{"id":737164,"date":"2025-04-22T20:14:30","date_gmt":"2025-04-22T18:14:30","guid":{"rendered":"https:\/\/www.hashtag.al\/?p=737164"},"modified":"2025-04-22T20:52:27","modified_gmt":"2025-04-22T18:52:27","slug":"misteri-pas-pjeses-muzikore-16-oreshe-qe-fut-pianistet-ne-ekstaze-ose-i-shtyn-te-qajne","status":"publish","type":"post","link":"https:\/\/www.hashtag.al\/index.php\/2025\/04\/22\/misteri-pas-pjeses-muzikore-16-oreshe-qe-fut-pianistet-ne-ekstaze-ose-i-shtyn-te-qajne\/","title":{"rendered":"Misteri pas pjes\u00ebs muzikore 16-or\u00ebshe q\u00eb fut pianist\u00ebt n\u00eb ekstaz\u00eb…ose i shtyn t\u00eb qajn\u00eb","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"

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Pak m\u00eb shum\u00eb se 130 vjet m\u00eb par\u00eb, kompozitori surrealist francez Erik Satie u ul dhe shkarraviti nj\u00eb skic\u00eb, me dy shirita: nj\u00eb seri akordesh t\u00eb shkreta, t\u00eb p\u00ebrhumbura, t\u00eb ndjekura nga nj\u00eb motiv i ansh\u00ebm me 18 nota. Mbi t\u00eb, ai vendosi nj\u00eb udh\u00ebzim q\u00eb sekuenca duhet t\u00eb p\u00ebrs\u00ebritet jo m\u00eb pak se 840 her\u00eb, “tr\u00e8s lent”. Interpretuar fjal\u00eb p\u00ebr fjal\u00eb, k\u00ebrkon pjes\u00ebn m\u00eb t\u00eb mir\u00eb t\u00eb dit\u00ebs p\u00ebr t\u00eb luajtur.<\/span><\/p>\n

Asnj\u00eb paraqitje\u00a0 nuk dihet t\u00eb ket\u00eb ndodhur gjat\u00eb jet\u00ebs s\u00eb Satie dhe nuk ka qen\u00eb kurr\u00eb mjaft e qart\u00eb se \u00e7far\u00eb synonte ai. A \u00ebsht\u00eb pjesa nj\u00eb meditim mbi fuqin\u00eb hipnotike t\u00eb p\u00ebrs\u00ebritjes? <\/span><\/p>\n

Nj\u00eb satir\u00eb p\u00ebr oper\u00ebn epike Wagneriane, pastaj kulmi i mod\u00ebs? Linja e tipit Dada p\u00ebr nj\u00eb shaka private? Titulli q\u00eb kompozitori zgjodhi vet\u00ebm sa e thellon misterin: ai e quajti vepr\u00ebn Vexations.<\/span><\/p>\n

Jav\u00ebn e ardhshme, audienca n\u00eb Lond\u00ebr do ket\u00eb mjaft koh\u00eb p\u00ebr t’u shqet\u00ebsuar – n\u00eb fakt, koh\u00eb p\u00ebr t\u00eb b\u00ebr\u00eb pothuajse gjith\u00e7ka q\u00eb d\u00ebshirojn\u00eb – kur pianisti gjermano-rus Igor Levit t\u00eb provoj\u00eb nj\u00eb paraqitje live t\u00eb Vexations, t\u00eb prezantuar nga nj\u00eb artiste tjet\u00ebr q\u00eb di shum\u00eb p\u00ebr b\u00ebmat e q\u00ebndrueshm\u00ebris\u00eb, Marina Abramovi\u0107. Shfaqja pritet t\u00eb zgjas\u00eb mbi 16 or\u00eb, nga ora 11:00 e dat\u00ebs 24 prill deri n\u00eb or\u00ebt e para t\u00eb m\u00ebngjesit t\u00eb nes\u00ebrm. Faqja e Qendr\u00ebs Southbank informon me padurim t\u00eb pranishmit se “ngr\u00ebnia nuk lejohet brenda auditorit”.<\/span><\/p>\n

