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24-27 OKTfl6p« 1997
PaXMaHMHOBCKMM 3a/i MOCKOBCKOM KOHCepBaTOpMM (EojibuiaB HnKMTCKan, 11)
Days for Contemporary Italian Music 24-27 October, 1997 Rakhmaninov Hall, Moscow Conservatoire (Bolshaya Nikitskaya, 11)
AenapTaMeHT KyribTypbi TypnHa m pernoHa SMMnMH-PoMaHbfl cpecTMBanb Settembre Musica MocKOBCKan rocyflapcTBeHHan KOHcepBaropuB MMeHM n. M. HaMKOBCKOrO OSu^eCTBO HOBOM My3biKH
City Council of Turin and Emilia Romagna Region - Cultural Departments Settembre Musica Moscow State Tchaikovsky Conservatoire Society for Contemporary Music flenapTaMewT Kynbrypbi TypMHa Cultural department of Turin and m pernoHa SMnnnti-PoMaHbfl Emilia Romagna Region cpecTMBanb Settembre Musica Festiva! Settembre Musica MocxoBCKan rocyflapCTBeHHan Moscow State Tchaikovsky KOHCOpBaTOpHH HM6HH conservatoire n.M.HafÌKOBCKoro Society contemporary music OSmeCTBO HOBOW My3blKH Moscow
Yro riepoHe, flenapTaMem Ugo Perone, Cultural Ky/ibTypbi TypnHa department of Turin
AHT0Hen.n0 3aHrpaHAn, Antonello Zangrandi, npe3nfleHT ObmecTBa Temporary Commissioner of the HM. ApTypo TocKaHMHn Arturo Toscanini Foundation
3HL|0 PecTaHbO, Enzo Restagno, XYAOXECTBEHHBIM PYKOBOAMTENB artistic director Settembre Musica Settembre Musica
PoMaH Bnafl, Roman Vlad, artistic director xyflo>KecTBeHHbiÌ4 pyKOBOAHTerib Settembre Musica Settembre Musica KnayAuo Mepno, Claudio Merlo, KoopAHHaTop npoeKTa project coordinator
Muxan/I OBHMHHHKOB, Michael Ovtchinnikov, peKTOp MOCKOBCKOCÌ Rector of Moscow K0HcepBaT0pnn Tchaikovsky conservatoire
AjiexcaHAP COKO/IOB, Alexander Sokolov, npopeKTop no HaynHoti Vice-Rector of scientific and n TBopnecKOM pa60Te creative activity of Moscow MOCKOBCKOH KOHCEPBATOPNN Tchaikovsky conservatoire BnaAHMnp TapHonosibCKMft, Vladimir Tarnopolski, pyKOBOAHTeAb npoeicra director of the project, C pOCCnfìCKOn CTOpOHbl Russian side Banepnn TopoxoBCKan, Valeria Gorokhovskaya, ncnonHHTeribHbiii AnpexTop executive director
MHCpOpMaiiHOHHbie CnOHCOpbl: informational sponsors: paAnocTaHunn «Oprpeù» radiostation Orpheus paAnocTaHunn «3xo MocKBbi» radiostation Echo of Moscow
Oco6an 6nar0AapH0CTb Special thanks for Italian BbipaxaeTcn noeonbCTBy Embassy and Institute MTannn n HHCTHTyTy Ky/ibTypbi of Italian culture UTannn B MocKBe in Moscow 2 SOPyM HOBOfó My3HKM
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TocaaHHHH cepBaTOpneH HM. n. H. MaHKOBCKOTO H OfimeCTBOM opKecrp pernoHa e e 3MHAHn-P0MaHb» HOBOH My3bIKH. II
SETTEMBRE MUSICA FESTIVAL
While Turin is an industriai metropolis, it also boasts an old and prestigious university, famous museums and cultural institutions. Moreover, it has long been a center of democratic and social debate. This dynamic relationship between past and present is mirrored in the city's profound love of music, an enthusiasm which, since 1978, has found ideal expression in the Settembre Musica festival, a cultural event organized and financed by the City Council's cultural department.
The Settembre Musica festival has a deep-rooted relationship with the people of Turin: it lasts a whole month and features two concerts every day. Turin loves its festival and every year thousands of people go and listen to the concerts held in the various auditoriums, churches, squares and courtyards. Yet it would be misleading to define it as a 'popular' festival, for alongside the standard concert re- pertoire are numerous concerts featuring ancient, baroque, ethnic and contemporary music.
The Days for contemporary Italian music in Moscow continue a phase in the history of the festival which started in 1990 when Settembre Musica traveled to New York. Settembre Musica has since become an ambassador of Italian music abroad, with mini-festivals being held in recent years in Athens, Prague, Madrid, Paris and Boston.
Enzo Restagno The three concerts to be presented in Moscow Roman Vlad (thanks also to the collaboration with the Toscanini Settembre Musica Orchestra of Emilia Romagna) are the result of an idea to provide an opportunity to understand and appreciate recent trends in Italian music. By presenting the work of three generations of Italian contemporary composers we hope that the Ugo Perone continuity of tradition and innovative styles which City of Turin have characterized the music of Italy will be made apparent, as well as the importance that music of Italy continues to have in contemporary culture.
The collaboration between Settembre Musica, Antonello Zangrandi Arturo Toscanini Moscow Tchaikovsky conservatoire and the Society orchestra of for contemporary music Moscow makes this event Emilia Romagna possible. Region 4 2>0PyM EOBOa MY3LIKM
OGmeCTBO HOBOH My3bIKH óbijio c03flaH0 B 1993 rofly. OHO oóbeAHHaeT My3biKaHTOB Bcex cneuHaAbHOCTefi, HbH TBOpueCKHe HHTepeCbl COCpeAOTOUeHbl B c(})epe COBPEMEHHOII My3biKH. OpraHH3auHOHHaH cTpyKTypa OSiuecTBa n cocTaB ero ynacTHHKOB cjiowHAHcb B npouecce npOBe/reHHH COBMeCTHblX U.HKAOB KOHUepTOB, MaCTep-KJiaCCOB, KOHKypCOB, TBOpHeCKHX BCTpen C K0Mn03HT0paMH H HCnOAHHTejIHMH, npOXOAHBLUHX B cTeHax MOCKOBCKOH K0HcepB3T0pHH Ha npoTHweHHH nocjieAHHX AeT.
B 1993 roAy npH OómecTBe 6ha C03AaH aHCaMfiAb CtYAMH HOBOH My3bIKH, KOTOpblH peryAnpHO BbicTynaeT c KOHuepTaMH B POCCHH H 3a pyfie>KOM. Oco6oe MecTO B nporpaMMax aHcaMÓAH 3aHHMaK)T pyccKHH aBaHrapA 20-x roAOB H npeMbepbi HOBHX coHHHeHHH.
C 1994 roAa OSmecTBO HOBOH My3biKH e>Ker0AH0 np0B0AHT Me>KAyHapoAHbiH cjrecTHBajib coBpeMeHHoii My3biKH MOCKOBCKHH (JropyM, CTaBLUHH 33MeTHblM COÒbITHeM B KyAbTypHOH >KM3HH MoCKBbl. 3a npoLueAiiine roAbi 6HAO npoBeAeHO naTb 4)ecTHBaAeft: PoccHHCKO-roAJiaHACKHe My3biKajibHbie accaiviSjieH (1994), POCCHH—repMaHHa: peTpocneKTHBa — nepcneKTHBa (1995), XX Bea: My3biKa POCCHH H ABCTPHH (1996), CoBpeMeHHaa My3biKa: CBoSoAa HJIH AHRARKHPOBAHHOCTB? (1996), My3biKajibHbie npHHomeHHa (K 850-AeTHio Aqpec-
MOCKBB,, 1997). 103871 '
OAHHM H3 HanpaBAeHHH AeHTejIbHOCTH MoCKBa, OómecTBa HBAaeTca npoBeAeHHe Jlneìi KoHcePBa™pns MM. n. H. MaiteoBCKorp My3bIK3AbHOH KyjlbTypbl TOH HAH HHOH CTpaHbl. nocjieAHeii TaKoii aKunefl CTaji tjrecTHBaAb OómecTBO C0BpeMeHH0H KyAbTypbi HHAepAaHAOB HOBOM ABaHrapA + A*a3 + non. MV3blKM Bonbujaa JlHH COBpeMeHHOH HTajIbHHCKOH My3bIKH HHKHTCK3B 1 1 BnepBbie n03HaK0MHT poccHHCKyro nyÓAHKy ^6.316 e LUHpoKOH naHopaMofl My3biKH HTaAHH Ten./cpaKc: Hainero CTOAeTHH. (007 095) 290 5181 II
Society contemporary music Moscow was formed in 1993. It unites musicians of ali specialities whose creative interests are concentrateci in the sphere of contemporary music. Its organizational structure was formed during a series of concerts, masterclasses, musical contests for the best contemporary composition, scientific conferences and creative meetings with composers, which took place at the Moscow conservatoire during the preceding years.
