october 20208 2 ESZ news Edizioni Suvini Zerboni - Fourmonthly Newsletter Golden Lion On the occasion of the 64 th Festival Internazionale di Musica extraordinary violist Garth Knox, who was then part of the Contemporanea, the Biennale di Venezia awarded Luis de ensemble. On listening to him I promised myself I would Pablo the Golden Lion for Lifetime Achievement, previously sooner or later write something for him. I had the fortune and o

l assigned to figures like Goffredo Petrassi, Luciano Berio, honour to do so now, thanks to the Festival della Biennale di

b György Kurtág, Wolfgang Rihm, Pierre Boulez and Sofija Venezia». The Concierto is in three movements: Rapsodia , Gubajdulina. The artistic director of the Biennale Musica, Ivan Susurro and Melodías secretas . The treatment of the viola is a Fedele, explained the decision of the jury: «The Golden Lion very lyrical, with a flexible, almost dreamlike tendency, but at P

for Lifetime Achievement is the recognition of the masterful times also brilliant; the orchestra has a multifaceted relation

e work of the greatest living Spanish composer: Luis de Pablo. with the soloist, either in dialogue or within a contrapuntal

d A supreme artist who has known how to catalyze the most network, also interacting with a function of punctuation, significant experiences of contemporary languages into an amplification and commentary. Instead, this how the s

i extremely personal, profound and expressive idiom that found composer introduces Fantasías : «Composed in 2001 on

u its preferred outlet in “mixed” genres. His fertile craftsmanship commission of Radio France, it is dedicated to the person has often merged the experiences of western contemporary who made the request, the great guitarist and friend Thierry L music with the concerns of extra-European music for which Mercier. The work is divided into four movements and the Monographic the Maestro has always had a particular predilection. A great fourth is in turn subdivided into a further four. The result is: concert with two teacher and popularizer, Luis de Pablo must also be credited Rapsodia , Murmullo , Relato , Solo I - Antaño - Solo II - Hogaño premieres at the for having brought to Spain, in a difficult political era, a (where Antaño means “the past” and Hogaño “the present” in awards ceremony powerful idea of freedom of expression not limited to the field ancient Castilian). Antaño is based on the Fantasía IX by of the Biennale di of art». On September 25 the Teatro alle Tese dell’Arsenale in Alonso Mudarra (XVI century), which explains the title of the Venezia Venice hosted the awards ceremony and a monographic work. I didn’t wish to create a pastiche, but rather to continue concert by the Orchestra di Padova e del Veneto conducted the line of “peaceful coexistence” of styles – or rather: by Marco Angius. The programme included the world materials – that I began with the series of Éléphants ivres , premiere of Concierto para viola y orquesta , violist Garth another commission from Radio France, in 1972. There is a Knox, and the first Italian performance of Fantasías , Concerto certain risk for a Spanish composer in writing a concerto for for guitar and chamber orchestra, with the soloist Thierry guitar and orchestra. There are too many almost inevitable Mercier. Luis de Pablo introduces his Concierto para viola y associations that can affect the listening. I accepted the risk orquesta : «In 1991 during the meetings in Royaumont, I had in full awareness, believing that my personal approach was the great pleasure of listening to the Quartetto Arditti with the sufficiently defined to prevent any prejudice: Spain and its

continues on page 2 Baroque Exploration

A world premiere for Aureliano Cattaneo on November 28 The Baroque instruments were therefore chosen to provide at the Tonhalle Maag in Zurich. Arco for Baroque and modern me with a wide palette of sounds (for example, the possibility instruments will be played by the Collegium Novum Zürich – to explore microtonality thanks to the natural tuning of the o who commissioned the work with the support of the Ernst von horn or through the retuning of the harpsichord). The modern e Siemens Music Foundation – directed by Emilio Pomarico. instruments were selected to extend, double and reflect the n The composer explains: «I have already written for Baroque Baroque ensemble. This doubling was conceived in such a a instruments in previous works, for example in my chamber way as to obtain asymmetric pairs, like harpsichord-harp,

t t opera La philosophie dans le labyrinthe , to a libretto by chalumeau-flute, Baroque oboe-trumpet, natural horn-

a Edoardo Sanguineti about the myth of the Minotaur, and in my trombone, etc. The work is in a single movement, lasting vocal cycle Parole di settembre , again on texts by Sanguineti about twenty minutes, divided into various highly contrasting

C

inspired by the paintings of Andrea Mantegna. There are parts. The piece starts from the Baroque instruments, which o various reasons for my interest in Baroque instruments: produce only breaths, noises, strokes, which are gradually Investigation of the n 1) The special colour of the sound. Their capacity to produce transformed into sound, a sort of skeleton of a minuet forming sound of ancient a many different nuances. 2) The use of certain techniques that the starting point of a journey/dialogue between the past and i instruments on stage l have been subsequently used in contemporary music: the present history of the instruments». Aureliano Cattaneo’s in Zurich e control of the vibrato in the messa di voce , the flattement (a Estroso for violin, sopranino recorder and Baroque orchestra r kind of whispering), detuning… 3) The use of different types was performed on August 27 at the Kölner Philharmonie in u of tuning that precede (and go beyond) the tempered system. Cologne and on August 31 at the Kursaal in Merano during

A In the compositions mentioned above, my use of Baroque the Südtirol Festival, with the violinist Patricia Kopatchinskaja instruments was also linked to a confrontation with certain and the Giardino Armonico, directed by Giovanni Antonini, Baroque fragments and styles, in a constant and fruitful who was also the sopranino recorder soloist. The same artists dialogue with the past. In Arco I extend these ideas by using have recorded the work on the CD What’s Next Vivaldi? two ensembles, one Baroque and the other modern, to (Alpha Classics/Outhere Music Alpha 624), which alternates underline the elements they share in a twofold direction: virtuoso concertos by Vivaldi for violin with compositions by exploring how the sound of the Baroque instruments living composers, mostly commissioned for this recording contaminates that of the modern instruments and vice versa. project. Finally, on September 27 , Paco Varoch played The attention is therefore focused not only on the special Visibile for piccolo in the Sala de Cámara of the ADDA timbre of the Baroque instruments, but also on their possibility Auditorio de la Diputación de Alicante, during the Festival to explore microtonality and the new instrumental techniques. Contemporáneo de Alicante. Malika Kishino Four new works from Japan to Germany Like a Fragrance

