{"id":287,"date":"2022-01-21T14:51:30","date_gmt":"2022-01-21T13:51:30","guid":{"rendered":"http:\/\/www.pascalblondy.com\/?p=287"},"modified":"2025-05-10T13:06:07","modified_gmt":"2025-05-10T11:06:07","slug":"e-folia-of-spain-2","status":"publish","type":"post","link":"https:\/\/www.pascalblondy.com\/index.php\/2022\/01\/21\/e-folia-of-spain-2\/","title":{"rendered":"E\u200b\u200b-\u200b\u200bfolia of Spain 2"},"content":{"rendered":"\n

Ce second titre de la s\u00e9rie \u00ab\u00a0E-folia of Spain\u00a0\u00bb est la version longue du titre \u00e9dit\u00e9 pr\u00e9c\u00e9demment, la recomposition \u00e9lectronique du Fandango de Domenico Scarlatti, datant de la fin du XVIIIe si\u00e8cle. Le manuscrit de la partition originale de cet unique fandango dans l\u2019oeuvre de Scarlatti, fut retrouv\u00e9e en 1984, et consid\u00e9r\u00e9 incomplet (fr.wikipedia.org\/wiki\/Fandango_(Scarlatti)<\/a>). Cette version longue ici, est la retranscription de l\u2019interpr\u00e9tation qu\u2019en a faite Genoveva Galvez (la claveciniste espagnole \u00e0 l\u2019origine de l\u2019impulsion nouvelle donn\u00e9e au clavecin en Espagne au XXe si\u00e8cle\u00a0fr.wikipedia.org\/wiki\/Genoveva_G\u00e1lvez<\/a>\u00a0) dont on peut entendre un enregistrement dans le CD \u00ab\u00a0D. Scarlatti\/Fandango\u00a0\u00bb (produit en 1984 par Discos Ensayo – Barcelona, ENY-CD-3422), o\u00f9 il est indiqu\u00e9 dans les notes que \u00ab\u00a0La caract\u00e9ristique la plus marquante des fandangos est l’absence totale de cadences, au point que cette \u0153uvre manque m\u00eame de la cadence finale. Pour cette raison, nous avons pens\u00e9 qu’il \u00e9tait opportun d’ajouter cinq mesures et de conclure la s\u00e9rie d’\u00e9pisodes qui s’encha\u00eenent sans fin.\u00a0\u00bb.\u00a0
Ici le tempo, plus lent, reste le m\u00eame sur toute la dur\u00e9e, mais il semble insister, en lui donnant toute son ampleur, dans l\u2019aspect lancinant et obstin\u00e9 de la composition. Les\u00a0variations de timbres synth\u00e9tiques, restreintes, permettent alors une coloration pouvant \u00e9voquer – bien que les origines du Fandango soient plut\u00f4t portugaises – la rudesse des paysages d\u2019Espagne \u00e9cras\u00e9s d\u2019une chaleur sensuelle, contrast\u00e9e avec la p\u00e9nombre fra\u00eeche de ses \u00e9glises baroques, surcharg\u00e9es de repr\u00e9sentations \u00e9tincelantes de corps supplici\u00e9s.\u00a0

This second title of the \u00ab\u00a0E-folia of Spain\u00a0\u00bb series is the long version of the previously published title, the electronic recomposition of Domenico Scarlatti’s Fandango, dating from the end of the 18th century. The manuscript of the original score of this unique fandango in Scarlatti’s work, was found in 1984, and considered incomplete (fr.wikipedia.org\/wiki\/Fandango_(Scarlatti)<\/a>). This long version here is the transcription of the interpretation made by Genoveva Galvez (the Spanish harpsichordist at the origin of the new impetus given to the harpsichord in Spain in the 20th century\u00a0es.wikipedia.org\/wiki\/Genoveva_G\u00e1lvez<\/a>\u00a0), a recording of which can be heard on the CD \u00ab\u00a0D. Scarlatti \/ Fandango\u00a0\u00bb (produced in 1984 by Discos Ensayo – Barcelona, \u200b\u200bENY-CD-3422), where it is stated in the notes that \u00ab\u00a0The most outstanding characteristic of fandangos is the total absence of cadences, to the point that this work even lacks the final cadence. Because of this, we thought it opportune to add five bars and bring to conclusion the series of episodes that were linked together without end. \u00ab\u00a0.\u00a0
Here the tempo, slower, remains the same throughout, but it seems to insist, giving it all its fullness, in the haunting and stubborn aspect of the composition. The variations of synthetic timbres, restricted, then allow a coloring which can evoke – although the origins of Fandango are rather Portuguese – the harshness of the landscapes of Spain crushed by a sensual heat, contrasted with the cool half-light of its baroque churches, overcrowded with sparkling representations of tortured bodies.\u00a0

