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Fusi Marco

Professeur assistant

Hauptkompetenzen

Professeur assistant

HEMU - Haute Ecole de Musique
Rue de la Grotte 2, 1003 Lausanne, CH

MA HES-SO en Interprétation musicale - HEMU - Haute Ecole de Musique

BA HES-SO en Musique - HEMU - Haute Ecole de Musique

Laufend

InstrAct / Exploring Instrumental Agency in Contemporary Viola and Viola d'Amore Practices

Rolle: Hauptgesuchsteller/in

Financement: IRMAS

Description du projet :

InstrAct seeks to propose a first modelisation of the agency of musical instruments in the field of contemporary classical music, focusing on the ways two different instruments, the viola and viola d’amore, “participate” in the conception of new musical works and to the shaping of their interpretations. By leveraging the contrasting histories and characteristics of the viola, a staple of classical music, and the viola d’amore, which lacks the same historical dissemination and performative standardisation, the project provides an opportunity to explore two different ranges of physical, technical, and historical affordances.

The project draws its theoretical foundations from concepts derived by ecological psychology and Actor-Network Theory, and it is developed through methodologies and tools belonging to the field of artistic research. It combines music analysis, development of case studies (new composition in collaboration with composers Tim McCormack and Scott McLaughlin), documentation of creative process, experimentation within the community of HEMU’s faculty and students, and guided autoethnography of participants, with the aim to present a researched modelisation of instrumental affordances’ interactions.

Foreseen outputs include new compositions, recordings, performances at international festivals, open access documentation, and scholarly publications, a comprehensive handbook on viola techniques (published by Bärenreiter), and educational outputs at HEMU.

Forschungsteam innerhalb von HES-SO: Fusi Marco , Bourgogne Guillaume , Béranger Vinciane

Partenaires académiques: Timothy (Ti) McCormack, UC San Diego, San Diego CA (US); McLaughlin, Scott, University of Leeds, Leeds (UK); Vaes Luk, Research Fellow, Orpheus Instituut, Gent (BE)

Partenaires professionnels: Rothaug Diana, Bärenreiter Verlag, Kassel; Regucera Amadeus, Curator of Music // Experimental Media and Performing Arts Center, Troy NY

Durée du projet: 01.02.2025 - 31.01.2026

Url des Projektstandortes: https://www.hemu.ch/recherche/instract

Statut: Laufend

2025

Metamorphosis and Anamorphosis / The Violin Through the Lenses of Sciarrino’s Capricci and Nuovi Capricci

Konferenz

Fusi Marco

Come vengono prodotti gli incantesimi? / Charting Performance Practices in Salvatore Sciarrino’s Music, 19.02.2025 - 20.02.2025, Orpheus Instituut, Gent (BE)

Link zur Konferenz

Zusammenfassung:

In the (nearly) fifty years spanning from the creation of the Sei capricci per violino (1975/76) to the premiere of Sei nuovi capricci e un saluto (2023), Salvatore Sciarrino's approach to the violin has significantly articulated his perspective. The exploration of instrumental possibilities presented in the first cycle, is used by Sciarrino to veil, behind a façade of technical and virtuosic sparkle, the deep connection of his sonic materials with sounds and gestures of nature. His approach extends, in the new cycle, to encompass the most human of elements, vocal expressiveness. This presentation examines the instrumental gestures and techniques adopted in both cycles, analysing the specificities of their uses and their various and multiple functions.

Our aim is to observe how the perceived closeness to the virtuosic Paganinian archetype, which in the first cycle (1975/76) captivated a considerable number of violinists, may be understood in fact as a secondary outcome of compositional processes and instrumental strategies that were common to Sciarrino's music at that time. The presentation proposes a reflection on the origin of the sonic gestures encountered in Sei capricci, through an examination of contemporaneous compositions by Sciarrino, to substantiate an interpretative stance focusing on the sonic peculiarities of each capriccio, structuring the logic of performance on the basis of perception and sonic development of individual gestures.

Shifting focus to the second cycle (2023), the paper will observe how a vocal compositional attitude links these works to the contemporaneous operatic and vocal repertoire by Sciarrino. In exploring the natural affinity between the bowed instrument and the human voice, Sciarrino develops a technical vocabulary and a gesturality whose apparent simplicity belies significant instrumental challenges. This presentation aims to reflect on the technical and performative nature of these challenges and to seek possible solutions, both technical and interpretative.

In conclusion, it is argued that the two cycles of capricci represent two significantly different approaches to the instrument, marking a move away from virtuosity towards a distillation of vocal expressiveness, and a parallel increment in instrumental difficulty that, forsaking known technical formulas and gestures, reconnects to the primal reason for the birth of bowed instruments, as a metaphor for the human voice.

Errungenschaften

PEOPLE@HES-SO
Verzeichnis der Mitarbeitenden und Kompetenzen

Fusi Marco

Professeur assistant

Hauptkompetenzen

Recherche Artistique

Musique Contemporaine

Professeur assistant

PEOPLE@HES-SO Verzeichnis der Mitarbeitenden und Kompetenzen

Fusi Marco

Professeur assistant

Hauptkompetenzen

Recherche Artistique

Musique Contemporaine

Professeur assistant

PEOPLE@HES-SO
Verzeichnis der Mitarbeitenden und Kompetenzen