A w orld premiere for Malika Kishino at the start of Autumn. seen many rituals. Each moment of life has its own rituals. On October 9 in the Recital Hall of the Opera City in Tokyo, My composition is built on a series of musical gestures Satoshi Inagaki, piano, Noriko Miyamoto, marimba and the like attack, rising movements (glissandos), abrasive or Ensemble Nomad directed by Norio Sato will play Oud , fluctuating sounds. Within the flow of sound these gestures double concerto for marimba, piano and ensemble, continuously reappear, as if they were marking the stages of commissioned by the Takako Arakida Fund. The work will be the evolution of the music. Ritus was commissioned by the played again by the same artists in its European premiere Hessischer Rundfunk in Frankfurt and was written for the hr- on November 21 during the Ensemblefestival für aktuelle Sinfonieorchester». Another world premiere will take place Musik in Leipzig. The composer explains: «Submerged in Germany on January 10 , at the Sophienkirche in Berlin, fragrance ( 沈香 ). The reverberation and resonance that where Anna-Victoria Baltrusch will play Air Song for organ, result from a dry stroke on the marimba, alongside the commissioned by the Evangelische Kirchengemeinde am richness of its spectrum and its natural “woody” sound, Weinberg for the 50 th anniversary of the Schuke organ. The Roberto Fabbriciani remind me of the fragrance of wood. Agar, kyara, composer tells us: « In his lyric Talismani Goethe wrote “In sandalwood… The scents of these woods used for incense the act of breathing there are two gifts of grace: taking in the On August 8 at the Sito have always been appreciated throughout Japanese history air and being relieved of it. The former oppresses, the latter Archeologico in Torre di and culture. According to a legend, agar wood arrived in refreshes; life is so wonderfully mixed. Thank God when he Pordenone, during the Japan when a cargo of incense was shipwrecked. People burdens you, and thank him again when he sets you free”. Festival “Un Fiume di noticed that the wood had a wonderful scent when it came A pipe organ is a living organism, with mobile parts and a Note”, Fleuno “flauto close to fire. We can enjoy the scented wood as “sonic respiratory system, all integrated within a complex. In Air inimitabile” for flute and fragrance” in music. The woods emanate their essence, Song I attempted to represent this organism through Alchemies for double bass which spreads through space. The fragrance changes contrasts like breathing in and out, oppression and release, flute and recorded constantly and will finally disappear. But it stimulates our tension and relaxation… As Goethe writes, this mixture hyperbass flute was played sensations, memories and emotions. For me this is similar makes life and music wonderful». A further world premiere by the composer himself, to what I experience with certain musical sounds. These will take place on January 24 at the Museum Ludwig in who repeated the woods derive their scent from an infection caused by a Cologne. Commissioned by the Gürzenich-Orchester Köln, performance on August 30 particular type of mould. During this process the light and the Concerto pour viola for viola and orchestra will be at the Risorgive del the scentless woods produce a dark, aromatic resin that played by Vincent Royer and the Gürzenich-Orchester Köln Gorgazzo in Polcenigo transforms into a dense woody core, dark and covered in conducted by François-Xavier Roth. On July 2 at the (Pordenone). Roberto resin. This gradually leaks out beneath the surface of water. Deutsches Hygiene-Museum in Dresden, Lebensfunke for Fabbriciani has made two This chemical process, which can take tens or even bass drum and electronics was played by Sonja Seong- important recordings for hundreds of years, recalls my process of composition. Ryeom Lee on percussion with Martin Baumgärtel as sound solo flute. The double CD Oud means agar wood. In Japanese we say “Jinko” ( 沈香 ), engineer (from El Perro Andaluz). The Ensemble Horizonte Flutes XXI (Tactus TC literally “submerged fragrance”. My composition starts with a played Aqua vitae II for alto f lute, bass cla rinet, pe rcu ss ion, 980090) opens with Ennio dry stroke on a wooden instrument. Its resonance appears violin and cello on September 20 at the Hawerkamp in Morricone’s Cadenza for and then slowly vanishes in space, like the fragrance of Münster and on October 4 at the Hangar 21 in Detmold. flute and magnetic tape, woods used for incense. It constantly changes state: the On September 25 the Studio Musikfabrik directed by and also includes density, timbre, gestures and form that constitute the Peter Veale performed Vagues des passions for two Alessandro Solbiati’s Ibi, fragrance of the sound, just like what happens at the heart percussionists at the Theater im Pumpenhaus in Münster, bone fabricator , Giorgio of the wood, which must be infected in order to become and will repeat the work on October 11 at the Alte Colombo Taccani’s fragrant. Oud is dedicated to Norio Sato and was written on Feuerwache in Cologne. On October 23 in the Bibliothèque Restless White and commission of the Takako Arakida Fund». A commission Nationale et Universitaire in Strasbourg, Ochres for flute, Eyeless Dark for bass flute, from the hr-Sinfonieorchester led to the composition of oboe and clarinet will be played by Emiliano Gavito, flute, Michele dall’Ongaro’s Ritus for orchestra, whose world premiere can be heard on Adam Starkie, clarinet, and Niamh Dell, oboe. Finally, Traccia , Gabriele Cosmi’s November 20 at the hr-Sendesaal in Frankfurt, during the Ochres II for flute, oboe, clarinet and ensemble can be Gerhard III and Andrea Forum N Kalligraphien, played by the commissioning heard on October 30 in the Alfried Krupp Saal of the Mannucci’s Solo . The CD orchestra conducted by Stefan Asbury. Kishino talks about Philharmonie Essen during the Festival NOW!, with Helen Monochromer Garten this new work: «The Latin term ritus literally means rite or Bledsoe, flute, Peter Veale, oboe, Carl Rosman, clarinet, (Atopos ATP 030) opens ritual. A ritual is a series of acts always done in the same and the Ensemble Musikfabrik directed by Peter Rundel. with Yori Aki Matsudaira’s way. It is linked to human experience; human history has Rhymes for Gazzelloni and also includes Kazuo from page 1 (Luis de Pablo: Golden Lion) Fukushima’s Mei and Requiem , concluding guitars has as many faces as its composers will decide. de la nube…” - II. “… a puro arpegio de oro venerable” - with Malika Kishino’s It is a commonplace to speak of the “lightness” of the guitar. III. “… te expondré el caso de la mandolina” - IV. “… y sobre Monochromer Garten VIII I wanted to make use of this. So, its culminating point el piano olvida el color verde”. Tú voladora is dedicated to for alto flute. arrives with an air of “scherzo, quasi alla toccata” and is the memory of Mario Bortolotto. The first performance of situated immediately after the gate (the Rapsodia ) that the version for solo flute, titled Flauta, tú voladora , will be introduces it. This means to say, once again, that this work played by Roberto Fabbriciani on November 20 in the Sala has its own formal logic and follows no model of the past, Ketty La Rocca of Le Murate in Florence during the GAMO nor alludes to one; its discursive logic moves between two International Festival. On October 17 at the Centro Cultural poles: “liberty” and “relationship”». On July 12 in the Sala Niessen in Rentería, the Festival Musikasta, the music Casella of the Accademia Filarmonica Romana the world week of the Basque Country, will host a monographic premiere – originally scheduled for March 27, but then concert to celebrate Luis de Pablo’s 90 th birthday, curated cancelled due to the Covid outbreak – of Tú voladora for by the Sigma Project Quartet: the programme will include flute and guitar was played by the duo Andrea Biagini and Rumia for saxophone quartet, Le prie-Dieu sur la terrasse MONOCHROMER GARTEN ROBERTO FABBRICIANI Luigi Sini. Written on request of the guitarist for the concert for percussionist, Oculto in the version for alto saxophone, jointly celebrating Luis de Pablo’s 90 th birthday and Marcello and Corola for saxophone quartet, piano and timpani. Panni’s 80 th , Tú voladora consists of a new part for flute that Another monographic concert will celebrate Luis de Pablo freely intertwines with a previous work for guitar, Fábula , on October 26 at the Auditorio 400 of the Museo Reina inspired by the Fábula de Equis y Zeda of Gerardo Diego Sof ía: the ensemble Taller Sonoro will perform Sexteto (1896-1987), a splendid parody of mythological tales in “Nubilus” for flute, clarinet, percussion, piano, violin and tribute to one of the greatest Spanish poets of the Siglo de cello, Dibujos for flute, clarinet, violin and cello, Un día tan Oro, Luis de Góngora. The work is divided into four solo for a flautist and a clarinettist, Segundo Trío for violin, movements, whose titles literally quote some of the lines of cello and piano, and Gemella dell’acqua for ensemble. the creationist poem by Diego: I. “… el caracol, hermano 2 Ivan Fedele New chamber works in Paris, Milan and Song of Rebirth in a French tour

