Timbral Spaces Sound Labyrinths - Edizioni Suvini Zerboni

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Francisco Guerrero On October 20 in Brussels the Ensemble Sturm und Klang directed by Thomas Van Haeperen will play Ariadna for ten violins, five violas and five cellos; on November 19 in the Auditorium of the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Smash Ensemble will play Erótica for voice and guitar on texts by Ben Quzman Sándor Veress Hommage à Paul Klee, fantasy for two pianos and strings will be played on December 6 at the Stadthaus in Winterthur by the Musikkollegium Winterthur directed by Thomas Zehetmair, and on December 16 at the Lithuanian National Philharmonic Hall in Vilnius by Ruta Ibelhauptai and Zbignevas Ibelhauptai, pianos, with the Lithuanian National Symphony Orchestra conducted by Modestas Pitrenas. 2 from page 1 (Sani: Timbral Spaces) the movements of the performer, using a complex interactive system realized by the Centro SaMPL in Padua, based on the Phase Space “Impulse” device, which uses the technique of motion capture. Unlike other signal elaboration techniques that act on the processes of gestural determination of the sound, the system used for this project uses the movements of the performer to literally enter inside the constitutive parameters of the sound, structurally modifying its spectral component. No Landscape refers to the creation of a sonic plane that is virtual and etymologically “utopic”, where the instrumental plane continuously merges within a troubled and exasperated image. The two fields of sound are each the expansion of the other and their interaction occurs following a destructuring logic of their co-existence. Both insist on the same perceptual space, thus giving rise to the set of sound projections. The performers (at the piano and also directing the sound and live electronics) determine through their interaction the timbral non-place of figures that emerge from agglomerates of sound and from their three dimensional condensations, triggering the actions in a drama that each time invents and creates a different concept of space». On November 13 at the Théâtre National de Nice, during the Festival Manca, the Ensemble Orchestral Contemporain directed by Mark Foster, will present a new piece which they commissioned from Nicola Sani, Deux, le contraire de “un” for seventeen instruments. The work will be repeated by the same group, but under Daniel Kawka, on January 18 at the Théâtre Copeau - Opéra Théâtre de Saint-Etienne, and on January 23 at the Grand Théâtre de Provence in Aix-en-Provence, during the Festival Présences of Radio France. The composer explains: «My new work for the Ensemble Orchestral Contemporain of Lyon is a sequence of plots and an exploration of the sense of the double. In an article, as always very thought provoking, Erri De Luca refers to ˝two˝ as the opposite, not the double of “one”. Following this notion, the two movements of the work both contrast and attract each other, as if they were each the sediment of the other, but each distinguished by a strong identity. The first lively, dense, full of contrasts and internal fragmentation and the second stratified, extended, crossed by an interrogative dialogue. The two forms create a drama “through” the sound, projecting Luigi Dallapiccola This Autumn sees numerous performances of works by Luigi Dallapiccola. Natalia Zagorinskaya and the Asko Schönberg Ensemble directed by Reinbert de Leeuw will play the Cinque frammenti di Saffo for soprano and chamber orchestra on October 27 and 28 at the Concertgebouw in Amsterdam. The version for voice and instruments of the Quattro liriche di Antonio Machado will be given on November 2 in Zurich, at the Zürcher Hochschule der Künste, by the Ensemble Arc-en-Ciel under Simeon Pironkoff. It will be possible to see a new production of Il Prigioniero, a prologue and one act from La torture par l’espérance by Villier de L’Isle Adam and La légende d’Ulenspiegel et Lamme Goedzak by Charles de Coster, at the Teatro Real in Madrid, on November 2, 3, 4, 6, 7, 8, 9, 11, 12, 13 and 15, in a co-production with the Gran Teatre del Liceu in Barcelona. The cast will consist of Deborah Polaski, La Madre, Vito Priante, Il Prigioniero (November 2, 4, 7, 9, 12, 15), Georg Nigl, Il Prigioniero (November 3, 6, 8, 11, 13), Donald Kaasch, Il Carceriere/Il Grande Inquisitore, with the Coro y themselves into a space where the events that are produced “may” in turn relate to one another, in a further macro-structure of the double in opposition. From within this set of timbres emerge sonic planes suspended between light and shade, around the limits of the borders of the sounds; an instinctive exploration of the infinite made up of indeterminate energies, tensions, dynamic contrasts, rhythmic and expressive, that cross the space like lines of light that have just freed themselves from obscurity». Finally, Roberto Fabbriciani and Walter Neri will give the first