Timbral Spaces Sound Labyrinths - Edizioni Suvini Zerboni

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Chamber premiere at the Fundación BBVA in Bilbao and start of a four-year period as director of the Biennale Musica di Venezia Luciano Berio Roberto Fabbriciani will play Sequenza I for flute on October 10 in Wellington (New Zealand), during the concertconference “Maderna e i nuovi percorsi del flauto nel secondo ‘900”, and on October 18 at the Conservatory in Fermo. 6 Ivan Fedele The Unveiling of the Form O n December 11 in Bilbao the world premiere will be given of Fünfzehn Bagatellen for violin, cello and piano, commissioned by the Fundación BBVA for the Trio Arbós. The composer explains: «The Fünfzehn Bagatellen are a series of five musical ideas with three variations of each one. The idea of a small form seen as a “genetic code” of a macro form is a compositional option that has accompanied me for some time now, having almost totally abandoned the option of “narrative time” in favour of an idea of “frozen” time in the presentation of the intimate nature of the musical idea. That is to say, it is no longer the sound that “relates” a plot, but the sound that unveils its most intimate nature like a sculpture that, while remaining the same, reveals its more or less dense matter and/or transparency, its shadows cast into space, the smoothness or roughness of its surfaces, in different ways depending on the perspective or the light intensity that strikes the musical object. This is an approach that also requires the listener to perceive the sound event in a different manner». Peformances of Ivan Fedele’s work include Immagini da Escher for ensemble on September 28 at the Shoe Factory in Nicosia (Cyprus), during the 4th International Pharos Contemporary Music Festival, with the Ensemble El Perro Andaluz; Études australes No. 4 (Aptenodytes) and No. 1 (Tierra del fuego) for piano, on October 4 at the Istituto Italiano di Cultura in Paris, with the pianist Alfonso Alberti; Elettra for viola and live electronics on October 10 at the Festival di Nuova Consonanza in Rome, in the final concert of the Concorso Internazionale di Composizione “F. Evangelisti”, with the soloist Luca Sanzò; Paroles y palabras, four pieces for soprano and cello, in a partial performance, on October 25 at the Festival Spazio Musica in Cagliari, with the New Made Ensemble (Akiko Kozato, soprano, and Guido Boselli, cello), during a Biennale di Venezia The 56 th Festival Internazionale di Musica Contemporanea, in Venice, from October 6 to 13, will inaugurate Ivan Fedele’s mandate as director of the music sector of the Biennale di Venezia, directed by Paolo Baratta, for the four-year period 2012-2015. The Festival, entitled “+EXTREME–, ovvero minimalismi e massimalismi musicali del nostro tempo” will include the awarding of the Leone d’Oro to Pierre Boulez for lifetime achievement and the Leone d’Argento to the Quartetto Prometeo. The eight rich days will offer three daily appointments including concerts, sound installations, ateliers, audio-visual performances and musical theatre, presenting the public with 51 new works, 28 of which in world Luis de Pablo On September 27 at the Conservatorio Superior de Música, the 28 th Festival de Música de Alicante included Dibujos for flute, clarinet, violin and cello, played by the Sax Ensemble directed by José Luis Temes. On October 10 in Wellington (New Zealand) Roberto Fabbriciani will play Per flauto for flute solo, during the Concert-conference “Maderna e i nuovi percorsi del flauto nel secondo ‘900”. A concert dedicated to the piano music of Luis de Pablo will be given by Francisco concert in collaboration with the New Made Ensemble and ESZ; Palimpsest, 4 th string Quartet on October 27 at the Associazione Chromas in Trieste with the Quartetto Prometeo; Morolòja kè erotikà for soprano and string quartet on October 28 during the Milano Musica Festival in the Auditorium San Fedele in Milan, with Valentina Coladonato and the Quartetto Prometeo. On October 29 at the Limen Music & Arts centre in Milan, a presentation will be given, with the participation of the Quartetto Prometeo, of the new Limenmusic Cd/Dvd featuring the music of Ivan Fedele and the book Ali di Cantor. The Music of Ivan Fedele, edited by Cesare Fertonani and published by Edizioni Suvini Zerboni in 2011. The Cd/Dvd contains Palimpsest, Morolòja kè erotikà and Paroles y Palabras, performed by Valentina Coladonato, soprano, Francesco Dillon, cello and the Quartetto Prometeo. Imaginary Islands for flute, bass clarinet and piano will be played in November by the Trio Luxa 21 in Mexico at the Museo Iconografico in Guanajuato and in Orlando (Florida) during the Accidental Music Festival. Ritrovari (Suite francese VI) for viola can be heard at the Istituto Italiano di Cultura in Paris on November 