On September 2 in the Grande Salle of the Centre voices accompanied by piano or accordion. The work will Pompidou in Paris, during the Ircam Festival ManiFeste, be performed by the Ensemble Musicatreize directed by the world premiere was given of Leading Lines (Quinto Roland Hayrabedian on November 6 in the Auditorium of Quartetto) for string quartet and live electronics, Draguignan in France, on November 21 in the Studio of commissioned by Grame - Centre National de Création the Philharmonie in Paris, on November 25 at the MC2 in Marco Quagliarini Musicale, Milano Musica and the Association Collectif Grenoble, and on December 6 in the Foyer de l’Opéra in Tana. This premiere, originally scheduled for March 15 Marseille in the morning and in the Courroie in Entraigues Stradivarius has devoted in the Auditorium Orchestre National de in the evening. The composer explains: «This work the monographic CD Lyon during the Biennale des Musiques is a short homage to Ludwig van Beethoven, the Ricercare to music by Exploratoires, then cancelled due the Covid- composer that more than any others in the Marco Quagliarini. It 19 emergency, was given by the Quatuor classical period opened up new paths for music contains Ricercare for Tana with Simone Conforti (Grame) on live and the way of conceiving and listening to it. He piano, Ricercare II for violin electronics. Leading Lines, in five movements, showed us ways whose influence is still felt today. and piano, and Ricercare is the fifth string quartet by Ivan Fedele, who For the occasion I chose She Walks in Beauty, a III for violin, played by the has dedicated a significant part of his output to poem by his contemporary Lord Byron, because Duo Ardorè: Rebecca this formation, including a concertante work, it bears witness to the romantic climate and Raimondi, violin, and …la pierre et l’étang (…les temps…) for string sensibility that is clearly evident in late Beethoven. Alessandro Viale, piano. quartet, percussion and string orchestra, and The composition has soft hues, the three female On November 28 Anna three quintets: Accents (with piano), Deystviya voices nearly always sing in a homorhythmic way, Serova will premiere Orme (with bayan), and Moroloya ké erotikà (with soprano). The like a single “vox” with variegated harmonic nuances. The for viola at the Sala della composer tells us: «As suggested by the title, in each of delicacy, sensibility and lightness of the text are reflected Musica della Fondazione the movements there is a leading-line around which the in a transparent and somewhat nostalgic style of writing, Zeffirelli in Florence, during composition evolves. The sound material becomes denser like that of Beethoven’s last “adagios”. I always hold a “Playout”, XVII Festival di through the use of particular stratification techniques great affection for Beethoven and I am particularly aware Contempoartensemble. applied to the first violin (1st and 2nd movement) and to the of his prophetic legacy that makes him still “up-to-date” rd cello (3 movement), which each develop a reference line today». Several of Fedele’s works could be heard during S Marco Quagliarini Ricercare that undergoes variable thickenings in harmonic breadth the month of September. On September 4 at the Teatro and timbre. The inspiration for the sound derives from the Dal Verme in Milan Haru Haiku for soprano, bass clarinet, technique of spectralism, while the 4th and 5th movements cello and percussion on Japanese haiku poetry, was are characterized by an environment of acoustic performed by Valentina Coladonato and the Syntax saturation. In these, the sound material inspired by the Ensemble; Magic for four saxophones was played by the leading-line, once again on the cello, are extended over Quartet Kugel Ensemble on September 8 in the Aula time through intense delays in the shape of swirling Magna of the Conservatorio “Jesús Guridi” in Vitoria