In 1993 the Society in turn formed the ensemble Studio New Music which regularly gives concerts both in Russia and abroad. A special position in the ensemble's repertoire is occupied by compositions by the Russian avantgarde of the 1920's and premieres of new works.
Since 1994 the Society has organized the annual international festival for contemporary music Moscow forum which has become a major event in Moscow's cultural lite. It has been held five times during the preceding years, centering on the themes: Russian-Dutch music essembles (1994), Russian — Germany: Retrospective — Perspective (1995), The XXth century: Russia — Austria (1996), Contemporary music: freedom or engagement? (1996), Musical offerings (850 years of Moscow, 1997). Address:
103871 Moscow Another aspect of the Society's activity is the Tchaikovsky holding the Days of the musical culture of one or conservatoire another country. The last of these Society events was Avantgarde + Jazz + Pop, which contemporary explored contemporary Dutch culture. music
Boljshaya Nikitskaya 11 e DaYs for contemporary Italian music office 316 wi" ^irst time acquaint the Russian public tel./fax: with the wide panorama of the Italian music of (007 095) 290 5181 our century. II
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JlynA»n HOHO (1991) Tponu
JlyKa 4>paHnecKOHH (1956) AAH AHCAMÓAH (1959) Plot in fiction II AAH CAKCOTJJOHA N KaMepHoro Terzina AHCAMÓAH (1986) AAH conpaHO H aHCaMÓAH (1992—93)
FLMYAHO KACTAHBOJIH (1958) AAeccaHApo CoAbónaTH 0uopumypbi II (1956) Tpu nbecbi AAH aAbTa H aHCBMÓAH AAH YAAPHBIX H KaMepHoro (1996—1997) AHCAMÓAH (1994)
«PPAHKO FL0HAT0HH (1927) TleneA JlynABtn ^ajijianHKKOJia AAH conpaHO H óac-KAapHeTa (1904—1975) (1988) Quattre Liriche Anmonuo Manado AAH conpaHO H KaMepHoro AHCAMÓAH (1964) Sex Carmila Alcaei HBAH «PEAEJIE (1953) AAH conpaHO H KaMepHoro Profilo in eco AHCAMÒAH (1943) AAH CJTAEHTBI H KaMepHoro AHCAMÓAH (1995) To(J)cj)peAo IleTpaccH (1904) Sonata da camera CTe(})aHO fl»iepBa30HH (1962) AAH KAaBeCHHa H aHCaMÓAH Su un arco di bianco (1948) CHH(J)0HH9TTa C COAHpyiOIlLHMH (jDAeflTOH H CKpHnKOH (1991)
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coAucmbi: coAUcmbi: JIyH3a KacTeAAaHH, conpano JIyH3a KacTeAAaHH, conpano MaccHMO JlyqaHo KaBaAAH, aAbm MaccHMO OeppnryTH, óac-KAapnem Mapna H3a6eAAa Ae Kapjin, KAaeecun CaHAy Harn, cpAeuma 7 27 OKTHfipH, 27 OKTHfipH, noHejejiHKH 11.00 noHejteJibHHK 19.00 KoH(|)epeHi(-3aji PaXMaHHHOBCKHH 3aJl KOHCepBaTOpHH JleKyuA-Bcmpena poccuùcKUx MaTTeo A'AMHKO (1955) L'espirit de la mori U UmaAbAHCKUX K0Mn03Um0p0B AAH KaMepHoro aHcaMÓAH (1997) u My3biK08ed08. Bedyiyue — AneccaHApo C6OPAOHH (1948) 3HU,O Pecmanbo, PoM.au BAOÒ Eros: Daedalus u BAaduMUp TapHonoAbCKuìi. AJ1H CTpyHHOrO TpHO H cjiopTenHaHo (1987) JlynaHo Bepuo (1925) 0 King AAH conpaHO h KaMepHoro aHcaMÈJiH (1967) * # # •7TV- -7JV" -vlv- JlynaHo Bepuo (1925) Chemins II su Sequenza VI JXJIH ajibTa H KaMepHoro aHcaM6NN (1967) OpaHKO JFOHATOHH (1927) Hot B.JIH conpaHO-caKcocjioHa H KaMepHoro aHcaMÓJiH (1989) TocKaHHHH opaecTp pernoHa SMHJIHH-PoMaHbH dupuxep /JjKOpAHtHO BepHaCKOHH coAucmbi: JIyn3a KacTejuiaHH, conpano JlynaHO KaBajijiH, aAbm Bce npou38edeHu.fi s Poccuu MaccHMO Oeppnryrn, ucnoAHfiiomcfi enepeue caKCOCpOH II October 24, October 25, Friday 7 p.m. Saturday 7 p.ra. Rakhmaninov hall of Rakhmaninov hall of conservatoire conservatoire Fabio Vacchi (1949) Niccolo Castiglioni Ottetto, dedicàtion to Luigi (1932—1996) Nono (1991) Tropi Luca Francesconi (1956) for chamber ensemble (1959) Plot in fiction II [or saxophone and chamber Terzina ensemble (1986) for soprano and chamber ensemble (1992—1939) Giulio Castagnoli (1958) Alessandro Solbiati (1956) Fioriture II 3 Pezzi for viola and chamber ensemble for percussion and chamber (1996-97) ensemble (1994) Franco Donatoni (1927) Cinis for soprano and bass clarinet Luigi Dallapiccola (1988) (1904—1975) Quattro liriche di Antonio Machado for soprano and chamber ensemble (1964) Ivan Fedele (1953) Profilo in eco Sex Carmina Alcaei for flute and chamber ensemble for soprano and chamber (1995) ensemble (1943) Stefano Gervasoni (1962) Goffredo Petrassi (1904) Su un arco di bianco, Sonata da camera sinfonietta with flute and violin for harpsichord and chamber concertante (1991) ensemble (1948) Chamber Ensemble 'Arturo Chamber Ensemble 'Arturo Toscanini' of Emilia Romagna Toscanini' of Emilia Romagna Giorgio Bernasconi, Giorgio Bernasconi, conductor conductor soloists: soloists: Luisa Castellani, soprano Luisa Castellani, soprano Massimo Ferriguti, saxophone Danilo Grassi, percussion Luciano Cavalli, viola Massimo Ferriguti, bass clarinet Maria Isabella De Carli, harpsichord Sandu Nagy, flute II October 27, October 27, Monday II a.m. ' Monday 7 p.m. Conference-hall of co- Rakhmaninov hall of nservatoire conservatoire Matteo D'Amico (1955) Lecture and meeting between the L'espirit de la mort Russian and Italian composers for chamber ensemble (1997) and musicologists moderated by Alessandro Sbordoni (1948) Enzo Restagno, Roman Vlad Eros: Daedalus and Vladimir Tarnopolski for string trio and piano (1987) Luciano Berio (1925) 0 King for soprano and chamber ensemble (1967) • ^^ Luciano Berio (1925) Chemins II su Sequenza VI for viola and chamber ensemble (1967) Franco Donatoni (1927) Hot for soprano saxophone and chamber ensemble (1989) Chamber Ensemble 'Arturo Toscanini' of Emilia Romagna Giorgio Bernasconi, conductor soloists: Luisa Castellani, soprano Luciano Cavalli, viola Ali the performances are the Massimo Ferriguti, Russian premieres saxophone IO 24 oKTffÓpa 24 october $a«KO BaKXM Fabio Vacchi Eo/ioHbH 1949 Bologna 1949 3aHMMancfl no K0Mno3HUMH yflxa- After studying with G. Manzoni KOMO MaH30Hn N OpaHKO AoHaTO- and F. Donatoni, Vacchi made a HM. Byflyan eme MO/IOAHM KOMno- name for himself when, stili very 3HTopoM, BaK MMHaomee rperopwaHCKoe necHO- a multiplicity of variations and neHMe, Korapoe 6/iaroAapst pa3H0- perceived as a subdued continu- 06pa3H0My BapbnpoBaHmo BOC- um. The different language ele- npnHHMaeTCB KaK npnmyweHHbiM ments (pitch, duration, intensi- KOHTMHyyM. Pa3AMHHbie 3/ieMeHTbl ty etc.) are handled with the My3bi Jljpica ®paHxiecKOHH Luca Francesconi MtinaH 1956 Milan 1956 nocae yneSbi y A3MO Koprn, OpaH- After studing with A.Corphi, necKOHM noceuja/i Kypcu /lynaHO Francesconi attented Berio's