Timbral Spaces Sound Labyrinths - Edizioni Suvini Zerboni

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The series of quartets is continued for Milano Musica, a new chamber work celebrates the Contempoartensemble Roberto Fabbriciani Roberto Fabbriciani plays two of his own compositions: Suoni per Gigi for flute and magnetic tape on October 4 in Wellington (New Zealand) and on October 18 at the Conservatory of Fermo; Motion capture for hyperbass flute elaborated through motion capture and live electronics on November 21 at the Scuola Normale in Pisa, with Walter Neri as sound engineer. 10 Michele dall’Ongaro For Sixteen Strings O n October 10 in the Auditorium San Fedele in Milan, during the Milano Musica Festival, Michele dall’Ongaro’s Quartetto n. 6 will be presented by the Quartetto di Cremona. The composer describes the work: «The Quartetto n. 6 is quite a short work that nevertheless took longer to write than what it might seem when listening to it. It all starts from a chorale (often the rough copy of my work is simply a page with 3 or 4 chords linked by criteria of harmonic tension that I have elaborated over the years). This basic grid is continuously interrupted, disturbed by processes that assume figures that are apparently secondary (an integral part of the vertical aspect) which are then developed horizontally. The texture becomes elastic and even marred by large flaws that put stress on its integrity, setting its resistance to a hard test. And this is why in the end everything gathers around a type of black hole, a whirlwind that transports the material into another dimension where everything changes, floats in a limbo dense with amniotic liquid where the temptation to sing and its negation cohabit in an apparent complementary way until the final dissolution. This is the only zone where the roles of the four instruments are specialized within a writing that, unlike my other quartets, transforms the group into a single 16-string instrument». Paolo Petazzi comments: «The composer does not feel the weight of the history of the most illustrious genre in chamber music as limiting or conditioning, also because he has no intention of revisiting the genre in its historical formal characteristics, but rather wishes to exploit the infinite and extraordinary possibilities of writing for four strings. In the subdued opening we immediately meet a determinant “character”: after a few bars with held notes and isolated pizzicatos, we hear notes rapidly repeated using a bowing technique called jeté (thrown) in this case col legno, because it involves making the bow bounce by “throwing” it onto the string (in this case using the wooden tip of the bow). Even without the jeté the potentials of the figures based on repeated notes are explored by changing such elements as registers, thicknesses and lengths. After the subdued opening the music builds up with tension until reaching a breaking point. Other elements come into play, the discourse opens up to strong contrasts and dramatic peaks. I won’t try to describe every detail, but I would like to draw attention at least to the final sections, where the consequential logic of what goes before seems to make way for surprising turns for the listener. Broad arpeggiated figures invade the sonic space, often involving all four players in virtuoso gestures which little by little become out of phase, through the introduction of divergent rhythms and meters and the use of harmonic sounds. And while the machine breaks up, an intense yearning for canto emerges. The second violin removes itself from the vortex of the others, and is followed by the Jean-Luc Hervé On September 21 in Bilbao Amplitude for cello solo was played by Séverine Ballon, soloist of the Ensemble Sillages. The Ex Novo Ensemble will give the first Italian performance of Réplique for five players and electronics on October 10 at the Teatro Piccolo Arsenale in Venice during the 56 th Festival viola. The viola proposes a new cantabile idea (amid the harmonic sounds of the other instruments); but this too and the other successive attempts are blocked and interrupted: there is no room for a prolonged melos like that of the viola from which the Quartetto n. 5 took its starting point». The Quartetto n. 5 for strings will be played this Autumn by the Quartetto Bernini in collaboration with the Associazione Roma Sinfonietta. Vingt ans après... for flute, clarinet, piano, violin, viola and cello, commissioned by the Contempoartensemble, will also be played this Autumn during the Contempoartefestival in Florence when the group will be directed by Mauro Ceccanti. Dall’Ongaro explains: «The title explicitly refers to the second episode of the exploits of the three, or rather four, musketeers. And the musicians of the ensemble too are actually heroes because, like the musketeers, they defend the colours not of their cousins beyond the Alps but rather the more fragile banner of ars nova and especially of ars novissima at the cost of sacrifices that only they, their friends and families can really know in detail. A work, then, that intends to offer thanks and best wishes for a bright future. It is impossible then to write for the