Rebecca Raimondi Alessandro Viale violin piano diachronic spirals. The rare synchronic moments have (Spain), during the Ciclo de Cámara del Principal; Liriche mainly a function of time pivots, that is to say they mark minime for female voice and piano on texts by Gemma the end or beginning of wide formal stretches. In these Bracco was performed on September 16 at the Fabbrica last two movements the musical figures are linked to one del Vapore in Milan, during the Call for Young Performers another through chromatic procedures with an extremely of the Rondò series of the Divertimento Ensemble; the mobile and variable direction and imbue the score with work can be heard again on November 6 in the Sala Ketty fossil impurities, like an archaeological artifact that has La Rocca at Le Murate in Florence during the GAMO Riccardo Malipiero come to light after many centuries». The world premiere International Festival, again with Valentina Piovano, of 4 Haiku for female voice, bass clarinet, cello and soprano, and Yuko Ito, piano; the Suite francese for The label Brilliant Classics percussion will take place in the context of a very special harpsichord was played on September 26 at the Istituto has dedicated the occasion. It will be performed by the soprano Carmela Italiano di Cultura in Cologne, and again the following day, monographic CD Chamber Remigio and the ensemble Sentieri Selvaggi directed by September 27, at the Museum Insel Hombroich, with the Music to the music of Carlo Boccadoro on October 6 during the concert-event soloist Luca Quintavalle. Then, in October it will be Riccardo Malipiero. It titled “Il canto della rinascita” promoted by the Società del possible to here Suite francese VI b for electric 5-string includes Sonata for violin Quartetto, who commissioned the work, in the Sala Verdi violin and electronics on October 3 at the Teatro Kismet and piano, Ciaccona di of the Milan Conservatory. The evening will bring together in Bari during the Festival Time Zones, with Francesco Davide for viola and piano, nine Italian composers in a choral reflection on the Covid- D’Orazio; Immagini da Escher for ensemble will be played Mosaico II (Omaggio a 19 emergency, through nine hymns to life and rebirth, so at the Schwerer Reiter in Munich on October 5, by the Rodolfo Lipizer) for solo that «each of them has the opportunity to express in music der/gelbe/klang Ensemble für aktuelle Musik directed by violin, and Trio for piano, the hope that in this moment every heart is engaged». Kasper de Roo; the Partita for cello can be heard in the violin and cello, played Fedele will take part in this highly significant civil event with Oratorio di San Filippo Neri in Bologna, during the Bologna by the Rest Ensemble: settings of four short texts of Japanese poems written in Festival, with the soloist Michele Marco Rossi. Immagini da Rebecca Raimondi, violin, the aphoristic form of the haiku, which «embrace the Escher will be played again on November 9 at the Studio Daniele Valabrega, viola, themes of beauty, rebirth, and awe at nature and life», de l’Ermitage in Paris, by the Ensemble 2e2m directed by Michele Marco Rossi, cello, Ivan Fedele comments, «this is what we all need in this Florent Didier. Modus for bass clarinet and percussion will and Alessandro Viale, particular moment». Also the premiere of She Walks in be performed on November 18 at the Maison du Peuple in piano. Beauty for three female voices and piano on a text by Brussels during the Festival Ars Musica, by the soloists of George Byron is linked to another important collective the Ensemble 21. Finally, Anna D’Errico will play Études project: the “Douze lettres à Élise”, a tribute to mark the australes for piano on November 23 in San Vito al 250th anniversary of Beethoven’s birth consisting of the Tagliamento. commission of twelve compositions for one to twelve

The new general catalogue of Suvini Zerboni is available 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.

3 Giovanni Verrando Original research into new lutherie for the new work at the Biennale A Manifesto on Diversity

On October 2 at the Teatro alle Tese of the Arsenale in awareness, consciousness, wellbeing. And so, every subject Venice, the Biennale di Venezia, 64 th Festival Internazionale is a freak . I am a freak ». On November 26 in the spaces of di Musica Contemporanea, will host the world premiere of the BASE obtained from the ex-Ansaldo in Milan, the Instrumental Freak Show for female voice, six musicians, complete cycle of the “unicorns” will be performed by the electronics and video, with Giulia Zaniboni, voice, the soloists of the Mdi Ensemble, including the first performance Ensemble Interface, Angelo Linzalata, set and light of Seventh Born Unicorn for amplified bass clarinet, Pasquale Corrado design, Michele Innocente and the composer, filtering half-clarinet in B flat and electronics. The video, Paolo Brandi, sound engineer, and Andrea seven pieces for solo instrument that make up the Pasquale Corrado’s Dal Tremolada, instrument maker. Giovanni Verrando cycle were composed between 2001 and 2020: Segno d’ombra for 5-string introduces the new work, commissioned by the more precisely, First Born Unicorn (Remind Me what electric violin and live Ensemble Interface with the support of the Ernst We’re Fighting for) for amplified flute, Second Born electronics can be heard at von Siemens Music Foundation: « Instrumental Unicorn (Remind Me what We’re Fighting for) for the Festival Time Zones in Freak Show is a “manifesto on diversity”. The piano, Third Born Unicorn (Remind Me what We’re Bari, on October 3, with concerto/spectacle offers a peculiar vision of Fighting for) for electric violin and electronics, Francesco D’Orazio. On sound, inevitably different and deformed, as it is Fourth Born Unicorn (Rounded and Angular October 20 in the Oratorio the result of a long and ongoing investigation into Version) for prepared viola d’amore and prepared di San Filippo Neri in the relation between sound and lutherie. It is the outcome viola, Fifth Born Unicorn for transformed and dismantled Bologna, during the of three years of work on the instruments, on the general cello and electronics, Sixth Born Unicorn for electric guitar Bologna Festival, High sound of the piece, on the text, the video and every other and electronics, and finally the new Seventh Born Unicorn , Light Night II for cello component of the spectacle. The majority of the musical commissioned by the Mdi Ensemble and dedicated to Paolo and electronics will be instruments used have been specially invented or produced Casiraghi. The composer tells us: «The concert illustrates performed by Michele for these 30 minutes of music, in close collaboration and the path followed by my musical imagination, from the first Marco Rossi, who will contact with the instrument maker, who has been working phase prevalently based on harmonic sounds, to an repeat the work on October with me for many years: daxophones, violins with dual- increasingly marked presence of inharmonic sounds. The 22 at the Teatro Dal Verme gauge strings, prepared percussion, etc. The piece is sequence of pieces offers an overview of the work I have in Milan, with Maurilio divided into five episodes, each of which presents a progressively carried out on the instruments, on their Cacciatore on electronics. particular sound, a specific instrumentation and a different manufacture, on how we approach and perform them: the Dove non si tocca in mare character of the instrumental freak show. Instrumental Freak purpose of it all is to bring the instrument closer to the for cello and string Show deals with diversity as a powerful engine of the world. generator of sound that I have explored, structured and orchestra can be heard on Each agglomerate of living or defenceless matter, every city searched for at each step. The concert will be introduced by December 15 in L’Aquila, can be seen as a free freak show , purified of any suffering, Ingrid Pustijanac». Finally, on December 10 , at the “Open again with Michele Marco distain and abuse, in which to appreciate the deformity of Music” Festival in Graz, Keekee Bouba for transformed Rossi, joined by the Solisti the other and enrich ourselves through it. The materials and voice and four musicians will be performed by the Ensemble Aquilani, directed by the the bodies with which we come into contact are possible L’Arsenale directed by Filippo Perocco, with the voice of the composer. sources of wealth if we observe their capacity to produce soprano Livia Rado. Michele dall’Ongaro Trasfigured Time