Bepno, OAHOBpeMeHHO paòoiaa courses in Tanglewood working ero accncTeHTOM c 1981 no 1984 as his assistant from 1981 to roflbi. OS/iaflaiOLUHM ap Plot In the Fiction 2 Plot In the Fiction 2 «AH caKCOtjjOHa u KaMepHoao for saxophone and chamber AHCAMÓJIH (1993) ensemble (1993) fio CBoeìi CTpyKType n paAycyiAe- Plot in the Fiction 2 is taken CTBEHHBIX JIHHHÌÌ CONNHEHNE CB93AHO from a previous piece written in c HanncaHHOi) B 1986 ROAY OAHO- 1986 Plot in the Fiction, from MMeHHOìi nbecoìi ppn roSoa n aHcaM- which it derives its structure and 6aa.P/of03Ha4aeT0CH0By HO Taiore essential lines. Plot means both H pa3BMTne CDxeia, ero KBHHTacceH- warp and also the development UHio. My3biKa HanoAHeHa 3axBaTbiBa- of the story, the thread of the ar- lomeii c/iywaTena coóbiTMìiHOCTbio, gument. Music is an experience B Korapoii CAOBHO B nOTOKe C03HaHHfl that involves our minds beyond cnaeTaioTca nHTymnBHoe u paccy- sensations in a dance between A04HOe. Plot— aTOTOTOÒAAAaiOLUHM instinct and reason, pursuing a cJiopManbHoti BCHOCTbio OCTOB, KO- difficult balance through the for- Topuii yAepxMBaeT óa/iaHC MexAy mai clarity toward which the mu- noaapHbiMH BexTopaMn sical thoughts struggle. 12 SOPyM HOBOfó My3HKM JUyjino KacTaHioAH Giulio Castagnoli PMM 1958 Rome 1958 Ilo OKOHHaHHH yHHBepcuTeia TypH- After graduating in Literature at Ha (ct>aKynbTeT /lniepaiypbi) N KOH- Turin University and in Piano and cepBarapnn (coHHHeHHe n cJ)opTe- Composition at Turin Conserva- nnaHO) OH npoflo/wKMJi o5yneHne toire, Castagnoli took postgra- K0Mn03UUI4M B BblCUJetl LUKOJie My- duate degrees in composition 3biKn 0pan6ypra B K/iacce BPNAHA at Hochschule fiir Musik in OepHexoy N B AKaaeMnn CaHTa Freiburg with Brian Ferney- Henn/inn y OpaHKO floHaioHn. Kac- hough and at Accademia Nazi- TAHBO/IH HBAFLETCA NOSEFLHTEAEM onale di Santa Cecilia with pana MexayHapoflHbix <0Mn03n- Franco Donatoni. He won sev- TOpCKHX KOHKypCOB. E["0 OflHOaKT- eral international composition naa paflnoonepa To the museum contests. His one-act radio fibuia oTMeaeHa cneuHa/ibHOH opera To the Museum got a npeMneti «npn3 l/ha/ina 1991». Ero special mention of the Jury at COHHHeHHH HCnOJlHS/lHCb Ha MHO- 1991 Prix Italia. He was select- rnx cfecTHBa/iax, B TOM HHC/ie B paM- ed in many events such as the Kax World Music Days B lòHKOHre B World Music Days of ISCM in 1988 rofly (0ecTHBa/ib Mexuy- Hong Kong in 1988. Luciano HapoflHoro o6mecTBa HOBOH My3bi- Berio selected and conducted KH). JlyaaHO Bepno, BWCOKO oueHH- his music. BaKomnCi coHHHeHHB KaciaHbo/iH, He got commissions from Ra- nepeflKO BK/iiOHaeT nx B CBOH KOH- dio France, RAI-Radiotelevisione uepTHbie nporpaMMbi. Italiana, City of Geneva, Stamford EMy 3a «tuopumypbi II Fioriture II (1996-1997) jXJin ajifcma u onuHHazmamu Fioriture II is the reworking for uHcmpyMeHmoB (1996-1997) viola and eleven instruments of 0Mopi4Typbi II HB/ifleTca BapitaH- a piece written in 1996, Fiori- TOM nbecbi CTeM xe Ha3BaHneM, Ha- ture\ in which the solo part is nncaHHOii B 1996 roay B KOTopoii given to the Ch'in, an ancient co/inpyiomaa napTna OTflaHa apeB- seven-plucked-string instru- HeMy KHTaticKOMy ceMMCTpyHHOMy ment beionging to the Chinese UJ,HriKOBOMy HHCTpyMeHTy VWH. B tradition. In Fioriture the Ch'in nepBOHasajibHOki Bepcnn napina part is taken literally from two HMH 6bma B39Ta H3 AByx icnaccHHec- classical texts: for the first KMX KHT3MCKHX MCTOHHHKOB: ILOTOK movement, Fantaisie, and for BOABI (B 0aHTa3m N KypaHre), N Courante the vèry famous Flowing noTepnHast opxwen, cftparMeHTa, Waters. The third piece, Plainte, npnnncbiBaeMoro KoHcJtyLiwo n AO- is derived from Hidden Orchid, ujeAiiiero AO Hac B BapwaHie wec- an excerpt attributed to Con- Toro Bexa H.A. (B Xanoóe). OAHH- fucius and come to us in a ver- HaauaTb MHCTpyMeHTOB JIJHSXH AaaaaniiKKOJra Luigi Dallapiccola riM3HH0 fl'MCTpna 1904— Pisino D'Istria 1904— cpnopeHUMsi 1975 Florence 1975 B nepBbixxe coMHHeHnaxflajiAannK- Dallapiccola began to compose Kona, nanncaHHbix B 30-e roAbi, 06- in the thirties, emerging at once HapyxHBaeTca apraa nHAHBHAya/ib- as an artist gifted with great HOCTb, nOAHHHHbm apTMCTH3M H originality and sound skill. How- npoct>eccnoHajibHoe MaciepcTBO. ever, it was after 1940 that he Ho liinpoKaa n3BecTHOOTb npmijaa attracted attention thanks to k K0Mn03MT0py TOJibKO noc/ie 1940 some works that stand among roAa, c 1942 rofla B «Fìnm tpparMemax Starting from 1942, his interest Capo» «pKO nposB/iaeTcn HHTepec for the Vienna School appears K0Mn03HT0pa K MfleaM HOBOBeHC- aiready manifest in Cinque fram- KOM uiKoribi, a B onepe «Y/IMCC» menti di Saffo (Five Fragments (1968) 3TH TeHfleHUHH HaxoflHT from Sappho) and it is even CBoe Hanfio/iee no/iHoe Bbipaxe- more obvious in his opera II pri- HHe. Cpefln no3flHMx coHHHeHHM gioniero (The Prisoner, 1944). In HaruiannKKOAbi Bbifle/iaioTca Tem- the fifties and sixties he com- pus detruendi — Tempus aedi- posed more relevant works: ficandi (1970—1971) n Commiato Tartiniana seconda (1956), Pa- («ripoLuaHue», 1972). role di San Paolo (Saint Paul's Words, 1964) and the opera Quattro Liriche AnmoHuo Maua«o Ulisse (1968). In his last years he «AH aoAoca u KaMepHoao wrote works such as Tempus aHcaM6AH (1964) detruendi — Tempus aedificandi Herbipe CTMXOTBopeHMn, B nep- (1970—1971) and Commiato BOHanaHbHOM Bapname HanncaK- (Farewell, 1972). Hbie flpa ro/ioca n cjiopTennaHO, Sbmn nepepaSoTaHbi K0Mn03HT0- Quattro Uriche di A. Machado poM una KaMepHoro aHcaM6na B (Four Lyrlcs by A. Machado) for voice and Instruments 1964 roAy Ann cJiecTHBaaa B Epayw- (1964) Baiire. 