Ana Gnjatović
composer
composer
Arahnin san za klavir i elektroniku (2019)
porudžbina Festivala BUNT 7.0
Nataša Penezić, klavir, glas, pokret. Ana Gnjatović, elektronika. Beograd, 23. novembra 2019
Grčki mit o Arahne, tkalji koju je Atina pretvorila u pauka završava se tamo gde počinje Kafkina pripovetka o Gregoru Samsi, trgovačkom putniku koga je buđenje pretvorilo u bubašvabu. Najgora stvar u tome što smo pretvoreni u neku vrstu beskičmenjaka (araknida, insekta, bube) je izgleda to što se sećamo da smo nekada bili ljudi i što smo samo donekle svesni da to više nismo. „Gregor priđe još malo napred i stavi glavu sasvim do poda u nadi da će joj uhvatiti pogled. Zar je on životinja kada ga muzika ovoliko može ganuti?”
Želela sam da elektronskim zvukom postupno ispletem paukovu mrežu koja je nežna i svilenkasta, istovremeno pomalo neprijatna. Kako broj niti raste, raste i nelagoda, dok mreža ne počne da se obavija i guši, kao u košmaru.
Kompozicija je napisana 2019. godine. Posvećena je Nataši Penezić.
Arachne's Dream for piano and live electronics (2019)
BUNT 7.0 Festival commission
Nataša Penezić, piano, voice, movement. Ana Gnjatović, electronics. Belgrade, 23 November 2019.
The Greek Myth of Arachne ends where Kafka's story begins. The weaver was turned into a spider by the goddess Athena after a competition, and a salesman Gregor Samsa realized he was turned into a cockroach after waking up. Whenever we turn into some kind of a spineless creature (arachnid, insect...), the worst part appears to be the fact that we remember that once we were human, and we are only partly aware that we no longer are. My idea was to gradually weave the spider web in the electronic part and to encircle the pianist and the audience with it.
The web is supposed to feel (sound) gentle and silky, yet at the same time a bit unpleasant. As the number of threads grow, so does the feeling of discomfort, until the web starts wrapping around us and suffocating us, like in a nightmare.
Written in 2019. Dedicated to Nataša Penezić.
porudžbina Festivala BUNT 7.0
Nataša Penezić, klavir, glas, pokret. Ana Gnjatović, elektronika. Beograd, 23. novembra 2019
Grčki mit o Arahne, tkalji koju je Atina pretvorila u pauka završava se tamo gde počinje Kafkina pripovetka o Gregoru Samsi, trgovačkom putniku koga je buđenje pretvorilo u bubašvabu. Najgora stvar u tome što smo pretvoreni u neku vrstu beskičmenjaka (araknida, insekta, bube) je izgleda to što se sećamo da smo nekada bili ljudi i što smo samo donekle svesni da to više nismo. „Gregor priđe još malo napred i stavi glavu sasvim do poda u nadi da će joj uhvatiti pogled. Zar je on životinja kada ga muzika ovoliko može ganuti?”
Želela sam da elektronskim zvukom postupno ispletem paukovu mrežu koja je nežna i svilenkasta, istovremeno pomalo neprijatna. Kako broj niti raste, raste i nelagoda, dok mreža ne počne da se obavija i guši, kao u košmaru.
Kompozicija je napisana 2019. godine. Posvećena je Nataši Penezić.
Arachne's Dream for piano and live electronics (2019)
BUNT 7.0 Festival commission
Nataša Penezić, piano, voice, movement. Ana Gnjatović, electronics. Belgrade, 23 November 2019.
The Greek Myth of Arachne ends where Kafka's story begins. The weaver was turned into a spider by the goddess Athena after a competition, and a salesman Gregor Samsa realized he was turned into a cockroach after waking up. Whenever we turn into some kind of a spineless creature (arachnid, insect...), the worst part appears to be the fact that we remember that once we were human, and we are only partly aware that we no longer are. My idea was to gradually weave the spider web in the electronic part and to encircle the pianist and the audience with it.
The web is supposed to feel (sound) gentle and silky, yet at the same time a bit unpleasant. As the number of threads grow, so does the feeling of discomfort, until the web starts wrapping around us and suffocating us, like in a nightmare.
Written in 2019. Dedicated to Nataša Penezić.