Shpresohet q\u00eb Levit t\u00eb pakt\u00ebn t\u00eb marr\u00eb nj\u00eb pushim t\u00eb shkurt\u00ebr: p\u00ebrvoja e luajtjes s\u00eb pjes\u00ebs thuhet se i ka shtyr\u00eb disa muzikant\u00eb n\u00eb prag t\u00eb lot\u00ebve. T\u00eb tjer\u00eb kan\u00eb p\u00ebrshkruar at\u00eb n\u00eb nj\u00eb gjendje t\u00eb ngjashme me ekstaz\u00ebn, ku muzika duket se ik\u00ebn dhe ata nuk mund t\u00eb kujtojn\u00eb m\u00eb pse jan\u00eb atje.<\/span><\/p>\n

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Partitura p\u00ebr Vexations<\/span><\/em><\/p><\/div>\n

Levit \u00ebsht\u00eb padyshim nj\u00eb gryk\u00ebs n\u00eb k\u00ebt\u00eb drejtim: kjo \u00ebsht\u00eb dalja e tij e dyt\u00eb n\u00eb Vexations, pasi transmetoi drejtp\u00ebrdrejt nj\u00eb paraqitje nga nj\u00eb studio n\u00eb Berlin n\u00eb maj 2020 n\u00eb nj\u00eb “ul\u00ebrim\u00eb t\u00eb heshtur” gjat\u00eb bllokimeve t\u00eb pandemis\u00eb Covid-19.<\/span><\/p>\n

“Vexations”<\/strong><\/span><\/p>\n

Pyetja se pse duam t’i n\u00ebnshtrohemi ultra-maratonave artistike si k\u00ebto \u00ebsht\u00eb nj\u00eb pyetje intriguese. N\u00eb nj\u00eb far\u00eb kuptimi, ata jan\u00eb pasardh\u00ebs t\u00eb epikave antike si Iliada dhe Odisea, t\u00eb cilat duket se kan\u00eb filluar si sesione t\u00eb shumta t\u00eb tregimit oral, ndoshta t\u00eb kryera nat\u00eb pas nate. Ose mund t\u00eb mendoni p\u00ebr ngjarje t\u00eb tilla si ciklet e loj\u00ebrave dhe misterit t\u00eb v\u00ebna n\u00eb sken\u00eb n\u00eb qytetet evropiane gjat\u00eb periudh\u00ebs mesjetare – dramatizime disaditore t\u00eb skenave biblike, nga Krijimi deri n\u00eb Dit\u00ebn e Gjykimit, pafund\u00ebsia e t\u00eb cilave feston pafund\u00ebsin\u00eb e planeve t\u00eb Zotit.<\/span><\/p>\n

Por paraqitja e q\u00ebndrueshme me t\u00eb v\u00ebrtet\u00eb u ngrit n\u00eb mjedisin e ashp\u00ebr kund\u00ebrkulturor t\u00eb Nju Jorkut t\u00eb viteve 1960. Nuk ishte askush tjet\u00ebr ve\u00e7se John Cage ai q\u00eb shp\u00ebtoi Vexations t\u00eb Satie dhe mblodhi nj\u00eb ekip stafet\u00eb pianist\u00ebsh p\u00ebr ta dh\u00ebn\u00eb premier\u00eb n\u00eb nj\u00eb teat\u00ebr jasht\u00eb Broad\u00ebay n\u00eb shtator 1963. <\/span><\/p>\n