3TO coanH.eHne Bn/ioTHyio noflBeao Ha/iaannKKo/iy K AOflexa- The Quattro liriche, originally (JJOHHOH TEXHHKE: KpaMHne nbecbi written for voice and piano, were UHK/ia ocHOBaHbi Ha cepnn, iie- scored for chamber ensemble xauien B ocHoee HaianbHoro nocT- for the 1964 Braunschweig Fes- poeHMfl; H3 Hee xe BbiBOAHTca n tival. With Liriche, Dallapiccola cepna II MacTM. TeKCTbi AHTOHHO carries on his path toward do- ManaAO, 9B/iaioiij,neca n/iOAOM CJJM- decaphonic exactness: lyrics I /10C0(J)CKHX pa3MblLLIJieHHI4 Be/IM- and IV are based on the same Koro ncnaHua hba BaxHetiiiinMn series that originates from the npoS/ieMaMn Smuri, npnoOpeiaioT sequence of the opening chords; B My3biKe flan/iannKKOAbixapaicre p lyric II uses a series derived from aBT06n0rpa(})HHecK0M ncnoBeAH, lyric I. The texts of the Spanish NPEABOCXMUIAA HANMCAHHYIO ABYMS poet offeran opportunityto medi- roAaMH no3AHee 3araaoHHyio nbe- tate on the major problems of cy Job. lite, which anticipates, under Sex carmina Alcael the guiseofan autobiographical «AH aoAoca u KaMepHoao confession, the themes that two aHcaM6«H (1943) years later will.generate the mys- tery play Job. IlaTb cpparMeHTOB Carpo, CTM- xoTBopenm AnaxpeoHTa M Car- Sex carmina Alcael mina Alcaei 0Ópa3yi0T UHKTI npo- for voice and instruments n3BeACHHH, co3AaHHbiti HaasannKKo- (1943) hotÌBnepMOAC 1942no 1945roAbi Ha Together with Cinque fram- aHTHHHbie TeKCTbi, nepeBeAeHHbie menti di Saffo and Liriche di HTa/lb9HCKHM n03T0M C. KB83H- Anacreonte, Carmina Alcaei MOAO. FLOCBBUIEHME AHTOHY Bebep- make up the cycle of Greek ly- II Hy RB/iaeTcn noi I/I MA rieipaccH ciano n3BecTHbiM B Petrassi's talent stood out in 1932 rofly, Koraa OH Hanncan 1932 with Partita per orchestra napTOiyann oprectpa. B coanHe- which suddenly attracted Euro- HnnxTexneT3aMeTH0 BnnsHite Anb- pean attention. In those years cjtpefla Ka3ennu n flxaHa Mannnbepo, his production revealed the influ- a nHTepec k riayjiio XnHfleMMTy n ence of A.Casella and G.Mali- Mropio CipaBHHCKOMy nepenneian- piero mixed with an interest for cn c o6pameHneM k Tpaflnu,nsM Hindemith and Stravinsky and the pnMCKoro 6apo Sonata da camera Sonata da camera «AH KAaBecuHa (Chamber Sonata) u «eonmu uHompyMeHmoB for harpsichord and ten (1948) . Instruments (1948) Heo6apo4HbiM CTn/ib Hana/ia co- The open reference to the past, HaTbi opraHHHHO coneiaeTca co which stylistically locates the work CTpeM/ieHMeM Mcn0/ib30BaTb HOBbie in neo-baroque area, lets howe- K0MnO3HT0pCKHe TeXHHKM. Pa3Bmne ver gleam an interest forthe most pe3K0 KOHTpacTMpyioLUHX TeM nep- advanced contemporary experi- BOH Mac™ NPMBOFLHT K pa3pyujeHnio ences. The bi-thematic structure TOHa/lbHOH OCHOBbl COHHHeHHR. ot the first movement is carried Adagio NPNMEHAIE/IBHO CBOMMM to extremes and the tonai frame- a/ieraHTHbiMM nHCTpyMeHTanbHbiMn work is broken by a number of dis- KOM6nHau,MRMn, KOTopwe obHapy- sonances. In the Adagio the in- XMBaroT COBpeMeHHblìi BKyC B HC- struments are often used in very n0Pb30BaHHM TpaUHUHOHHblX HHCJ- elegant solo combinations, pyMeHTOB. through which we can discover a very modem faste in exploiting these old instruments. II 25 OKTHÓPH • 25 october HHKKOJO KaCTHJIiOHH . Niccolo Castiglioni MwiaH 1932—1996 Milano 1932—1996 XOTA KacTMAbOHM (JjopMajibHO npw- Though he formally accepted post- HAA nocTBeSepHHaHCTBO, TeM He webernism, Castiglioni nonetheless MEHEE OH BbipaSoiari CBOÌÌ BecbMa elaborated a very personal language HHAHBHAyaAbHblìi A3blK, OCHOBaH- •based on his evident taste for simple HblM Ha npMBepxeHHOCTH npOCTblM mechanisms built on asymmetric, npnHLinnaM — acMMMeipnHHbiM rhythmic relationships stressed by nOCTpOeHMAM, B3aHMOASMCTBMIO unpredictable fimbrie nuances. After pMTMHHecKMx cjiopMyn, HenpeAcxa- works like Consonante (1962) and 3yeM0M TeMfipOBOM HIOaHCHpOBKH. Synchronie ( 1963), marked by neo- nocAe Consonante (1962) n Syn- impressionistic decorativism, Cas- chronie (1963), OTMeneHHbix Hera- tiglioni moved on to a sort of stylistic TOpOH HeOHMnpeCCHOHHCTHHeCKOH eclecticism achieved by using hete- ASKOpaTHBHOCTblO, KaCTMAbÓHM 06- rogeneous musical materials (Figure pauiaeTCA K Mcn0/ib30BaHHD pa3- 1965, Ode 1966). In his last produc- HOpOAHblX My3blKa/lbHblX CTMJieÙ tion there is a remarkable simplifica- (.Figure 1965, Ode 1966). B ero tion of writing and a renewed interest nocneAHHx coHMHeHMax xapaKTep for a kind of composition in which nncbMa 3aMeTH0 ynporuaeTCA, n BO- stands out the miniaturistic style we 306H0BAAeTCA HHTepec K no3Tn B CTPEMMTEABHOM NOTOKE 3Byra- In this piece the sounds follow one Bbie naBHHbi CMeHAioT Apyr Apyra. another at great speed, as it driven BHeiiiHe xaoTnnecKoe ABwxeHne byastorm. Inside this chaoticmove- AB/lAeTCA CAeACTBMeM XeCTKOH op- ment there are nevertheless a few raHH3auun pa3AHHHbix napaMeipoB very strong elements of discipline My3biKaAbHoro A3bixa — TeMfipoB, which polarize not only the stream riAOTHOCTH H TeMnoB. tÌ3o6peTa- of sounds but also the timbres, TenbHOCTb KacTHAbOHn ocoóeHHO the density and the tempi. Casti- APKO npOABAAeTCA B TpaKTOBKe po- glioni is very skilful at discovering the AJ1A M yAapHblX, B C03A3HMM YAMBM- power of polarization both in the TeAbHO pa3H006pa3HblXTeMÓpOBO- sound of the piano and in the per- cJiaKTypHbix ann30A0B. cussion instruments, and his imagi- nation succeeds in creating several magical episodes concluded by the same stormy effect of the begìnning. 18 SOPyM HOBOfó My3HKM TepuuHa Terzina «AH conpaHo u KaMepHoao for soprano voice and aHcaM6AH (1992-1993) Instruments (1992-1993) YflHBHTe/ibHO TOHKO nepeflaeT It is extraordinary how Castiglioni KaCTM/lbOHM MHCTHHeCKyiO AyXOB- manages to translate the mystic in- HOCTb H HMCTOTy n03THHeCKHXTeKCT0B spiration and the spiritual purity per- fepapfla TepuueereHa, B KOTOPHX vading Tersteegen's texts into the COeflMHHUHCb liieMRLliaR JlHpHKa H heart-broken lyricism and crystal- KpncTanbHaa HHcrara. OTKa3biBaRCb clear elegance of a fimbrie writing OT HCn0Jìb30BaHHR KaKnx-jin6o in which the simplicity of the ges- CTpyiaypHbix cncTeM H ynpomaR tures comes very dose to innocent My3bl npefle/lbHO KOHTpaCTHblXTeM6pOBblX doublé bass, harpsichord and per- ccjjep B nepBofi nbece eme Gonee pe- cussion. It is above ali the charm of NBETJTHO npoAB/IAETCA BO BTopoti, Ha- percussion instruments that domi- CblLUeHHOM ApKOH BHpTy03H0CTbD, nates in Solbiati'sPezz/and the plas- N 3x0M nepe/inBaeTCA B PSAOCTHUX tic evidence of the images suggest- OTroAOCKax 0nHana. ed in each one of the three sections. The opposition between the ex- $paHSO flOHaTOHK tremely different timbric areas of the BepoHa1927 first piece spreads out in the second Bcipena B 1953 rony c BpyHo Maqep- piece creating a tremenduous play of Ha cbirpaaa onpefle/iaioLuyio potib B virtuosity which turns into iridescent SBOJiiounn AoHaTOHn n npeaonpefle- echo in the finale. an/ia ero oCpameHne KflapMiiJTaaTC- KOMy HanpaBmeHnio aBaHrapfla. B Franco Donaioni coHHHeHHAXHaMana LuecTHflecaTbixro- Verona 1927 flOB noncKn HoHaTOHn GUAM HanpaB- His 1953 meeting with B.Madema jieHbi Ha nccaeflOBaHne HOBWX played a major role in Donatoni's CBOHCTB My3biKanbHon Maiepnn (For evolution and in his approach to Grilly, 