performance of Un souffle le soulève, les dunes du temps for alto flute and digital support, on November 21 at the Scuola Normale Superiore in Pisa, during the series I Concerti della Normale. The composer tells us: «Les Dunes du temps is a new stage in a path that embarked upon last year in Wrocław, following a suggestion of the harpsichord player Elisabeth Chojnacka and the flutist Roberto Fabbriciani. Un souffle le soulève is the title of this path that leads through archaic sonorities and erosions of classical form using distorted electronic sounds and material. In this new version, the alto flute is suspended in solitude over the electronic sounds, which elaborate elements of timbre deriving from the flute itself and from the harpsichord, obtained through algorithms of distortion, convolution and cross synthesis. The ancient and infinitely suggestive aria of La Folia is the scheme around which the entire architecture of the variations evolve, bringing into contemporaneity a theme exploited by composers of all times. The title of the composition is taken from a poem by Giacinto Scelsi». I binari del tempo for flute and magnetic tape can be heard on October 4 in Wellington (New Zealand), and on October 18 at the Conservatory in Fermo, with Roberto Fabbriciani, and again on October 7 in the Sala Accademica of the Conservatory of Santa Cecilia, during the Emu-Fest 2012, with Gianni Trovalusci, flute, and Giorgio Nottoli, sound engineer. Finally, on October 17 at the Istituto Italiano di Cultura in Stockholm a soloist from the KammarensembleN will play the first part of the trilogy AchaB for clarinet, during the presentation of the latest issue of the cultural journal “Cartaditalia”, published by the Istituto Italiano di Cultura in Stockholm directed by Dr. Paolo Grossi, an issue entirely devoted to New Italian Music and edited by Nicola Sani with the collaboration of Gianni Trovalusci. Orquesta Titulares of the Teatro Real (Coro Intermezzo and Orquesta Sinfónica de Madrid) directed by Ingo Metzmacher. The director will be Lluis Pasqual. The Parole di San Paolo for mezzo-soprano and instruments can be heard on November 9 at the Badisches Staatstheater in Karlsruhe, with the Badische Staatskapelle directed by Ulrich Wagner, while Commiato for soprano and 15 players on a text formally attributed to Brunetto Latini, and Goethe-Lieder for female voice and three clarinets will be played on November 13 in Vienna, in the Brahms-Saal of the Musikverein Wien during the series Wien Modern, with Alda Caiello and the Ensemble Kontrapunkte directed by Peter Keuschnig. Finally, on December 3 at the Haute École de Musique de Lausanne (HEMU) the Société de Musique Contemporaine in Lausanne has organized a monographic concert including Sicut umbra for mezzo-soprano and four groups of instruments, Quaderno musicale di Annalibera for piano, and Dialoghi for cello and orchestra. The works will be performed by Noriko Kaneko, mezzo-soprano, Mariaclara Monetti, piano, Romain Chauvet, cello, and the Ensemble Contemporaine de l’HEMU directed by William Blank.
from page 1 (Cattaneo: Sound Labyrinths) Blut for trio (saxophone, percussion and piano) and orchestra, played by the Trio Accanto and the SWR Sinfonie Orchester Baden-Baden und Freiburg directed by François-Xavier Roth. The composer explains his new work: «Blut: blood that runs in the veins… a red thread that leads us inside the labyrinth... a note that runs all through the piece, a red thread that binds the structure… a liquid that takes on shape when forced into a container… material that takes on shape when placed in a structure… Three soloists, an orchestra. Intertwined dialogues. Music for orchestra that dissolves into chamber music. Chamber music that opens itself to the orchestra. Echoed instruments, echoes of instruments». On January 15 in the Studio Ernest Ansermet of the Radio de la Suisse Romande in Geneva the Saison Contrechamps will include Parole di settembre - Libro I for countertenor and ensemble on texts by Edoardo Sanguineti, commissioned by the same institution and performed by Daniel Gloger and the Ensemble Contrechamps directed by Michael Wendeberg. The concert will also include Sabbia for eleven instruments. Parole di settembre takes its inspiration from the cycle of fifteen poems dedicated in 2006 by Edoardo Sanguineti to Andrea Mantegna, to mark the 5 th centenary of the artist’s death. A friend of the poet, with whom he had already collaborated, Cattaneo obtained his permission, shortly before Sanguineti’s death in May 2010, to set the poems to music. The vocal parts of this three-part cycle, of variable instrumentation, were written for Claron McFadden (soprano), Otto Katzameier (baritone) and Daniel Gloger (countertenor). The single parts of the cycle are linked by madrigal/frottola-like passages sung unaccompanied by the three soloists. At the heart of the poems lie twelve paintings by Mantegna to which Sanguineti refers, explicitly or in allusive terms. Cattaneo