Legjenda thot\u00eb se kur shfaqja u krye m\u00eb n\u00eb fund, dikush nga sala b\u00ebrtiti: “Encore!” (Edhe nj\u00ebher\u00eb) Vet\u00eb Cage citoi drit\u00ebn e tij udh\u00ebzuese, filozofin\u00eb Zen: “N\u00ebse di\u00e7ka \u00ebsht\u00eb e m\u00ebrzitshme pas dy minutash, provojeni p\u00ebr kat\u00ebr minuta. N\u00ebse \u00ebsht\u00eb akoma e m\u00ebrzitshme, provojeni p\u00ebr 8, 16, 32, e k\u00ebshtu me radh\u00eb. P\u00ebrfundimisht, do zbuloni se nuk \u00ebsht\u00eb aspak e m\u00ebrzitshme, por shum\u00eb interesante.”<\/em><\/span><\/p>\n

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Christian Wolff, Viola Farber dhe John Cage n\u00eb nj\u00eb shfaqje t\u00eb “Vexations” n\u00eb Nju Jork, 1963<\/span><\/em><\/p><\/div>\n

D\u00ebmi fizik, vetmia dhe vuajtja jan\u00eb pika kryesore obsesive t\u00eb nj\u00eb pune t\u00eb till\u00eb. P\u00ebr nj\u00eb shfaqje t\u00eb famshme n\u00eb vitin 1974, Joseph Beuys u mbyll n\u00eb nj\u00eb galeri SoHo me nj\u00eb kojot\u00eb t\u00eb gjall\u00eb, tet\u00eb or\u00eb n\u00eb dit\u00eb, p\u00ebr tre dit\u00eb rresht. <\/span><\/p>\n

Pjes\u00ebrisht i frym\u00ebzuar nga Cage, disa vite m\u00eb von\u00eb, artisti tajvanez Tehching Hsieh filloi nj\u00eb seri rr\u00ebqeth\u00ebse shfaqjesh t\u00eb zgjatura, m\u00eb e v\u00ebshtira prej t\u00eb cilave p\u00ebrfshinte mbylljen e tij n\u00eb nj\u00eb kafaz druri p\u00ebr nj\u00eb vit, nga shtatori 1978 deri n\u00eb shtator 1979, i mbik\u00ebqyrur nga nj\u00eb koleg artist p\u00ebr t’u siguruar q\u00eb ai t\u00eb mos vdiste. Hsieh ka shpjeguar se puna e tij ka t\u00eb b\u00ebj\u00eb “me kalimin e koh\u00ebs, m\u00eb shum\u00eb se si t\u00eb kaloj\u00eb koh\u00ebn”.<\/span><\/p>\n

Vet\u00eb Abramovic, b\u00ebri em\u00ebr p\u00ebrmes maratonave t\u00eb mazokizmit – sa m\u00eb t\u00eb skajshme, aq m\u00eb mir\u00eb. N\u00eb Napoli n\u00eb vitin 1974, ajo q\u00ebndroi p\u00ebr gjasht\u00eb or\u00eb n\u00eb nj\u00eb galeri pran\u00eb nj\u00eb tavoline ku ishin vendosur objekte duke p\u00ebrfshir\u00eb nj\u00eb qiri, g\u00ebrsh\u00ebr\u00eb dhe nj\u00eb pistolet\u00eb. Dy dekada m\u00eb von\u00eb, p\u00ebr at\u00eb q\u00eb \u00ebsht\u00eb ende vepra e saj m\u00eb e njohur, ajo u ul n\u00eb heshtje n\u00eb MoMA n\u00eb Nju Jork \u00e7do dit\u00eb p\u00ebr tre muaj, duke mbyllur syt\u00eb p\u00ebrball\u00eb nj\u00eb lumi vizitor\u00ebsh t\u00eb ulur p\u00ebrball\u00eb nj\u00eb tavoline.<\/span><\/p>\n

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“Shfaqja nj\u00ebvje\u00e7are” e Tehching Hsieh (1978-79)<\/span><\/em><\/p><\/div>\n