1960). B STO xe BpeMa OH npo- Darmstadt avantgarde. In the early AB/iaeT my6oKnn UHTepec K HefleTep- sixties, Donatoni's research moved MHHnpoBaHHbiM npoueccaM B KOMIIO- towards an enquiry into the musical 3MUHH (Per orchestra, 1960). B matter (For Grilìy, 1960). At the nocneAyiouj,ne roAbi floHaTOHH co- same time he was deeply con- cpeAOTOHHAca Ha Tax Ha3biBaeMon cerned with indetermination proce- «HeraTnBHOn» My3bixe (Zrcadlo IV dures (Per orchestra, 1962). In the Quartetto, 1963; Asar, 1964). Pac- following years, Donatoni concen- CMaTpnBaa My3bixa/ibHbiM Maiepnan c trated on the so-called negative TOHKH 3peHHA MHOXeCTBa B03MOXHO- music in Zrcadlo IV Quartetto CTeìi ero pa3BHTHH, xoMno3mop npeA- (1963) and Asar (1964). Conside- npnHA/i aM6nuno3Hyio nonbuxy ring the musical material according C03AaHna CBoero poAa «caMO- to a remarkable multiplicity of per- BbiBOAAmeroca» coHHHeHHH Ha OCHO- spectives, Donatoni succeeded in Be pa3BHTHA CBOMCTB n3HaHa/ibHoro the very ambitious attempt to simu- Maiepnaaa no' 3aaaHHbiM napaMeipaM late a sort of automatic production (Souvenir, 1969, Etwas ruhiger im of the piece itself (Souvenir, 1969, Ausdruck, 1969). Co BpeMeHeM ero Etwas ruhiger im Ausdruck, 1969). Ta/iaHT cTaHOBHTca Bce 6o/iee In his latest production he has be- n3o6peiaieabHbiM, STO OCOGO apxo come more and more confident in npoAB/ineTCfl B p^ae HOBHX KOMHO3H- his extraordinary creative talent pro- unfi, BnpTyo3HocTb n Gaecx nHctpy- ducing several works in which shines MeHTa/ibHoro MacTepciBa xoTopbix Ha- an instrumentai skill that reminds of noMHHaioTPoccnHH. Rossini's virtuosity. neneii CinlS(Ash) RJIH aceHOKoao aorioca for female voice and bass u 6ac-KJiapHema (1988) clarlnet (1988) flbeca rienen, HanncaHHaa no3a- Commissioned by the French xa3y MnHHOTepcTBa xynbTypbi 3>0PyM EOBOM My3HKM TBopHecTBa/iOHaTOHH, noxaHpyara piece is a sort of brief requiem based CBoero pofla KpaTKMM PEKBNEM, B OC- on a line of the Latin poet Gaio Li- HOBe KOToporo aexnT nosTMHecKaa cinio Calvo (82—47 b.c.): Cum iam CTpoKa «Cum iam fulva cinis fuero» fulva cinis fuero. Built on a sequel /ìaTHHCKoro noaia laa JIMHHHMO Kaab- of static panels that seem to rule out BO (82—47r0flbifl0H.3.). FlocTpoeH- ali propulsion, Cinis shows a rest- Hoe Ha aepeflOBaHMM CTATHHHBIX 6JIO- less, broken writing from which KOB, HCK/IIOHAIOLUMX, KA3AAOCB 6bi, erupts an intense faste for virtuosity BCRKOE ABHXEHHE, CONNHEHNE OA- together with a rediscovered plea- H3KO npOHHKHyTO ÒeCnOKOMCTBOM, sure for concrete sonority, BHpTy03HblMH BCn/ieCKaMH H KaK 6bl 3aH0B0 OTKpbITblM OLUyiiieHHeM KOH- Ivan Fedele KpeTHOM COHOpHKM, Lecce 1953 After studying with A.Corghi, he Usan $e*ejte specialized with Donatoni in Siena. Henne 1953 In 1981 he was successfulat the In- nocae oòyHeHHR y Apno Koprn OH ternational Gaudeamus Musikweek npoflo/ixMA 06pa30BaHMe y cppaHKO with Chiari for chamber orchestra flonaTOHH B CneHe. B 1981 roAyero and in 1989 he won the Petrassi nbecaC/i/ar/flnRKaMepHoroopKecTpa competition with Epos. Though a c.ycnexoM npo3Bynana Ha MexnyHa- musician of the post-serial genera- poflHOìi nefle/ie My3biKn layaeaMyc, a tion, Fedele stili retains of serialism B 1989 rofly ero Epos nonynaeT npe- a taste for neat projeets and metic- MMio Ha KOHKypce neipaccn. Byaynn ulous calculations together with an K0Mn03nrap0M nocT-cepiianbHoro intense interest for sound. His pro- riOKO/ieHHR, Oeflene coeflHHRei B CBO- duction includes works forthe thea- EM TBOPNEOTBE B Creiamo flxépsaaoHK Stefano Gervasoni BepraMO 1962 Bergamo 1962 YMMACA y HMKKO/IO KactwibOHM N Auno Gervasoni studied with N.Castiglioni Koprn, a Taxxe noceiuan ceMHHapbi and A.Corghi and attended semi- Jlynflxn HOHO, BpitaHa (PepHexoy nare with L.Nono, B.Ferneyhough H neTepa STBOwa. HxepBa30HM c and P.Eotvos. He was successful in 6o/ibUJHMycnexoM npnHMManynacTMe several international competitions B pflfle MexAynapoflHbix xoHKypcoB (G.Petrassi 1987 and 1989, Mon- ([Ó00peao neipaccH 1987 n 1989, treal Forum 1991, Mozart Musik- Montreal Fòrum 1991, Mozart Musik- verein 1991), and he is regularly verein 1991), ero coHHHeHna pery/rap- performed in the most important fes- HO NCNO/LHAIOTCA HA BAXHEMLUHX cjtec- tival of contemporary music. From TMBANAX COBPEMEHHOII MY3BIKN. his rich catalogue we can mention: H3ero oOwnpHoro cnncxa coMHHeHnii In Eile Zogernd ( 1986),.and Sensi- MOXHO Bbifle/iHTb: In Eile Zogernd bile for orchestra (1989), Gelosia (1986) n Sensibile ara opxecTpa dell'eco (Jealousy of the Echo (1989), Gelosia dell'eco («Xa/no3u 1988), Su un arco bianco (Upon an 3X0», 1988), Su un arco bianco («Ha are of white 1991) for ensemble, 6enoù Ayre») a/ia aHcaMb/ia (1991) and some works in which the voice HpflflCOHHHeHMM.BKOTOpblxrOnOCCO- is combined with the most varied in- HeiaeTCA c caMbiMM pa3Hoo6pa3HbiMn strumentai groups: Un recitativo HHCTpyMeHTa/ibHbiMn aHcaMS/iAMit: ( 1988), Quattro voci ( 1988), Dialo- Un recitativo (1988), Quattro voci go del fischio nell'orecchio e di un (1988), Dialogo del fischio nell'- rospo ( 1990). orecchio e di un respo ( 1990). Su un aroo blanoo (Upon an Are Su un aroo bianco («HaBenou of White) smfonietta with flute flyae») cuM<ì>OHuemma and violin concertante (1991) c cpjieùmoù u cKpunKOù In this piece, the title of which is KOHHepmaHme (1991) taken from a line by E.Dickinson, two 3ia nbeca, Ha3BaHwe KOTopoit B3A- contrasting formai intentions coexist: TO H3 CTpOKH 3./],HKMHCOHa, 6a3M- on the one hand, the choice of very pyeTcn Ha npwHunnax MCxycHoro simple means and minimal gestures pMTMMHecKoro BapbnpoBaHHA npoc- driven bytheelementaryprincipleof Teitujnx aneMeHTOB. Sia BapbnpoBaH- repetition; on the other hand,a sub- Han noBTopHOCTb HenpepbiBHO MeHA- tle rhytmic elaboration that continu- eT CMbic/i HananbHbix nocipoeHHM. ally changes the meaning of the el- KaxeTCH, 4T0flxepBa30Hnx0TeA noBe- ements chosen, simultaneously AaTb ncTopmo, ncno/ib3ya HanMeHb- giving and taking away a centre to niee KO/inHecTBO CJIOB, npnaaBan MM the structure. It looks as it Gervasoni RHLUb pa3Jll44Hbie CMbICJlbl nytOM eflBa wanted to create a tale using as few 3aMeTHoti nepeaKLieHTyauMH. words as possible and giving them different meanings just by moving theaccents. riayK TKan Honbio A Spider sewed at Night Be3 CaeTa Without a Light Ha Ee/ioH flyre Upon an Are of White (3AUKHHCOH N! 1138) (E.Dickinson n.1138) 22 $OPyM