The world premiere of Win for flute, clarinet, violin, cello, multifaceted bravura of the musicians of Sentieri Selvaggi New work for the Quartetto’s percussion and piano will take place during a very special and the intelligence of Carlo Boccadoro in order to “Canto della rinascita” event. The new work will be played by the ensemble Sentieri exaggerate a little with the virtuosities that in fact hide the Selvaggi directed by Carlo Boccadoro on October 6 in the skeleton of a figurative chorale». The passing of Mario Sala Verdi of the Milan Conservatory, during the concerto- Messinis, on September 8, will be remembered at the event “Il canto della rinascita” (“The song of rebirth”) Biennale di Venezia, 64 th Festival Internazionale di Musica organized by the Società del Quartetto, who commissioned Contemporanea, in a tribute concert on October 4 at the the piece. The evening will gather together nine Italian Teatro Piccolo Arsenale, during which the Ex Novo composers for a choral reflection on Covid-19 emergency, Ensemble directed by Claudio Ambrosini will perform through nine hymns to life and to rebirth so as to give «each Michele dall’Ongaro’s Zero for flute, clarinet, violin, cello and of them the opportunity to express in music the hope that in piano. On October 25 Freddo for violin, cello, piano and this moment inhabits every heart». Michele dall’Ongaro orchestra will be played by the Ars Trio and the Orchestra of explains: « Win (the title is by Paolo Arcà, the Teatro Lirico Giuseppe Verdi in Trieste conducted affectionately impatient at my delays) is an by Fabrizio Maria Carminati, at the Teatro Verdi in album leaf for ensemble that in some way Trieste, and again on October 29 at the Teatro Verdi reveals its nature (let’s say the hopefully in Pordenone. During this last concert Michele positive solution of a conflict) in the very last dall’Ongaro will be awarded the Premio “Pordenone bars. It should be possible to recognize an Musica”. The occasion will also feature the first almost literal reference to the ending of performance of a new work for piano, which will Verklärte Nacht . In reality it is not a quotation constitute the sixth piece in the cycle Autodafè . but a spontaneous germination stemming from Antonio Bellandi has published a study titled Il teatro the figuration of the strings, present from the musicale di Michele dall’Ongaro , with an introduction opening bars and becoming progressively more by Sandro Cappelletto (Aracne Editore, “Immota pungent. I don’t know if it was the egg that Harmonia”, 36). The essay explores Michele generated the hen or vice versa, but it is there dall’Ongaro’s entire production for theatre, from anyway. Actually, it is not really so inexplicable: the fact that radiofilms to opera, as well as his incidental music and other this is a transfigured period appears evident to (nearly) instrumental compositions. The Roman composer’s artistic everyone, and in any case the idea of being back together to achievements are covered thoroughly in the book, with make music (writing it, playing it, listening to it), albeit with particular emphasis on the multiplicity of his style and a face masks and precautions, is a joyful renewal of the strong myriad of musical references. The biographical sketch is value of emotional and intellectual contact as opposed to followed by a musical and dramaturgical analysis of the social distancing. Musically, I took advantage of the composer’s most important works. 4 Alessandro Solbiati The Call of Reawakening This Autumn sees two important solo premieres for Conservatoire “F. Poulenc” in Tours, during the “Nuit des Alessandro Solbiati. …ruft uns! for soprano saxophone Conservatoires”. It will be performed by teachers and Four new works in the name will be given a preview performance by Claude Delangle pupils of the same Conservatoire. The composer writes: of recovery and research on October 12 in the Concert Hall of the University of «The Conservatoire “F. Poulenc” in Tours, where I have Fine and Performing Arts in Tilburg, Netherlands, while been holding a course for some years now, honoured me its world premiere will take place on November 14 in with the request to compose a piece that could in some the Chamber Hall of the Estonian Music and Theatre way celebrate the return to life, not only to live teaching, Academy in Tallinn. Alessandro Solbiati writes: « …ruft but also to the hope of a new impetus, setting its first uns! was written on commission of the great French performance in the symbolic context of the “Nuit des saxophonist Claude Delangle and is the fruit of the Conservatoires”. The salon-like ensemble that was friendship born between us during the masterclasses in proposed (vocal quartet and piano 4 hands, with the Sermoneta and a long encounter at the Conservatoire addition of percussion) aroused my curiosity, precisely Supérieur in Paris, where I was able to deepen my due to its antique, intimate character. I searched for some knowledge of the techniques of this instrument, also lines of poetry that could capture the spirit of the request allowing me (given, that is, our friendship) to “dream”, in and I thought I might find them, as in other moments of other words, to ask about certain possibilities that I had in my life, in my beloved Baudelaire, with a little editing. mind, without being sure they were possible. But there is Here is the translation: “The inaccessible blue of Spiritual also another aspect that determines the character of this Heavens, for the man thrown to earth who suffers and still piece: the important need for me, in all humility, to draw dreams, opens and yawns with the lure of the abyss. […] an entire vision of the world, irrespective of the limited …happy is he who on vigorous wing soars towards fields instrumental resources available. The piece, in fact, was bright and serene”. The dramatic initial duplicity, in which written during the whole month of April 2020, when we a spiritual and inaccessible blue opens up only to reveal Camillo Togni were all immersed in the sombre, relentless progress of a dismaying abyss, finds a sort of resolution in the final the pandemic. The title clearly refers to Bach’s chorale exhortation in the soaring towards a brightness that The label Naxos is Wachet auf, ruft uns die Stimme! (“Sleepers