Contempoartensemble (never did a name cause the automatic corrector so much trouble!) without imagining the protagonists in flesh and blood, without thinking of the smiles, the enthusiasm and the musicality of the members of the Ceccanti family and their partners. So writing this short piece was a way of passing time in their company and thus expressing my deepest gratitude for their worthy mission». Michele dall’Ongaro is the composer featured in the 2012 season of the Ensemble Musagète during the series “Pomeriggio tra le Muse”, held in the Gallerie d’Italia in Palazzo Leoni Montanari in Vicenza. The programme includes on September 9 the Invenzione a due voci n. 2 for flute and clarinet, September 30 Trenodia for flute, clarinet and violin, October 7 the Notturno n. 1 for violin, cello and piano, and on December 9 Berceuse in frantumi for two violins. On September 12 the Festival MITO Settembre Musica in Turin included Ad libitum for flute, clarinet, violin, cello, piano and vibraphone, with the Ensemble Antidogma. On October 19 at the Teatro Verdi during the Festival Play It! the Orchestra della Toscana conducted by Fabio Maestri will play Festschrift for fourteen instruments. The Ex Novo Ensemble will perform Zero for flute, clarinet, violin, cello and piano on November 15 in Macerata, during the Stagione Concertistica Associazione Musicale Appassionata, and on November 25 in Pordenone, during the Festival Internazionale di Musica Sacra. Finally, on December 2 Stefano Cardi will direct the Freon Ensemble in a performance of Danni collaterali for cello and small ensemble, in the Sala Casella of the Accademia Filarmonica Romana, during the Festival di Nuova Consonanza in Rome. Internazionale di Musica Contemporanea. On October 25 in Vilnius (Lithuania) the Ensemble L’Itinéraire will play Intérieur rouge for piccolo, clarinet, violin, cello and piano. Finally, on December 8 at the Musik-Akademie Basel Ein/aus for ensemble will be played by the Ensemble Diagonale directed by Marcus Weiss. The <strong>Suvini</strong> <strong>Zerboni</strong> catalogue is on line. All the works we published are listed on the website: www.esz.it A powerful, complete and efficient search engine will allow artistic directors, musicians, ensembles, orchestras and music lovers to view our catalogue and search works by instrument, setting, title or author. Our website also gives access to useful information such as composers biographies, program notes, calendar of concerts and world premieres.
Giorgio Colombo Taccani Solitary Voices The first performance of L’image oubliée for piano is scheduled for October 1 st at the Teatro di Marcello in Rome, during the Festival delle Nazioni; it will be played by Adele D’Aronzo, to whom the piece is dedicated. The composer explains: «To mark the 150 th anniversary of the birth of Claude Debussy I was asked to write this new short piece for piano which, with the greatest of respect, takes it starting point from the first two bars of Hommage à Rameau from Images. These become the structural basis of the entire work, expanding to cover the whole length, the basic material for countless local elaborations. Excluding a priori any direct stylistic reference and, even more so, any explicit quotation, a harmonic colour diatonically linked to the starting point is nevertheless often determined, within a piano writing that privileges resonance and liquidity». Restless White for flute will be premiered on October 4 in Wellington (New Zealand) by its prestigious dedicatee Roberto Fabbriciani, who will also give the piece its first Italian performance on November 18 in the Auditorium Celesti in Desenzano during the 5 th Festival of the Ned Ensemble. The composer tells us: «As can be deduced from the title, the work is characterized by a constantly anxious and restless pace; there is no melodic-cantabile tendency, the course of the piece being guided by minimal ideas repeated with a regularity that is almost obsessive and in this prospective highly expressive; the timbral resources, whether traditional or of more recent origin, are used with decision in the flute writing. The narrative course therefore does not follow a straight line, even though its climax comes towards the end, but rather has a spiral tendency, within which the elements turn without any real evolution of the discourse. Beneath it all, to give the work coherence, is the kaleidoscopic presence of a short fragment of seven notes, a fundamental element throughout the work». On 19 October, during the second edition of the Festival Play It!, at the Teatro Verdi in Florence, the first performance will be given of Dura roccia for bassoon and string orchestra; the soloist will be Paolo Carlini, dedicatee of the piece along with the Orchestra della Toscana, conducted on this occasion by Francesco Lanzillotta. Colombo Taccani says: «Dura roccia represents a new step in my long fascination with low instruments. The title (think of it in English…) refers to the roughness and aggression that characterize much of the piece. Two contrasting situations are developed in alternation: the first is based on the cadential and violent mood of the solo part, which contrasts with the resonant