offers a more precise account: «In September 2006, to mark the 5 th centenary of the death of Andrea Mantegna, an extensive exhibition was organized in Mantua, Padua and Verona. For the opening of the exhibition an event was organized in Piazza delle Erbe in Mantua for which Edoardo Sanguineti wrote a cycle of poems inspired by Mantegna’s paintings. During the Niccolò Castiglioni The 21 st edition of the Festival di Milano Musica, Percorsi di Musica d’Oggi 2012, will pay homage to Niccolò Castiglioni. The composer from Milan, who died prematurely in 1996, was a pupil of Ghedini and the Ferienkurse in Darmstadt, a teacher in the USA, Trento and Milan, and much appreciated by Ligeti, is attracting an ever-increasing amount of interest. The series of six concerts will feature top-class artists and will be held at prestigious venues throughout the city. On October 7 the opening concert will be held at the Teatro alla Scala and will include Tropi for chamber group, played by the Scharoun Ensemble Paolo Arcà The label VDM Records (VDM 038-55-022) has released the monographic Cd Spiel dedicated to Paolo Arcà, with the Contempoartensemble, directed by Mauro Ceccanti. The programme offers a chamber portrait of the composer, focusing on works written in spectacle Sanguineti recited his book of poems while I made a sound installation and the artist Marco Nereo Rotelli projected luminous images onto the medieval buildings of the square. Shortly afterwards I thought that Sanguineti’s text would be perfect for a large vocal cycle and I spoke about it to him, who was very happy. Then, for various reasons, the idea was set aside until our last meeting in Madrid in April 2010. After that I had no other chance to talk to him about it: Edoardo passed away and so I decided to continue the dialogue, now at a distance, by starting to work on these Parole di settembre. After much thought I decided to divide Parole di settembre into three parts. The complete work will last around an hour. In order to reflect the great variety of moods, registers and languages used by Sanguineti, this being a very important characteristic of his poetry, I thought of a structure that exploits the possibilities of the vocal and instrumental combinations to the maximum. In fact in Books I and III, the ensemble won’t be used altogether, but there will also be pieces featuring different combinations. The difficult thing about a work of this length is maintaining the tension and the direction, and at the same time a sense of unity. The choice of texts isn’t yet definitive. I’ll use all fifteen poems, some in their entirety, others only partially. The introductory madrigal and the final one will make use of the introduction and closing of the book. For the moment I’ve chosen 12 pieces for sure. Perhaps Book II will involve a visual installation by Alexander Arotin». The first complete performance of the three books of Parole di Settembre is scheduled for February 18 2014 at the Konzerthaus in Vienna with the above-mentioned soloists and the Klangforum Wien. On October 1 st at the Helsinki Music, during the festival “Klang”, the Trio III for violin, viola, cello and electronics was performed by the Soloists of the Tapiola Sinfonietta. The Trio IV for clarinet, cello and piano can be heard on October 6 at the Akademie der Künste in Berlin, with the Ensemble Mosaik, and again on January 1 st 2013 at the Kestnergesellschaft in Hanover, with the Neue Ensemble, who will also play Visibile for piccolo and Seeds for flute, clarinet, violin, cello and piano. Berlin under Andrea Pestalozza. On October 17 Massimiliano Damerini will play Cangianti for piano in the Auditorium San Fedele. On October 19 Attraverso lo specchio, a radio opera in one act on a libretto by Alberto Ca’ Zorzi Noventa will be broadcast in the Spazio Sirin, in the monophonic recording of the Archivio dello Studio di Fonologia Musicale della Rai in Milan. The event will be presented by Angela Ida De Benedictis and Carlo Piccardi. On October 24 at the Sala Puccini of the Conservatorio “G. Verdi” Gymel for flute and piano will be played by the soloists of the Laboratorio di Musica Contemporanea of the Conservatory. the space of 25 years (1987-2002), and includes Light Fantasy for violin and piano, Notturno a tre for flute, cello and piano, Spiel for clarinet and string quartet, Passacaglia per Giuseppe for nine instruments and Skool for piano and quintet. Luca Mosca The Quintetto for flute, clarinet, violin, cello and piano will be played by the Mdi Ensemble, on October 31 in the Auditorium San Fedele in Milan, during the Milano Musica Festival. 3
Page 1: Nicola Sani ESZnews Edizioni Suvini
Page 5 and 6: Stefano Gervasoni Invitation au voy
Page 7 and 8: Aldo Clementi Canonic Mosaic O n Oc
Page 9 and 10: Giovanni Verrando Rethinking Gramma
Page 11 and 12: Giorgio Colombo Taccani Solitary Vo
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

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