awake, certainly cannot set aside the dramatic opening, but, releasing the 5 th volume of the voice is calling us!”) and aims to evoke the need instead, gains sustenance from it. My music is modelled Camillo Togni’s music for for an (interior) reawakening to listen to a Voice. The on the depth of the lines, trying to interpret, explore solo piano ( Complete Piano saxophone, the genuine “uccello prophet bird”, gives out and amplify its infinite expressive folds and powerful Music - 5 , Naxos 8573986), a long cry, acute, insistent; the darkest and most murky directionality». Alessandro Solbiati will be guest composer which includes his youthful region finds it hard to react and when it succeeds, it does for the “Rondò 2021” season of the Divertimento works dating from 1935- so in a breathless, anxious way, almost without purpose, Ensemble. The opening concert of his residency, on 1938, with the addition of in a sort of rondeau that after encountering various small January 23 , will be monographic and will include all of two later cadenzas for “deviations” becomes increasingly agitated until reaching Solbiati’s works for solo string instrument, including the concertos by Mozart a dizzy climax. The true “reawakening” is produced by a first performance of a new piece, Chiaroscuro for double written especially for Arturo solemn series of low octaves answered by an organum of bass. The programme, featuring the soloists of the Benedetti Michelangeli. The untempered thirds and sixths which nevertheless resolve Divertimento Ensemble, will be completed by Le due CD contains: Pezzo per in the subtle lightness of the finale». On October 22 at radici for solo cello, Corde for solo viola, Sonata (Tiresia pianoforte op. 4 (1937), the Teatro Dal Verme in Milan, Sonata (Tiresia e la Pizia) e la Pizia ) for solo violin, and five of the Dodici Lieder da Fugato e allegro op. 7 in the version for violin and electronics will be performed “Winterreise” for violin and viola. On August 26 the Duo (1938), Fantasia a quattro by Franesco D’Orazio, soloist of the Syntax Ensemble, Idylle (Léonore Frommlet and Camille Donnat Bart) voci e pedale op. 8 (1938), and Maurilio Cacciatore. The composer writes: «The played the version for flute and bassoon of Con l’antico Impromptu (1935), Preludio composition of this piece in four movements is a true canto at the Péniche Bali of the Quai Jean-Pierre (1936), Studio in Re “work in progress” that has in some way accompanied me Timbaud in Juvisy-sur-Orge (Île-de-France), during the bemolle maggiore (1935), for 25 years. The fourth movement, in fact, takes up the Festival “Embarque!”. On September 30 Trittico , three Ballata in fa minore (1936), third of Sette pezzi for string quartet, from 1995, a violin movements for concert accordion was played by Carlo the Cadenza for Mozart’s line, there only reverberated by the other instruments. Sampaolesi at the Circolo Cittadino Sante Palumbo in Piano concerto in C minor In 2003, completely reduced for violin solo, I made it one Latina during the Festival Pontino di Musica. Corde e K. 491 (1990) and the of the Due Adagi: Tiresia e la Pizia , dedicated to Enzo martelletti for piano will be played partially on October 7 Cadenza for Mozart’s Piano Porta, and in 2019 I added between the Adagios two in the Sala Ketty La Rocca at Le Murate in Florence by concerto in C major K. 503 movements on the contrary very fast and of a quite Sebastaino Benzing, during the GAMO International (1949). The compositions, different character. Maurilio Cacciatore’s suggestion to Festival. Le due radici can also be heard on October 20 all world premiere make a version of it with electronics immediately raised at the Oratorio di San Filippo Neri in Bologna during the recordings except the my curiosity: it doesn’t actually replace the original Bologna Festival, played by Michele Marco Rossi. On second cadenza, are version but simply gives it another point of view. With the December 18 in the Sala Puccini of the Conservatorio played by Aldo Orvieto, aid of the splendid work carried out by Maurilio I tried to “G. Verdi” in Milan, the Duo Alterno (Tiziana Scandaletti who has recorded the use the electronics not as a mere “embellishment”, as a and Riccardo Piacentini) will perform the Hölderlin Lieder whole series. “sideline” (something I don’t like at all), but rather as a for soprano and piano . The Undici variazioni per Ruggero structural element that helps underscore the energies for harpsichord will be recorded by Luca Quintavalle for a already present in the piece, amplifying them, extending CD entirely devoted to contemporary Italian composers. Camillo TOGNITOGNI them, enriching them». On January 29 the first Finally, the EMA Vinci label is releasing a CD containing Complete Piano Music • 5 Pezzo perr pianoforte, Op. 4 • Fugato e allegro,allegro, Op. 7 performance will given of Azur for vocal quartet, piano 4 Quelle pause di luce for solo violin, played by Alberto Fantasia a quattroquattrroo voci e pedale, Op. 8 Aldo Orvieto, Piano hands and percussion, on lines by Charles Baudelaire, Bologni. written for the inauguration of the new concert hall of the Christophe Bertrand WWORLDORLD PREMIPREMIEREERE RECORDINRECORDINGSGS The Ensemble Court-Circuit played Satka for flute, Cologne during the WDR3 series Musik der Zeit, and on clarinet, violin, cello, piano and percussion on September October 31 at the Philharmonie Essen during the Festival 30 at the Teatro Farnese in Parma during Traiettorie NOW! On November 11 the Ensemble Sturm und Klang 2020, XXX Rassegna Internazionale di Musica Moderna e will perform Skia ï for five instruments at the Projection Contemporanea. Sahn for bass clarinet, cello and piano Room in Uccle (Brussels) for the Festival Ars Musica. can be heard on October 5 at the Camerata Hall of Finally, the soloists of the Orchestre Philharmonique de the Helsinki Music Centre during the series Klang, Strasbourg (Thomas Gautier, violin, Nicolas Hugon, cello, Musiikkitalo, with the Zagros Ensemble. Yet for ensemble and Cécile Steffanus, piano) will play Treis for violin, cello will be played by the WDR Sinfonieorchester conducted and piano on November 16 in the Salle Bastide of the by Emilio Pomarico on October 30 at the Philharmonie in Opéra National du Rhin, Strasbourg. 5 Stefano Gervasoni Lost Harmony