\"\"
https:\/\/blondy.bandcamp.com\/track\/dis-ta-gr-ce-quen-feu-dans-leau-extended-edit<\/a>

https:\/\/www.youtube.com\/watch?v=F-6LrQRVTeM<\/a>


Apr\u00e8s l\u2019anthropologue Philippe Descola pour le pr\u00e9c\u00e9dent titre, voici \u00e0 nouveau au sujet de l\u2019incarnation, un extrait d\u2019une interview de l\u2019artiste et compositrice Chris Korda, pour le magazine Tracks de la cha\u00eene de t\u00e9l\u00e9 Arte le 19 janvier 2020. Apr\u00e8s que le commentaire a pr\u00e9cis\u00e9 qu\u2019elle s\u2019est assum\u00e9e pleinement en tant que travesti \u00e0 partir de 1991 – \u00ab un changement de cap radical qui va bouleverser sa vie \u00bb – celle-ci d\u00e9clare (\u00e0 partir de \u00e0 4\u201934\u2019\u2019) :
\u00ab Ce qui est s\u00fbr, c\u2019est qu\u2019en 1990, j\u2019\u00e9tais vraiment coinc\u00e9e. J\u2019aimais pas trop ma vie, je me sentais un peu ringarde. Et j\u2019\u00e9tais tout \u00e0 fait ordinaire. Je me levais tous les matins, je prenais l\u2019autoroute et allais au boulot. Je me suis toujours sentie mal \u00e0 l\u2019aise avec \u00e7a. Je ne suis pas une banlieusarde de base et je refusais d\u2019en devenir une. Je sentais ma d\u00e9cadence et mon artiste int\u00e9rieure lutter pour s\u2019exprimer. Et cette transition drastique que j\u2019ai travers\u00e9e \u00e9tait n\u00e9cessaire. Ainsi je suis devenue une artiste. \u00bb

https:\/\/www.arte.tv\/fr\/videos\/094830-000-A\/chris-korda-save-the-planet-kill-yourself-tracks\/
<\/a>
https:\/\/www.chriskorda.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Ce second titre de la s\u00e9rie \u00ab\u00a0E-folia of Spain\u00a0\u00bb est la version longue du titre \u00e9dit\u00e9 pr\u00e9c\u00e9demment, la recomposition \u00e9lectronique du Fandango de Domenico Scarlatti, datant de la fin du XVIIIe si\u00e8cle. Le manuscrit de… <\/p>\n

Continue Reading E\u200b\u200b-\u200b\u200bfolia of Spain 2<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-287","post","type-post","status-publish","format-standard","hentry","category-une-odyssee-du-dancefloor"],"yoast_head":"\nE\u200b\u200b-\u200b\u200bfolia of Spain 2 - Pascal Blondy<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.pascalblondy.com\/index.php\/2022\/01\/21\/e-folia-of-spain-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"E\u200b\u200b-\u200b\u200bfolia of Spain 2 - Pascal Blondy\" \/>\n<meta property=\"og:description\" content=\"Ce second titre de la s\u00e9rie \u00ab\u00a0E-folia of Spain\u00a0\u00bb est la version longue du titre \u00e9dit\u00e9 pr\u00e9c\u00e9demment, la recomposition \u00e9lectronique du Fandango de Domenico Scarlatti, datant de la fin du XVIIIe si\u00e8cle. 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