the best possible way. It’s pretty ambitious to say, but these are moments where you stop being just an individual, your personality becomes liquid, you melt into each other and you get to something completely new and shared. I’m really sorry for all those who did not get a public performance of their pieces, but there were some limitations in terms of length of the concert which forced me to take decision on which piece I would have played. This decision was influenced first of all by the will of making a nice program: performer acts as a curator in some cases and is forced to make decisions according to the context. But of course this decision has been influenced by my personal taste. And here we come to the core of the matter: what am I looking for when I have to choose to play a new piece? I’ve been questioning about this a lot in the past months, and understood that no answer can be objective. A part from what I’ve said before concerning the context, there are 3 elements in a new piece that would make me go for them. First of all there is Music: ideas, notation, experiments and all the rest should be a vehicle to let Music come through. Music is something strictly connected to energy and emotions, and therefore transcends any cultural and historical reference. It could be considered an alternated state of consciousness, to which we could shift when decide to. As a second point I would put my necessity of dealing with experimentation. This does not mean necessary to play things I’ve never heard before: it’s more about the experimental and research process that lead the composer to take some decisions. In this sense, the process becomes extremely interesting when can be shared with the performer in a collaborative way. This can happen either at a early stage of the composition of a piece, either when the piece is already finished but has still a certain range of uncertainty. Listening, observation , communication, silence are the tools to achieve this goal. Last but not least I would put the coherence with a clear statement or idea. Too many pieces nowadays lack of this intention, and become, for me, a bit useless. I would like with my choices to encourage any music that is far from being “entertaining” for a specific class or elite. I believe still that with clear musical concepts we could still, as musician, make political statements, and say something about the society around us.11051_585158754953961_6470277154469297650_n



This entry was posted on 25 Feb 2015 by in projects.