HOBOM My3LIKM 2? OKTHÓpa: • 27 MaTTeo H'AMHKO Matteo n'Amico PMM 1955 Rome 1955 ClocAe oSyneHHR y [ynflo Typnn, After studying with G.Turchi, UpMbi PaBMHa/ie n 0paHKO,£lOHaTO- I.Ravinale and FDonatoni, DAmi- HH, A'AMMKO C ycnexoM FLEMOHCTPN- co took part successfully in some poBa/i CBOM COHHHEHHR Ha Mexay- international competitions: Martin HapoflHbix KOHKypcax: Martin Codax Codax 1985, V.Bucchi 1985, Mu- 1985, BaneHTMHO Bywn 1985, My- sic Today Tokio 1988. A musician 3bixa cerogHa(TOKHO 1988). BYAYHM who prefers the logicai and con- K0Mn03HT0p0M, fl/IR KOTOpOTO AOTH- versational aspects of composi- SECKAA BBICTPOEHHODB CONNHEHHR N tion, DAmico has developed an ero OTKpbiTOCTb ANN cayLuaTe/ia OAH- extremely agile personal writing, H3K0B0 BaXHbl, A'AMHKO BbipafiOTaA rich in rhytmic and timbric con- HCK/llOHMTe/lbHO XMBOH CTMAb ItHCb- trasts. Especially interested in the Ma, nOBHblH pMTMMHeCKOrO H TeMfi- relationship between music and pOBOrO pa3H006pa3HR. rtpOABARA other heterogeneous elements r/iyòoKHH HHTepec K B3anM0Aeìi- such as word, image and dance, CTBMIO My3blKH C SAeMeHTaMM Apyrnx he has worked for the theatre and ncKyccTB, SyAb TO CAOBO HAM anac- cinema. THnecKHH o6pa3, OH MHOTO paSoTaA L'esprit de la mort Ann TeaTpan KHHO. for nine performers (1997) L'esprit de la mort This suite derives from the mu- «AH aeBsmu uHcmpyMeHmoB (1997) sic of La Ronde, a ballet based on A.SchnitzIer'sfie/'gen, realized STO COHHHeHHe RBAReTCR CIOHTOH for the Teatro Comunale in Flo- M3 óaneia Ronde, HanncaHHoro no rence in 1995. Schnitzler's ten Reigen AAb0peAa HlHHTiinepa n dialogues are tranformed into as NOCTABAEHHORO B 1995 roAy <})AO- many pas de deux, enlivened by peHTHMCKHM Teatro Comunale, fle- the irresistibile vitality of themes CRTb AnaAoroB IllHMTunepa npeBpa- taken from operetta, cabaret and TMAMCb COOTBeTCTBeHHO B AeCRTb café chantant. They alternate with na-Ae-Ae, KOTopbie K0Mn03HT0p ten 'choral dances' imbued with ocTpoyMHo «npiinpaBHA» aneivieHTa- a dark and pensive mood. The MH onepenbi, MyabiKn Ka6ape M whole work is plunged in an at- Kacfie-iijaHTaHa. MM KOhTpacTnpyioT mosphere that shifts from irony AeCATb «XOpaAbHblX TaHueB», oxpa- and disenchantment to slapstick lueHHbix B cyMpaHHbie TOHa. Ilo CBO- vaudeville and the grotesque of eMyxapaxTepy nbeca SaAaHcnpyeT danse macabre. MexAy ropbKoii npoHnew, (Jiapco- BblM BOAeBMAeM M TpOTeCKOBOH nAfl- CKOH CMepTH. II AJteccaHXpo CtfopAOHM Alessandro Sbordoni Pmm 1948 Rome 1948 nocAe 3aBepuieHHR ynebbi yfloMe- Sbordoni studied with D.Guac- HMKO lyaccepo, CSOPAOHM 3aHH- cero and then completed his train- Ma/ica Taxxe c TaxHMM My3bixaH- ing with musicians such as T3MM KSK AUHO MaHHH, 0paHKO E.Macchi, FEvangelisti and G.Man- EBaHreAHCTM H/bKHaXOMO MaH30HH. zoni. As the president of the Asso- SÌBARRCb npe3MAeHTOMAcCOUHau.HH ciazione Nuova Consonanza in Nuova Consonanza B PnMe, C6op- Rome, Sbordoni organized the fes- AOHM 0praHH30Ban H ycneumo npo- tival of the association for many BOAMT yxe Ha npoTRxeHMM MHOTMX years. His compositions have been /ìeTCjteCTMBarib. MHOrHeCOHHHeHHR commissioned by several important CbopAOHH HanncaHbi no 3axa3y iTistitutions and his works are nor- KpynHeHLUHxcJ)ecTHBaAeH, ero npo- mally performed by internationally H3BeAeHHR pery/iapHo ncnoAHRioTCR famous soloists and groups. From H3BeCTHblMH COAMCTaMM M KOAAeXTH- hisvastcataloguewe can mention: B3MH. CpeAH obwMpHoro cnncxa Eros: Libra { 1988), Le strade dell' ero coHHrfeHHH onepbi Lighea aurora (Dawn's Roasd, 1989) for ( 1988), Fabula (1994) nSehn-sucth piano; the operas: Lighea (1988), ( 1966), nbeca grm BMonomeriM H an- Fabula (1994) and Sehn-sucth CAMOAA Eros: Libra (1988) H Le (1966). strade dell' aurora AAR JlyvaHo EepHO Luciano Berio OHe/ibA 1925 Oneglia 1925 B 1953r0flyc0BMecTH0cBpyH0Ma- He is the founder with B.Maderna AepHa JlyaaHO Bepno 0CH0Ban Ciy- of the RAI Phonology Centre in flWO 3/ieKTpOHHOM My3blKH npH MM- Milan and has carries out a vast jiaHCKOM panno. OH BeaeT aKTHBHyio didactic activity especially in the neflarornHecKyio AeATeAbHOCTb, U S A. After his serial experience npenMymecTBeHHO B CLLIA. Ilocjie in the fifties, Berio approached cepnìiHbix paGoT 50-x TOAOB, OH the Darmstadt avantgarde while c6anxaeTCH c flapMiiiTaATCKUM working successfully in the elec- aBaHrapflOM, npoAoaxaa ycneuiHO tronic field. His mature creations paGoiaTb B c0epe SNEKTPOHHOÌI begin with Serenata (1957), fol- My3biKn. 3a ero nepBbiM 3pe/ibiM co- lowed by other significant works: HMHeHneM — Cepenafloìi ( 1957) — Sequenza per flauto (1958), Al- nocneflOBann npyrne 3HaHHTe/ibHbie leluia n.2 per orchestra (1958) paGoTbi: CeKBeHpiAfi psm 0aeìÌTbi and Thema (1959) taken from (1958), Annenyùn N°1 ara opxecT- James Joyce's Ulysses Among pa ( 1958) n TeMa ( 1959) no poMaHy his rich production for the theatre flx. flxoiica «ynncc». Cpenn ero stand out Passaggio (Milan 1963), Laborintusll (Paris 1963), MHOrOHHCAeHHblX COHHHeHHM ARA Opera ( 1970-71 ),Unre in ascol- My3bixanbHoro Teaipa BbiAeRADTCA to (A King is listening, Salzburg Passaggio (MMASH, 1963), Ila6n- 1984) and Outis (Milan 1996). pnHTbi II (flapnx, 1963), Onepa Berio's taste for instrumentai vir- ( 1970—71 ),Unre in ascolto (3aRbu,- tuosity is particularly evident in 6ypr, 1984) n Outis (Mn/ian, 1996). Sequenze forvarious instruments npncTpacTne Bepno K HHCTpyMeH- and in Chemins. TaRbHoti BnpTy03H0CTn ocoGeHHo Apxo npoABAAeTCA B un iene nbec ARA Chemins II pa3AHHHblX COAbHblX HHCTpyMeHTOB for viola and nine instruments CeKBeHpm, a Taxxe B Chemins. (1967) Chemlns II flnH a/mma In Chemins, Berio experiments u fleBHmu uHcmpyMeHmoB a technique based on overlapping (1967) complex musical structures de- B Chemins Bepno onpo6npyei rived from one centrai line. This rexHHxy HannacTOBaHHA My3bixanb- principle of expanding a pre-ex- Hbix CTpyxTyp, nponcxoAALU,nx 113 isting work comes from a rare abil- OAHOH UEHTPANBHON RHHHH. RIPNH- ity to discover multiple possibilities unn C03A3HMA HOBOrO COHHHeHHA of development in the originai work. HA OCHOBE yxe cymecTByiOLuero Consequently Chemins II, based CBA33H CO CTpeM/ieHHeM OTKpbITb on Sequenza IV for viola, builds HOBbie B03M0XH0CTH pa3BMTI4A a sort of commentary that deve- opnrHHaRbHoro coHHHeHHA. Che- lops the many harmonic charac- mins II, ocHOBaHHbiM Ha CeKBeHpm ters of the centrai frequency, VI ARA aRbia CORO, CTpomca Ha oc- often hidden behind extreme HOBE AHCAM6REBBIX «KOMMEHTAPW- polyphonic virtuosity. eB», KOTopbie 0a co/lucia, sacra Byannpyn ee B BHP- 0 King Tyo3Hbix noAH0OHnnecKnx nepenne- for voice and flve performers (1967) TeHHRX. 