Stefano Gervasoni took part in Ircam’s Festival ManiFeste regain through another path the original lost unity: through, Monographic concert with the first performance of the extended version of that is, an act of predatory supremacy. The oboe clearly and a new work at Eufaunique (1 st and 2 nd Part) for ensemble and a becomes the soloist: emblem of the hunter (oboe da caccia), Ircam’s ManiFeste monographic concert. The premiere of this new version, no longer animal nor man (nor the anthropomorphous being) commissioned by the Ensemble Intercontemporain, that in the first part had been the initiator of an energy was given on September 3 at the Studio of the assumed collectively and shared; thus the dynamic Philharmonie de Paris, with the Ensemble effervescence of the ecosystem, the relentless force trying Intercontemporain directed by Matthias Pintscher. The to maintain a balance, becomes a crazed pursuit of the composer writes: «I have added a second panel to the first animal now forced to flee: the hunt for a prey, a sacrificial version of Eufaunique , the sixth day of the dance, a bitter “presto”, chase and sudden halt to Genesis, commissioned by the Ensemble identify the victim. The fragments of music that Giorgio Gaslini Intercontemporain for the collective project return from the first part are distorted, the Genesis (presented in 2017). This addition vestiges, now corrupted, of a past that has The label Urania Records gives it a completely different meaning. The become abyssal, enigmatic, unfathomable, has devoted the myth of the happy coexistence between men scraps that become confused with those that the monographic CD Plexiglàs. and animals in the passage from the original imbalance never ceases to produce. The “man Songs & Guitar Works (LDV legend to its modern rendering becomes a that names” in this case becomes the man who 14058) to music by Giorgio tragic premonition of the conclusion. can no longer realize in an expressive way the Gaslini. The guitarist Andrea Throughout Genesis there is a double process sonic creation on the model of the legendary Monarda, the soprano of separation and refinement: within a chaotic Creator: the matter that has become Ludmilla Ignatova, the matter, the Creator distinguishes certain entities which he incomprehensible and disorganic can be gathered and flautist Sergio Bonetti, the names, and these in turn name other entities. This act of recombined, no longer mastered nor sublimated; inert guitarist François Stride and separation leaves me with a sort of “nostalgia” for the traces, devoid of memory (of nostalgia) and of impetus the percussionist Marco original fusion, never forgotten. On the day assigned to me towards the future, of an arbitrary system that no longer Scazzetta perform Sei for the Genesis cycle, that of the division between men and animates its entities with a vital breath. Demiurge or interludi for voice and guitar, animals, the two entities remain both separated and united: puppeteer, man that dominates is no longer able to name». world premiere recording, man retains part of the animal nature and the animals The monographic concert that took place on September 9 Ariablu for guitar, Moto maintain a human component. If this is transposed into in the Salle Boris Vian of La Villette: L’Instant Donné, velocetto perpetuo for flute music, the animal component would be what comes from featured Gramigna for cimbalom and ensemble, and, and guitar, Dieci minuti nature, acoustics, while the human part is what derives from together with the Neue Vocalsolisten, Dir - In Dir for vocal all’alba for guitar, Libras for linguistic data (organized in a system that sustains the sextet and strings. During the Rondò 2020 series of the two guitars, world premiere harmony, the polyphony, the rhythm etc.) through which an Divertimento Ensemble in which Gervasoni was guest recording, and 15 Songs da attempt is made to dominate the material: the “man that composer, it was possible to hear various of his works. On “Songbook” , world premiere names” tries to decipher the laws of the sonic universe, to July 1 in the Fabbrica del Vapore in Milan, during the series recording in the transcription master and parameterize the different aspects to use them DEstate 2020, in the Call for Young Performers, Adagio for voice and guitar by in expressive terms. These were my thoughts while working ghiacciato for toy-piano (or celesta) and muted violin from Andrea Monarda, with the on the composition of Eufaunique in 2016. In the first part of Mozart’s KV 356, was played by Émilie Chigioni, violin, and percussion part played by my score, the one corresponding to the piece destined for Giorgio Lazzari, toy-piano; the cycle of Prés (I-XVIII) for Marco Scazzetta. Genesis , the two natures, animal and human, despite piano was played by Maria Iaiza, Riccardo Bisatti, Giorgio becoming diversified live in harmony in a sort of euphoria Lazzari and Daniele Fasani; Sonatinexpressive for violin and that is abundantly creative and highly collective. Thus the piano was played by Émilie Chigioni and Giorgio Lazzari, “Presto” character and the obbligato part given to the oboe, and repeated on September 5 in Ottiglio (Alessandria), a pastoral instrument and a sort of emblematic animal that during the series Rondò in Monferrato. On September 19 interacts with the other instruments (one in particular, the Goethe-Institut in Rome, during the Festival ArteScienza equally emblematic, as it evokes the female dimension of organized by the Centro Ricerche Musicali, hosted a the human: the viola) creating groups and unifying them in performance of Prima traccia for basset horn and live joyful “tutti”. In a play of words, the title Eufaunique electronics, played by Michele Marelli with Walter Cianciusi combines the world of “fauna” with its state of happy as sound engineer. On November 16 at the Teatro Litta in harmony, which in music is called “euphony”; it Milan, Altravoce, omaggio a Robert Schumann for piano and unambiguously refers to this paradisal situation. Illusively transparent electronic device, will be played by the pianist paradisal. In the second part, which has the character of Grazia Bellocchio, with Alvise Vidolin on sound and live a desolate “Largo”, this harmony is lost. The nostalgia is electronics. The same work can also be heard on October expressed in terms of aggressiveness, as the dominating 10 at the Teatro San Giorgio in Udine, with Aldo Orvieto, will that aims to exploit that with which it was in a state of piano, and Alvise Vidolin again on electronics. wonderful equilibrium, in the vain attempt to be able to Carlos Roqué Alsina New chamber work in Normandy for the Trio Ernest Contrasting Visions On October 10 at the Centre d’Art Le Point du Jour in density or the tension of certain predominant intervals. The Cherbourg, Normandy, during the Festival Les Fieffés piano then joins in, often bringing a differently structured Musiciens, the world premiere of Trio 2019 (Quasi figurativo) “vision”, sometimes featuring chromatic intervals and for violin, cello and piano will be given by the Trio Ernest recurrent rhythms. A subtle “game” is triggered between consisting of Stanislas Gosset, violin, Clément Dami, cello, these two dimensions, within a virtuosic and varied writing. and Natasha Roqué Alsina, piano. On October 11 the new Towards the end, the introduction of an unexpected element work will be repeated at the Rens Lipsius Studio/Ideal Artist progressively conveys the sensation of a sonic balance House n°1 in Paris. The composer explains: «The Trio 2019 in a serene harmony». On August 29 in the Cortile del (Quasi figurativo) was composed at the end of 2019 on Guazzatoio in Parma, during the Festival Traiettoie 2020, commission of the Trio Ernest of Geneva. It consists of an XXX Rassegna Internazionale di Musica Moderna e introduction for violin and cello in which the main elements Contemporanea, Reflets en trio for vibraphone, dzembé of the work are presented: thematic structures with and marimba was played by ZAUM Percussion (Simone recognizable characteristics, generated essentially from the Beneventi, Carlota Cáceres and Matteo Savio). 6 Nicola Sani Imaginary “Dada”