and tendentially lyrical nature – though always undermined by more or less subterraneous drives towards disgregation – of the second. This goes on for the whole length of the piece, in which the strings are always ready to expand and exploit what the bassoon has proposed. The closing bars feature the paradoxical dwelling of the soloist on the final high note, below which the strings offer their last utterances, now unable Maurilio Cacciatore From October 6 to 13 the Biennale di Venezia, 56 th Festival Internazionale di Musica Contemporanea, will host for the first time in Italy the interactive electroacoustic installation Apparaître, disparaître, se cacher, realized by Simone Conforti. Impuro minimo for violin, cello and piano can be heard on October 25 at the Festival Spazio Musica in Cagliari, during a concert in collaboration with the New Made Ensemble and ESZ, featuring the New Made Ensemble: Raffaello Negri, to force the path elsewhere». A very unusual instrumentation can be found in Lybra, which will be premiered on October 20 at the Palazzo Chigi in Ariccia (Rome) by Jessica Horsley: the work, commissioned by the Ars Braemia (Switzerland), is in fact written for baryton, an instrument similar to the viola da gamba and characterized by the presence of a variable number of strings on the back of the instrument, which, as well as vibrating sympathetically, can also be plucked by the thumb of the left hand; many works for this instrument, much loved by prince Esterházy but soon fallen into disuse, were written by Haydn and Tomasini. The composer explains: «Taking its cursory inspiration from Haydn, the course of Lybra is guided by the constant return of certain main figures, especially chosen to highlight the surprising characteristics of the baryton; a decisive role is thus assumed by the broad arpeggios played on an almost regular basis at the start of the piece, and the falling figures shared between the front and back strings. Local digressions interrupt the path, in a climate that is constantly mobile and vital». Recent performances of the composer’s works include: Soleil levant, from the Due pezzi for bass flute, played by Laura Chislett-Jones at Sydney Grammar School on June 2; then on June 16, at the Hochschule für Musik in Basel, Stojan Krkuleski on the clarinet, Elia Portabales on viola and Gaelle Levevre on cello played Eco; on July 1 st Avvoltoi for voice and four instruments was performed during the Festival of Bellagio and Lake Como by Akiko Kozato and the New Made Ensemble directed by Alessandro Calcagnile; during the same Festival, on September 9, a performance was given of Nox, Tellus for solo voice, again by Akiko Kozato; L’àgnili for voice and piano on two poems in Sardinian by Pompeo Calvia was performed on July 12 during the series Suono Immagine at the Conservatory in Milan; on September 5 Antilia for piccolo and guitar was played by the Antilia Duo in the context of the project Irid. Visual Concert, in the Auditorium Lattuada in Milan; Eco celata entro braci ardenti for flute and harpsichord was played on September 7 by the Duo Novecembalo in Porretta Terme, during the Festival Nuovi Orizzonti Sonori; on September 23 at the Tokyo Opera City the instrumentalists of the Nomad Ensemble played Richiamo da lontano for flute and clarinet; on September 24, in the church of St. Martin-within- Ludgate in London, Laura Chislett-Jones and Thomas Jones played Luz for flute and violin. On October 25 Avvoltoi for voice and four instruments on a poem by Simon Pederek will be performed at the Festival Spazio Musica in Cagliari by Akiko Kozato and the New Made Ensemble directed by Alessandro Calcagnile, during a concert in collaboration with the New Made Ensemble and ESZ. Finally, on October 27, the Duo Alterno will play L’àgnili for voice and piano at the Museo di Santa Caterina in Treviso during the Festival Finestre sul Novecento. violin, Guido Boselli, cello, and Rossella Spinosa, piano. Finally, on December 7 the Opéra de Lille will host Tamonontamo for amplified vocal quartet, 24 voice choir and live-electronics, with Adèle Carlier, soprano, Marie-Paule Bonnemason, contralto, Stephan Olry, tenor, Jean-Michel Durang, bass and Les Cris de Paris directed by Geoffroy Jourdain. The live electronics will be realized by Ircam. Three premieres for solo instruments, a fourth for soloist and orchestra Giacomo Manzoni On November 7 in the Auditorio Nacional de Música in Madrid, Fabián Panisello will conduct the Plural Ensemble in a performance of Musica notturna for five wind instruments, piano and percussion. Pagina da camera in prima assoluta, quasi un intermezzo 11
Page 1 and 2: Nicola Sani ESZnews Edizioni Suvini
Page 3 and 4: from page 1 (Cattaneo: Sound Labyri
Page 5 and 6: Stefano Gervasoni Invitation au voy
Page 7 and 8: Aldo Clementi Canonic Mosaic O n Oc
Page 9: Giovanni Verrando Rethinking Gramma
Page 13 and 14: Malika Kishino Sonic Garden A first
Page 15 and 16: Andrea Mannucci Melologues of Solit
Page 17 and 18: Giorgio Gaslini Leaps and Dances O
Page 19 and 20: First First World Perform Per First

Timbral Spaces Sound Labyrinths - Edizioni Suvini Zerboni

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