T\u00eb guximshme dhe spektakolare sado t\u00eb jen\u00eb k\u00ebto b\u00ebma, un\u00eb kam qen\u00eb gjithmon\u00eb m\u00eb i magjepsur nga ngjarjet q\u00eb provojn\u00eb q\u00ebndrueshm\u00ebrin\u00eb e audienc\u00ebs gjithashtu. Nj\u00eb nga p\u00ebrvojat e mia kulturore m\u00eb t\u00eb \u00e7muara ishte t\u00eb shihja vepr\u00ebn teatrore Gatz nga grupi i Nju Jorkut, Elevator Repair Service, kur erdhi n\u00eb Lond\u00ebr n\u00eb vitin 2012. P\u00ebr tet\u00eb or\u00eb, ishte nj\u00eb interpretim i plot\u00eb i \u201cThe Great Gatsby\u201d t\u00eb F. Scott Fitzgerald – \u00e7do fjal\u00eb e t\u00eb cilit recitohej vet\u00ebm nga nj\u00eb aktor i vet\u00ebm, me Scott Shephlanaler.<\/span><\/p>\n

Q\u00ebndrueshm\u00ebria fizike dhe mendore e Shepherd-it ishte befasuese, si\u00e7 ishte ajo e koleg\u00ebve t\u00eb tij aktor\u00eb q\u00eb soll\u00ebn n\u00eb jet\u00eb personazhet nga romani, por ajo q\u00eb ishte m\u00eb e \u00e7muara ishte p\u00ebrjetimi masiv i k\u00ebtij udh\u00ebtimi epik, t\u00eb larg\u00ebt – gati 1000 njer\u00ebz q\u00eb largoheshin nga e ashtuquajtura jeta reale p\u00ebr pjes\u00ebn m\u00eb t\u00eb mir\u00eb t\u00eb dit\u00ebs, fiknin telefonin.<\/span><\/p>\n

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Scott Shepherd si Nick lexuesi, djathtas, n\u00eb “Gatz” n\u00eb Nju Jork n\u00eb 2010<\/span><\/em><\/p><\/div>\n

A do t\u00eb ndihen ngjash\u00ebm edhe shpirtrat e guximsh\u00ebm p\u00ebr p\u00ebrvoj\u00ebn e plot\u00eb t\u00eb Vexations jav\u00ebn e ardhshme, duke pritur err\u00ebsir\u00ebn e agimit? Ata ndoshta duhet t\u00eb jen\u00eb mir\u00ebnjoh\u00ebs q\u00eb nuk po e d\u00ebgjojn\u00eb pjes\u00ebn m\u00eb epike t\u00eb Cage, n\u00eb versionin “As Slow Ass Possible” t\u00eb vitit 1987. E riorganizuar p\u00ebr nj\u00eb instrument t\u00eb nd\u00ebrtuar posa\u00e7\u00ebrisht n\u00eb qytetin qendror gjerman t\u00eb Halberstadt, shfaqja filloi n\u00eb vitin 2001 dhe ka ende 615 vjet p\u00ebr t\u00eb vijuar.<\/span><\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

Pak m\u00eb shum\u00eb se 130 vjet m\u00eb par\u00eb, kompozitori surrealist francez Erik Satie u ul dhe shkarraviti nj\u00eb skic\u00eb, me dy shirita: nj\u00eb seri akordesh t\u00eb shkreta, t\u00eb p\u00ebrhumbura, t\u00eb ndjekura nga nj\u00eb motiv i ansh\u00ebm me 18 nota. Mbi t\u00eb, ai vendosi nj\u00eb udh\u00ebzim q\u00eb sekuenca duhet t\u00eb p\u00ebrs\u00ebritet jo m\u00eb pak se 840 […]<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":51,"featured_media":737175,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[53],"tags":[],"class_list":["post-737164","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fast-foodi"],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/737164","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/comments?post=737164"}],"version-history":[{"count":99999,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/737164\/revisions"}],"predecessor-version":[{"id":737177,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/737164\/revisions\/737177"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media\/737175"}],"wp:attachment":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media?parent=737164"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/categories?post=737164"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/tags?post=737164"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}