Located in the UK
Located in the USA
Located in Europe
- Sergio Blardony
Gospedin Nikto (2015)
- Unión Musical Ediciones (World)
Unavailable for performance.
- 1.0.0+bcl.ssx.0/0000/pf/str(1.0010)/Electronics, Pre-recorded
- 12 min
Programme Note
Gospedin Nikto is a radio work written from a Paul’s Celan dramatic text recently translated into German by the poet and critic José Luis Gómez Toré. The work, initially produced for the program called Doble Fondo (Radio Círculo), is an instrumental length of the part
created for the radio, part which it is included without modifications, with the original voices of the Spanish actors called Jesús Barranco and Lola Manzano.
Celan’s text, a weird dialogue between two brothers, is moved by a surrealist tone, with existentialist aspects, maybe the next theatre of the nonsense, remembering some Samuel’s Beckett works written for the radio. The title of the score –Gospedin Niktoalludes to a reason of the play which could mean, in a mixture of Slavic languages, "Mr. Nobody”.
Sometimes, the instrumental part is planned as a dialogue over the dialogue, a play over the play planned by the characters of the text in their dialogue. Other times, the instruments are presented as new characters, autonomous objects which burst into the narrative weave interpolated to the text and the rest of the sonorous speech of the electronic part, mostly made with oises without processing electronically. It is not intended
to describe any figurative sense; there is no intention of describing events or situations (it would have resulted absurd to consider the musical part as "explicative” of what it is undecipherable, from the surreal). The music runs together with the text in a plot without signification, trying to babble in the same fragmentary and illogical speech raised from the text, through a repetitive dramatic sequence.
Sergio Blardony
Madrid, March 2015
created for the radio, part which it is included without modifications, with the original voices of the Spanish actors called Jesús Barranco and Lola Manzano.
Celan’s text, a weird dialogue between two brothers, is moved by a surrealist tone, with existentialist aspects, maybe the next theatre of the nonsense, remembering some Samuel’s Beckett works written for the radio. The title of the score –Gospedin Niktoalludes to a reason of the play which could mean, in a mixture of Slavic languages, "Mr. Nobody”.
Sometimes, the instrumental part is planned as a dialogue over the dialogue, a play over the play planned by the characters of the text in their dialogue. Other times, the instruments are presented as new characters, autonomous objects which burst into the narrative weave interpolated to the text and the rest of the sonorous speech of the electronic part, mostly made with oises without processing electronically. It is not intended
to describe any figurative sense; there is no intention of describing events or situations (it would have resulted absurd to consider the musical part as "explicative” of what it is undecipherable, from the surreal). The music runs together with the text in a plot without signification, trying to babble in the same fragmentary and illogical speech raised from the text, through a repetitive dramatic sequence.
Sergio Blardony
Madrid, March 2015