19, played by Christophe Desjardins, while the Suite francese III for cello will be played by Christophe Beau, soloist of the Ensemble Accroche Note, at the Istituto Italiano di Cultura in Budapest. On December 1 st in the Abbazia di San Clemente in Casauria (Pescara) Fernando Caida Greco will play the Suite francese III for cello. The violinist Francesco D’Orazio and Daniel Kawka directing the Ensemble Orchestral Contemporain will perform Mosaïque for violin and chamber orchestra on January 17 at the Conservatoire Massenet in Saint- Étienne, during the “Concert-lecture autour de Mosaïque”, on January 18 at the Théâtre Copeau - Opéra Théâtre de Saint-Étienne, and on January 23 at the Grand Théâtre de Provence in Aix-en-Provence, during the Festival Présences of Radio France. Finally, the Quartetto Prometeo will play Palimpsest, 4 th string Quartet, at the 5 th Festival of the Ned Ensemble, Concert Season “Città di Desenzano”, in the Auditorium Celesti of Desenzano on January 27. premiere. The neo-director describes the characteristic of this year’s edition: «What strikes one most about today’s musical panorama is the presence of extreme orientations: minimalisms and maximalisms that wish to inhabit the same regions of the frontier of musical language, approaches that are apparently antithetic that instead share the radicality of their aesthetic-poetic intent, abandoning as such the “politically correctness” of the piece that “works” or “sounds right”». The Festival presents some important protagonists of these practices “of excess”, contextualized and set side by side with the “classics” of radicalism. Escoda on November 14 at the Instituto Cervantes in Hamburg, in collaboration with the NDR das neue werk, and will include Retratos y Transcripciones, 2 nd series, and Acrobacias. Finally, the Auditorio del Museo Nacional Centro de Arte Reina Sofía will host, on January 21, a performance of Federico Mompou in memoriam for violin, cello and piano, with the Grupo Cosmos 21.
Aldo Clementi Canonic Mosaic O n October 25 the Incontri di Musica Contemporanea of the Festival Pontino, in the Palazzo della Cultura in Latina, will dedicate a monographic concert to Aldo Clementi, whose programme will include – alongside the Fantasia on fragments from Michelangelo Galilei for lute and the first Italian performance of Aria (Dowland) for female voice, viola da gamba and lute – the first complete performance of the definitive version of the Otto Frammenti, canons on a ballade by Charles d’Orléans on the theme of L’homme armé for soprano, countertenor, viola da gamba, lute and organ. The concert, a co-production between the Festival di Nuova Consonanza in Rome and L’Arsenale in Treviso, aims to feature works by Clementi that involve the use of ancient instruments and that take their material from preclassical sources. The performers will be Livia Rado, soprano, Alessandro Giangrande, countertenor, Silvia De Maria, viola da gamba, Elena Casoli, lute, and Filippo Perocco, organ, directed by Marco Angius. Two replicas of the concert will be given in November, on November 23 at the Arsenale in Treviso, and on November 28 in the Sala Casella of the Accademia Filarmonica Romana during the Festival of Nuova Consonanza, which in the 2012 edition will feature various works by Aldo Clementi: on November 18 the Quintetto for strings, on December 2 the Serenata for guitar and four instruments, played by the Freon Ensemble directed by Stefano Cardi, and finally on December 5 Cantilena for voice and doublebass, Blues and Blues 2 (Fantasie su frammenti di Thelonious Monk) and Vom Himmel hoch, both in Manuele Morbidini’s transcription for saxophone quartet, and En liten svensk rapsodi for female voice, bass clarinet and piano, with the LatinaEnsemble under Francesco Belli. The Otto Frammenti, to be given their first complete performance at the Festival Pontino, were written in 1978, and have passed through two successive versions in two distinct phases: a new version of Frammenti III, IV, V and VI, performable also separately, was prepared in 1979 for a performance by the Five Centuries Ensemble directed by Carol Plantamura. These Frammenti, which constitute the central nucleus of the work and involve both voices and instruments, are preceded and followed by two series of purely instrumental canons whose definitive version was completed in 1997 for a performance in Borås (Sweden) organized by Björn Nilsson. Even then Clementi still forgot one canon, No. 29. Overall, the structure of the composition is in a mirror form, or rather a palindrome, built through the progressive thickening of the instrumental parts starting from a solo lute, to which two voices are added at the culminating point of the four central Frammenti, then decreasing mirror-like until concluding, again with solo lute, at the point from