0 King «AH aoAoca The piece is dedicateci to Mar- u nflmu ucnoAHumeAeu (1967) tin Luther King whose nanne, split ribeca nocBRiueHa MapTHHyflio- into phonetic fragments, makes Tepy KnHry, HMR KOToporo, pa3fle- up its verbal material. The piece aeHHoe Ha oTAe/ibHbie (JtOHeMbi, n consists of the cyclic repetition of COCTaBAReTTeKCTCOHMHeHMR. KOM- a series of sounds and on each n03HU,HR COCTOHT H3 UHKAHHeCKHX sound are sung first the vowels nOBTOpeHHH3ByKOBblCOTHblXCepHH. (OAIU), then the syllables (MALU) CHasa/ia pacneBaioTCR raacHbie and finally the whole name. A se- (OAIU), 3aieM CAorn (MALU) n , na- ries of 21 notes combined with as KOHeu, noiiHoe mmr. Cepnn H3 21-ro many metric unities creates a sort 3Byxa B COHeTaHHH C pHTMHHeCKHMM of cantus firmus performed by the napaMeipaMH o6pa3yioT CBoero voice and doubled by the instru- poAa cantus firmus — napinio, nc- mentai parts. Anticipations and noAHaeMyio roaocoM n AyfianpyeMyio delays produce reverberations HHCTpyMeHTaMH. 3i"a no/wMe/io- and refractions which suggest AHHecxaa nanrnpa npnoSpeiaeTAO- the idea of a polymelodic palette. noAHHTeAbHoe myCMHHoe H3Mepe- Franco Bonatoni Hiie 6/iaroAapfi peBep6epau,MRM n pe Apmypo TocKaHUHU opKecmp 6HJI 0CH0BaH B 1975 roay no HHHanaTHBe pnaa ropoAOB pernoHa SMHAHH-PoMaHbn. YnpGJKAeHHbiH KaK HaunoHajibHbiH, TOCKCIHUHU opKecmp noAynaeT M (JjHHaHCOByK) noAAep>KKy pernoHa 3MHAHH 2 POMaHbH. BoAbLUOH COCTaB OpKeCTpa H THÓKaH CHCTeMa MEHEA>KMeHTa n03B0AHK)T AGTKO nepe- cTpaHBaTb CHM0oHHnecKHH KOAAeKTHB B onepH- 0 blH opKecTp HAH K3MGpHbIH aHCaMÓAb. RnpH- >KepaMH opKecTpa B pa3Hoe BPEMH óbiAH TaKne H3BeCTHbie My3bIKaHTbI KaK ribep BeAAyA>KH (1980—1981), rioHTep HOGXOAA (1982—1985), BAaAHMnp HeAbMaH (1986—1988) n Xy6ep Coy- „ AaH (1988—1991). C opKecTpoM coTpyAHHnaAH ® TaK>KE TAKHE BbiAaromnecH AnpHJKepbi KAK PnKa- PAO MaflAH, 3y6nH MeTa, H>KOH PIpHTnapA, Q PyAOAb0 Bapmaft, HaHHSAb OpeH. C 1992 roAa fi TAaBHbiM A«pH>KepoM TocKaHUHU opKecmpa g HBAHeTCH H>KHaHaApea H>KaBa33eHH. A KpOMe 3KTHBH0H KOHUGpTHOH AGHTeAbHOCTH, ^ BKAioHaiomeH CHM0OHHHGCKHG H onepHbie P KOHqepTbi, KOTopue npoBOAHTcn B TeaTpax pe- rnoHa SMHAHH-PoMaHbH, TOCKCIHUHU OpKecmp noAAep>KHBaeT HaynH0-HCCAeA0BaT6AbCKyi0, fjJ npOCBGTHTGAbCKyK) H nyÓAHUHCTHHGCKyiO AeH" yA TeAbHOCTH, CnOCOÓCTByGT npOBGABHHKD CeMH- HapOB H BbICTaBOK. M ; C 1985 roAa opKGCTp np0B0AHT GMCTOAHUG O Me>KAyHapOAHbI6 KOHKypCbl no AHpHKHpOBaHHIO HM6HH ApTypO TocKaHHHH H no K0Mn03HU.HH, s Ha3BaHHbie B HGCTb rO00p6AO IlGTpaCCH, KOTO- pblH HBAHGTCH npG3HA6HTOM STOTO TBOpHGCKOTO fi COCTH33HHH. s COBpGMGHHaH My3bIKa 33HHMaGT B37KHOG M6C- TO B penopTyape opKecTpa. HGPGAKO ueAbiG KOHIlGpTHbIG Ce30HbI nOCBHLUGHbl COBpGMGHHblM nporpaMMaM, B KOTOPHX ncnoAHHioTCfl Tax>Ke H COHHHeHHH, CnGUHaAbHO 3aKa3aHHbI6 OpKeCTpOM H3BGCTHbIM KOMn03HTOpaM. TOCKOHUHU opKecmp CTAHOBHTCH BCG ÓOAGG aKTHBHMM ynaCTHHKOM BeAylAHX HTaAbflHCKHX 0ECTHBAAEN — B PSBGHHG, BOAOHBG, Biennale di Venezia, Settembre Musica B TypHHG. KOAAeKTHB HBAH6TCH HaCTblM TOCTeM MHOTHX H3B6CTHHX 3apy6eWHbIX 0GCTHB3AGH — B 1990 TOAy OH CT3A TAaBHblM ynaCTHHKOM 0GCTHB3AH II COBpeMeHHOH My3biKH B Hbio-HopKe, opra- HH30BBHH0M c0BMecTH0 c Settembre Musica TypHHa, B nocjienyiomHe roAbi opKecTp ycneiiiHO BbicTynaji B BeHe, AcfiHHax H ManpHne. HbiHeiiiHHH BH3HT B POCCHK) — He nepBbift: B 1990 roAy TocKaHunu opnecmp npoBeji PNN KOHuepTOB B MocKBe H JleHHHrpafle, r«e BbicTynaji c0BMecTH0 c BbinaiomHMCH TeHopoM JlysaHO FlaBapoTTH. TOCKCIHUHU opKecmp HBJINETCH YSPEFLHTEJIEM MEIKAYHAPOAHORO (^eCTHBajIH COBpeMeHHOH My3bIKH, KOTOpblH B 1992 rofly 6biJi HarpaxAeH cneuHajibHbiM PflAfMHA npH30M EBponeftcKoro 3K0H0MHiecK0r0 CoofimecTBa "KajieHnocKon" H OAHOH H3 caMbix npeCTHWHblX HTajIbHHCKHX My3bIKajIbHbIX Ha- rpan — Premio Abbiati, KOTopyio HTajibHHCKoe 06meCTBO My3bIKajIbHbIX KpHTHKOB npH- CBaHBaeT 3a Jiyninee cosHHeHHe roaa — HM CTajio Dedica HwaKOMO MaH30HH, HanncaHHoe no 3aKa3y opKecTpa. B nepeiHe HaHSojiee Ba>KHbix KOHuepTOB opxecTpa — BbicTynjieHHe KOJiJieKTHBa B BeHe- UHaHCKOM Teatro La Fenice B paMKax Biennale Musica, nocBHmeHHoro JIyHn>KH H0H0,a TaioKe HcnojiHeHHe opaiopHH «HJIHH» MeHneJibcoHa non ynpaBJieHHeM H>KHaHaHApea H>KaBa33eHH Ha Ravenna Festival. VÌ3 3HaHHTe«bHbix COÓWTHH ÓHorpa^HH opKecTpa nocjieflHHx jieT oTMeTHM TaK>Ke HcnojiHeHHe onepbi La Cetra Uppesa, HanHcaHHofl AUHO Koprn K 50-jieTHio OKOHS3HHH (J)EJ|E[|E BOHHbi, npeMbepa KOTopofl cocToajiacb 25 anpejifl 1995 rofla B uepKBH CaH ITeTpoHHO B BOJIOHHH Ha $ecTHBa,ne Biennale di Venezia centenary. B TOM >Ke rony TocKanunu opnecmp Ha OTKPHTHH Biennale Musica B UEPKBH CB. CTE^AHO BnepBbie HcnonHHJi onepy AnpnaHO TBapHepH Quare tristis, nonyHHBmyro npH3H3HHe xax cjiymaTejieH, Tax H KPHTHKOB. Bojibmoe BHHMaHHe ynenneT opKecip npo- rpaMMaM Ha panno H TeneBHfleHHH. 3HasHTejib- HbiMH BbicTynjieHHHMH TaKoro pona 3a nocnen- Hee BpeMH CTajIH 3aKJIIOHHTejIbHbIH KOHltepT (JiecTHBajiH-KOHKypca B EonoHbe H TpaHCJiH- poBaBiiiHHCH no EBpoBHfleHHio nacxanbHbiH KOHuepT B TypHHe. BEPHO 28 SOPyM HOBOfó My3HKM fi Toscanini Orchestra was established in 0 1975 on the initiative of the province capitals M of Emilia Romagna. It was established as a jg national orchestra and is sponsored by the m Emilia Romagna Region. fi The large number of players and an appro- priate flexible management enable Toscanini fi Orchestra to count on a Symphony orches- Q tra, one or more opera orchestras and cham- PS ber ensembles. (B Conductors of great experience and inter- •3 national prestige, like Piero Bellugi (1980— 1981), Gunter Neuhold (1982 — 1985), M Vladimir Deiman (1986—1988) and Huber Soudant (1988—1991), have worked with the Toscanini Orchestra on a permanent basis, while others, like Riccardo Chaily, Zubin Me- Stha, John Pritchard, Rudolph Barshai, Daniel H Oren have been guest conductors. Gianandrea «0 Gavazzeni has been the main conductor since 1992. Together with the performance activity of t\ the symphonic and opera seasons (which the Toscanini Orchestra organizes autonomously) in Emilia Romagna theatres, the orchestra O promotes didactic, publishing, congressional, research, professional training initiatives and exibitions. Q Since 1985 the Toscanini Orchestra has organized the annual Internationa! Competi- A tions for Conducting 'Arturo Toscanini' and ^^ Composition 'Goffredo Petrassi', whose presi- dent was Goffredo Petrassi. Q Contemporary music has an important place (0 in the repertoire of the orchestra which peri- O odically holds seasons of contemporary mu- H sic with first performances of compositions © specially commissioned to musicians of inter- national renown. 