Timbral Spaces Sound Labyrinths - Edizioni Suvini Zerboni

Giorgio Gaslini
Leaps and Dances
O
n September 9, in the Basilica of Bagno di Romagna,
during the series “Natura in Concerto”, Roberto
Fabbriciani, with the Orchestra Filarmonica di Roma
conducted by Ezio Monti, played the Concerto for flute,
strings, harp and percussion. The concerto is dedicated
to Roberto Fabbriciani and will be added to a Cd, now
being prepared by the label Tactus, featuring Giorgio
Gaslini’s complete works for flute. The composer
describes his new work: «The work is in three
movements: the first starts in a mood marked “Solenne”
and then suddenly frees itself and leaps into a
“Moderato” that plays on the dialogue and contrast
between the flute and the orchestra, not without
moments of lyricism. The first movement ends with an
arioso-like “Largo” which alludes to the opening
“Solenne”. The second movement is a “Larghetto” in
which an arioso, intimate mood prevails, finally evolving
into an ethereal sonic space. The third movement is a
“Vivace”. The orchestra is highly active and offers
surprising harmonic and polyphonic solutions which
involve the flute in fast virtuoso passages of
convergence/divergence, conceding it an aria and then
a solo cadenza. All comes back together in an “Allegro
giocoso” that unexpectedly leaps into a neo-baroque
Henri Pousseur
Esprit de Géométrie
A
posthumous premiere for Henri Pousseur. This
Autumn in Florence, during the Contempoartefestival,
Huit petites géométries for an ensemble of seven
players will be given its first performance by the
Contempoartensemble directed by Mauro Ceccanti.
It is the first official concert performance of one of the
last pieces written by the Belgian Maestro. Originally
conceived for the New York ensemble The Miniaturists,
who commissioned pieces with no more than 100 notes,
the score is accompanied by an introduction in which the
composer on the one hand justifies his infraction of the
rules of the commission, and on the other describes the
architectonic plan of the new work. He explains: «Since
these Huit petites géométries are made up of 4 pairs,
each constituted in the same way (2 solos, 2 duos, 2
quartets and 2 tutti) and since these 4 pairs are all
distributed within the two halves of the long sequence
(but in a different order), the whole could be considered
like a cube: two opposing faces (for example the lower
and upper) are “explored” in such a way that, if
superimposed into a single face, all the sides and all the
diagonals are expressed. One of the latter is also
doubled into a three-dimensional diagonal that crosses
the cube and joins the two opposing faces. The
Marco Quagliarini
Space and Time
A
new chamber work by Marco Quagliarini, will be
presented during the Contempoartefestival in Florence
this Autumn, with the Contempoartensemble directed by
Mauro Ceccanti. Zone I for flute, clarinet, violin, cello
and piano is described as follows by the composer:
«This work was born from a reflection on compositional
materials and structures which are associated with
musical characters and figures ideally generated from
the idiom of the four instruments (flute, clarinet, violin,
cello – excluding the piano) of which the work makes
use. Each of these materials generates a determined
harmonic space, so that when the musical events
change, the environments in which these events take
place also change. The role of the piano in this context
is almost concertante. At times it stands apart, openly
contrasting the behaviour of the others, while at others
it participates by inserting itself within the general
discourse. This superimposition of characters and of
theme in a finale of playful irony». A second new work,
commissioned by the Ex Novo Ensemble, who will give
the piece its premiere, can be heard on October 27 in
the Sale Apollinee of the Gran Teatro La Fenice in
Venice during the series “Ex Novo Musica”: Circular
Dances for flute, clarinet, violin, cello, piano and
percussion. Gaslini explains: «The composition,
dedicated to Claudio Ambrosini’s Ex Novo Ensemble, is
in five movements of dances that, in character, come
from distant and diverse cultures. The pieces are not
separated, but are set in a single circular flow of music
where each of the six instruments in the ensemble is
highlighted. Habanera, Rumba, English Waltz, Blue
Dance: five linked dances that lead, all together, into the
circular and lively finale of a Circle Polka. A carousel ride
that could start over again and repeat itself ad infinitum…
at least in our imagination». Finally, on February 3 in the
Auditorium Celesti in Desenzano, during the Concert
Season “Città di Desenzano”, the 5 th Festival of the Ned
Ensemble will include the Recital Song Book, sixteen
songs on texts by the composer for female voice and six
instruments. They will be performed by Laura Conti and
the Ned Ensemble directed by Andrea Mannucci.
instrumental ensemble consists of only seven players
grouped into three families: two winds, three strings and
two “keyboards”. But the above mentioned groupings –
(1 + 2 + 4 = 7) x 2 + 2 tutti = 4 x 7 – is exploited in a way
that allows each musician to participate in 4 pieces,
bringing about the maximum of contrasts between these
brief sections. As regards the “squares” referred to in the
titles of the pieces (carrés), these should be taken
somewhat metaphorically, since they are made up of
sides that correspond to intervals of “pitch” (that is,
of frequency) of different sizes». The Huit petites
géométries are presented in this order: 1. Quadruple
carré de 5 for cello or bass clarinet; 2. Double carré de 7,
hélicoïdal for ensemble; 3. Triangles engrenés for
piccolo, vibraphone, Bb clarinet or cello, and marimba;
4. Sextuple et quintuple carrés de 3 for violin and
marimba; 5. Cube de 5 moins cube de 3 for clarinet and
string trio; 6. Hypercubes de 2 et 3, imbriqués for
vibraphone; 7. Tétraèdres en famille(s) for flute in G and
viola; 8. Bloc heptagonal en expansion for ensemble.
Finally, Zeus joueur de flûtes for flute and electronics will
be performed on October 4 in Wellington (New Zealand)
by Roberto Fabbriciani, co-author of the piece with Henri
Pousseur.
environments leads, in the finale (after a paroxysmal
crescendo and a brief piano cadenza), to an annulment
of the sound and a consequent silence. The coda, in
fact, like a sort of farewell, summarizes in just a few
entries all the characters that make up the whole work.
Any technical or aesthetic consideration on this work
cannot but mention the aspect of time. All the elements
of the music are free forms in transition from one
temporal state to another. This allows me to project onto
the time-screen two types of temporal qualities: the socalled
“measure time” resulting from the succession of
always equal rhythmic segments and the “subjective
duration” which expresses itself freely and elusively
through polyrhythms. The composition thus becomes a
counterpoint of these two temporal experiences, as well
as a continuous play of moods that alternate in an ever
new and unpredictable way».
Two instrumental premieres
revisit illustrious forms of
western music
The Contempoartefestival
presents a “miniaturist” work
for ensemble three years after
the composer’s death
“Counterpoint of
temporal experiences”
in a new chamber work
Pagina da
camera in
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