which it had started. The mirror form is reflected in the canonic and contrapuntal handling of the musical material, which sets the text of the Ballade by Charles d’Orléans Je meurs de soif en couste la fontaine using the famous theme from L’homme armé, highly popular in the 15th Century, especially thanks to its structural clarity, perfect for Goffredo Petrassi The series of performances of music by Petrassi this Autumn opens with a recital by Alfonso Alberti on October 4 at the Istituto Italiano di Cultura in Paris, which will include Invenzioni nn. 4, 5, 6, 8 for piano. On October 5 the Teatro Monumental will propose Ritratto di Don Chisciotte, ballet in one act, with the Orquesta Sinfónica de RTVE conducted by Jordi Bernacer. Daniele Ruggieri and Caterina Pavan will contrapuntal use. In line with his habit of adopting well known melodies as the starting points for his canonic explorations, Clementi presents the original material with extreme clarity, submitting it to all four mirror forms and in three different rhythmic values, without ever forsaking the recognizability of the theme, played in different tonalities simultaneously, in that canonic polytonal counterpoint typical of Clementi. What we hear, then, are 40 canons arranged/organized in eight fragments, in turn set within a perfectly symmetrical arch form. The entire contrapuntal construction then undergoes continuous time changes, from the sprightly paces of youth and the start of Summer, to the Winter when the rigid joints are almost immobile; in the end the music is so slow that it almost stops and decomposes. Although the composer chose instruments contemporary to the musical material presented, he nevertheless specified that the instrumentation is only «a suggestion – as if Bach had suggested an instrumentation for the Art of Fugue or for the Musical Offering». The Otto Frammenti are effectively a grand exercise in counterpoint that leaves many questions open as regards their performance. As Björn Nilsson wrote, maybe, on the basis of what Clementi theorized already in the ’70s, his works should be considered like epitaphs for an art already disappeared. And yet, they are resplendent with love for music and history. Within the mesh of parts we feel the great joy for the small snatches of melody, the wonder for the symmetry of the notes, for the beauty enclosed inside even the feeblest of them. In no other composition by Clementi is the sensation of a culture reaching its end so profound. «The end derives naturally from saturation and tiredness», said Clementi of his own poetics, «but it is never definitive: through a desolate familiarity we suddenly plunge into the infinite and the eternal». Roberto Fabbriciani will include music by Aldo Clementi in his tour in New Zealand and in Italy: on October 10 in Wellington, during the Concert-conference “Maderna e i nuovi percorsi del flauto nel secondo ’900” Fantasia su roBErto FABbriCiAni and Parafrasi II, both for flute and magnetic tape, and on October 11 Duetto for flute, clarinet and two instruments in echo, with the Stroma Ensemble; on October 18 both works will be repeated at the Conservatory in Fermo, with students of the conservatory directed by Luisa Curinga. An exceptional tool for studying Clementi’s works is now available in the double monographic issue of the “Contemporary Music Review” (XXX, 3-4, Taylor & Francis, 2011) entitled Aldo Clementi: Mirror of Time I and II. A vast platoon of musicologists and performers, Italian and Anglo-Saxon (including Maria Rosa De Luca, Roberto Fabbriciani, Gianluigi Mattietti, David Osmond-Smith, Roberto Prosseda and Graziella Seminara) examine in over 300 pages the works of Clementi from many different perspectives, published in a set of essays edited by Dan Albertson. play Dialogo angelico for two flutes on October 14 in the Sale Apollinee of the Gran Teatro La Fenice in Venice during the series “Ex Novo Musica”. Finally, Romanzetta for flute and piano will be included in the 5 th Festival of the Ned Ensemble, Concert Season “Città di Desenzano”, on November 18, with Roberto Fabriciani and Massimiliano Damerini. A thirty-year project comes to fruition, the composer is celebrated at the Pontino and Nuova Consonanza, publication of a double volume of critical studies Ennio Morricone Rag in frantumi for 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, which will be repeated on November 12 at the Teatro Dal Verme in Milan during the Festival Rebus, with Rossella Spinosa, soloist of the New Made Ensemble. 7
Page 1 and 2: Nicola Sani ESZnews Edizioni Suvini
Page 3 and 4: from page 1 (Cattaneo: Sound Labyri
Page 5: Stefano Gervasoni Invitation au voy
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

Timbral Spaces Sound Labyrinths - Edizioni Suvini Zerboni

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