00 The Toscanini Orchestra participates more and more frequently in important a festivals in Italy (Biennale di Venezia, ^ Ravenna Festival, Bologna Festiaval, Settembre Musica, etc.) and abroad. In re- cent years the orchestra was in Russia in 1990 S (Moscow and Leningradi, with tenor Luciano II Pavarotti. In the same year it was in New York as the protagonist of the New York Fes- VACCHI tival of Contemporary Music organized in collaboration with Turin Settembre Musica. The following year a similar initiative was pp successfully taken to Athens after the July performances in Vienna, an event in the Vi- ennese Summer. The orchestra was then in Madrid in October 1993. The Toscanini Orchestra's Festival Internazionale di Musica Contemporanea was awarded by the Kaleidoscope'92 of the European Economie Community and, in the DALLAPICCOLA same year, the Premio Abbiati'92 of the Ital- ian society of music critics for the best com- position of the year (Dedica commissioned to Giacomo Manzoni). It has to its credit several radio and tele- vision programmes (some of them in world vision) and symphonic and opera recordings. In 1993, the orchestra performed in Venice at the Teatro La Fenice, for the Biennale Musica in honour of Luigi Nono; Gianandrea Gavazzeni conducted Mendelsson's Eliajah SOLBIATI at the Ravenna Festival. On May 1995 in Paris the Toscanini Orchestra has per- formed La Cetra Uppesa, composed by Azio Corphi for the 50th anniversary of the Liberazione, and premiered on Aprii, 25th at the San Petronio's church in Bologna for the Biennale di Venezia centenary. The FEDELE Toscanini Orchestra has opened the Biennale Musica with the world's first per- formance of the Adriano Guarneri's opera Quare tristis, presented on the lst July, 1995 in the St.Stefano's church and received by unanimous consent by the public and the critics. The Toscanini Orchestra is intensively ac- tive on radio and TV, where its last perform- ances were the final concert for the City of Bologna Concorso 2 Agosto, and the eurovision concert in Turin for the Sunday Easter 1997. The Toscanini Orchestra is twice winner of the Premio Abbiati, one of the most prestigious Italian musical prizes. 30 3>0PyM HOBOM My3HKH ASOPSXHO EepHacxoHH Giorgio Bernasconi POAHACR B JlyraHO Born in Lugano in 1944. He B 1944 TOfly. B 1976 roAy graduateci in horn in 1967 at 3a<0HMHA MnAaHCKy» KOHcep- the Milan G. Verdi Conserva- BaTopmo MMeHH flxy3enne toire. In Germany he studied BepflH no KJiaccy BamopHu. composition with Klaus Huber U3ysaA K0Mn03Hu,m0 y K/iayca and conducting with Francis Xy6epa H ANPNXNPOBAHME Travis at he Freiburg Hoch- y cppaHCMca TpaBnca schule tur Musik where he B BblCLUeM UJKO/ie My3blKH graduated in 1976. For years Opanóypra. B TeseHnn he has been the leading spirit HeCKOAbKHX lieT BepHaCKOHH and director of the Cremona SUA AHpexTopoM Gruppo Gruppo Musica Insieme. He Musica Insieme has collaborated with the sing- B KpeMOHe. er Cathy Berberian, with whom CoTpyAHHHa/i c BbiAacLueìicR he gave several concerts in neBHuen Kara BapGepnH, Italy and abroad. Since 1982 OH npoBen PRA KOHpepTOB he has conducted the Geneva B 1/lTa/iMM H 3a ee npeAe/iaiviM. ensemble Contrechamp, with C 1982 roAa BepHacxoHH bbjih- which he constantly appears eTCR AupnxepoM aHcaMB/ia at the most important Euro- Contrechamp (XeHeBa), pean music halls. With the C KOTOpblM OH nOCTORHHO BblC- same ensemble he has made TynaeT B /ìynwHX KOHuepTHbix tours in South America, India, 3a/iax EBponbi. CoBMecTHO Japan and Russia among c 3THM aHcaMGaeM OH racTpo- others. Further to this AHpOBaA B RnOHMH, UhAHH, activity he is an often guest POCCHH, cipaHax IOXHOH Aiue- conductor of several Italian PHKH M AP- KpoMe aToro Bep- and foreign orchestras HaCKOHH sacTO npHraaujaeTCR such as the Orchestra della p33/lHHHblMM HT3AbRHCKHMH Radio-televisione della H 3apy6exHbiMH opxecTpaMH, Svizzera Italiana, T3KHMH Jlyn a a Kac?eJiJiaHM Luisa Castellani Jlyn3a KacTen/iaHM Luisa Castellani has BbicTyna/ia c PHAOM n3secTHbix performed with the London opKecipoB, Sinfonietta, the orchestras ot Taxnx KaK London Sinfonietta, Radio France, the BBC, the opxecTpbi Radio France, BBC, Italian television (RAI) and of Te/ieBHAeHna Hiannn Santa Cecilia. She also col- u Cama Hennnnn. OHa laborates with such ieading COTPYAHHHAET c BEAYMNMN aH- ensembles as the Contre- caM6nHMn coBpeMeHHoii My3bi- champ (Geneva), Ensemble KH — Contrechamp(XeeeBa), Modem (Frankfurt) and the Ensemble Modem (OpanK- InterContemporain (Paris). 0ypi), InterContemporain Luisa Castellani is one of the (ilapnx) M AP. CnepnanbHO pm singers most preferred by Jlyn3bi KacTenaHHn Luciano Berio, who wanted flynaHO Bepno nanncan her for the new edition of HOByra Bepcmo Calmo. Calmo. She has also been (leBnua aacTO AaeT Maciep- invited to hold masterclasses Knaccbi — B LLJBeìiuapnn, Bem"- in Switzerland (Biel), Hungary pnn (cpecTHBanb BapTOKa), (Bartok Festival) and atthe ApreHTHHe (Teatro Colon) n AP- Teatro Colon of Buenos Aires. B 1991 roAy OHa nonyanna In 1991 she won the Gino Tani onepHyo npeMmo Gino Tani. Prize for Opera, and in 1993 B 1993 roAy KacTennaHn took part in the first ynacTBOBana B npeMbepax performances Le esequie della Luna OpaH- of Francesco Pennisi's necKO neHHH3n n Sinfonia con Le esequie della Luna together Rosignolo HHKKOJIO KacTnnbOHn, with the Toscanini OCyLUeCTB/ieHHblX COBMeCTHO Orchestra in Parma, c TocKaHMHU opKecrpoM B flap- of Niccolo Castiglioni's Me. C 3THM xe KOAneKTHBOM Sinfonia con Rosignolo. neBnpa Bbiciynana na Also with the Toscanini 0ecTHBanax Settembre Orchestra she has sung in Musica B AcJonHax ( 1991 ), concerts organized by npare (1992), MaAPHAe Settembre Musica in Athens (1993), napnxe (1994) (1991), Prague (1992), n BocTOHe (1995). Madrid (1993), Paris (1994), and Boston (1995). 32 3>0PyM HOBOM My3UKM PeAaKTop-cocTaBMTeAb H nepeBOflHHK Ba/iepna ropoxoBCKan The author-editor, translator Valeria Gorokhovskaya