world premiere for Nicola Sani on November 13 , when years of Schwitters’ experiments with vocal and concrete A New chamber works in Anna Blossom Has Wheels for voice, onde Martenot and sounds (his Ursonate was composed between 1922 and Brussels and Florence piano will be performed at the Théâtre Poème in Brussels, 1932, the period in which Maurice Martenot presented his during the Festival Ars Musica 2020 “Solid •Ars”, with the prodigious keyboard to the public) in a play of approaching voice of Anna Clementi, Thomas Bloch on onde Martenot and distancing that matches the paradoxical contrasts in and the pianist Giusy Caruso. The composer explains: the text. The strong gestural force of the performer of the «Anna Blossom is a poetic figure, taken from the imaginary vocal line is taken up by the piano, which comments on the dadaist “Merz” created by Kurt Schwitters (1887-1948), an prodigious, poignant, senseless images evoked by the extraordinary figure of an “intermedia” artist ante litteram . words with chord clusters and sounds produced inside the Out of Schwitters’ poems, and the consequent migrations instrument. Anna Blossom Has Wheels , commissioned by into his visual figurations, the figure of Anna Blume the Festival Ars Musica in Brussels, is dedicated to Anna emerges, who becomes Anna Blossom (in Myrtle Klein’s Clementi, an extraordinary artist with a vocality beyond all English version), and Anna Miofiore (in Achille Perilli’s limits and source of inspiration for the composition». Il cello Italian version). Close, on the one hand, to Rosa in una stanza for cello will be premiered on November 21 Luxemburg – murdered in the same year (1919) as at the Manifattura Tabacchi in Florence, with soloist Vittorio Schwitters’ first poem ( An Anna Blume ) in which we meet Ceccanti, during “Playout”, the 17 th Festival di the ambiguous “Merzian” protagonist, a proto-feminist Contempoartensemble. Nicola Sani speaks of his new poised between Dada and revolution – and, on the other work: «This composition is written for Vittorio Ceccanti and hand, Joyce’s Molly Bloom, Anna represents the prototype for the 2020 edition of the Festival of the of the emancipated woman of the new century, capable of Contempoartensemble, “Playout”. A courageous edition all types of folly and endowed with an extraordinary, held in difficult times, marked by the pandemic. Il cello in explosive personality. In line with Schwitters’ typical una stanza is dedicated to this theme, the writing and incongruences in playing with the sense of the absurd, the performance of music during the pandemic. Music and figure of Anna presents a series of blatant contradictions. musical creativity have played a decisive role from the very She is conventional, but at the same time anti-conformist; start of the Covid-19 outbreak. In the initial phase of Valerio Sannicandro she is red (a primary colour) and at the same time green lockdown we saw much of the population making music (a secondary colour); she is both woman and animal, from their balconies: by organizing themselves through the On November 20 the GAMO eccentric and ordinary. She stimulates unknown senses, internet and social media about which songs to sing, many Ensemble directed by elicits ultra human ecstasy, as in the absurd fact of families throughout Europe performed concerts in their own Francesco Gesualdi will stimulating many more senses (twenty-seven) than the homes. Pop stars organized home-made jam sessions and play Odi di levante for six standard five; this can be read as an allusion to the famous groups broadcast their concerts free on streaming instruments, in the Sala insistence of Schwitters and the Dada movement to every week. By associating creativity with the broadcasting Ketty La Rocca of Le simultaneously conceive rational and senseless actions of data via internet it was possible to witness planetary Murate in Florence during (Sinn und Unsinn ). Anna is presented by the author as an events, live from your own home, like the version “in the the GAMO International “uncounted woman” or in the original German, with a more time of pandemic” of the marathon in New York given by Festival. A Book of Depths derogatory overtone, an “ungezähltes Frauenzimmer”. She the avant-garde experimental group Bang on A Can. We for ensemble will be is not married, she is a spinster; but she is immune to all have also seen productions made by groups of musicians recorded by the ensemble gossip, she is tall and proud, and is even compared to a who recorded their individual part of a piece for orchestra, L’Instant Donné on October fundamental component of the institution of the church: she choir or ensemble using their smartphones, iPads and 20 at La Seine Musicale in is the bell-tower that rises above all else, a distinct point on webcams; these recordings were then put together using a Boulogne-Billancourt (Paris) the skyline of the small town. Anna is also spectacle: she dedicated video software. In many cases these productions for a production of Radio wears a hat on her feet and walks on her hands, like a sort intended to convey external messages of fraternity, France. of clown escaped from a travelling circus. But the solidarity, resistance, working together to defeat the virus. perspective of Anna walking on her hands is again the In other cases the messages were generalized, made by Dada way of seeing the world literally turned upside-down; musicians coming from different parts of the world, to Anna finds this vision upsetting, not happy with the world stress the importance of staying together at that moment, as it is, she sees it in its opposite. And this is where we find regardless of one’s provenance and history. The artist, Mehdi Khayami a reference to Rosa Luxemburg, socialist and while sharing the situation in common with other people, revolutionary. In the poem and its countless declinations transcends it not by running away, but rather by setting the The Italian premiere of Schwitters plays with the name of the heroine, which is a perspective of his work in a dimension of “beyondness”, Sorriso del dubbio for flute, palindrome: “Tu sei bella di dietro come davanti, A-n-n-a” that is to say, beyond time and space. Beyond the clarinet and piano will be (in the Italian version by Achille Perilli, in other words “You contagion, he himself becoming a vivifying element. And so performed the next are beautiful both backwards and forewards, A-n-n-a”). Her in a time of social silence due to the health measures, at a November by the Sonar Trio palindromic nature also attracts the reader towards the time of emergency, the artist lies beyond. Being beyond at the Festival di Nuova structure of the word; by separating each letter with “that” silence thus becomes being beyond the restrictions Consonanza in Rome. hyphens Schwitters makes each letter sound as if it were imposed on the material and by the material, bringing to Mahoor Records have from a text written for young children. This method recurs light, and to the ear, new sonorities. The emergency itself released the CD Dialogue on various occasions in Schwitters’ texts, where apparently thus becomes material. Il cello in una stanza is a (M.CD-555), which includes unrelated objects or articles are linked (in this case, letters) meditation on this state of things, a critical reading also of Mehdi Khayami’s Canto and he joins them to give them a new meaning. In addition, the previous real, whose frenzy silenced both human and della pace played by the this image makes the reader aware of the pleasure the sonic relations». Still in Florence, on November 20 in the Nivak Ensemble. poet experiences in pronouncing the name of Anna, an Sala Ketty La Rocca of Le Murate, during the GAMO itinerant figure but seemingly kind. The image of the flower International Festival, it will be possible to hear a new is suddenly transformed into an active, even aggressive performance of Seascapes XII “Milano 2 nd View” for figure. An image that gives rise to erotic connotations, accordion, clarinet, violin and cello, played by the GAMO changing form in the different versions; the English Anna Ensemble directed by Francesco Blossom acquires greater sensuality and carnality Gesualdi. Finally, a work by Sani is compared to the German counterpart. The Italian version featured in a new recording instead stresses the surreal and ambiguously “kind” aspect released on the Kairos label of one of the most paradoxical love poems ever written. In (15030KAI): Gimme Scelsi for my composition there are fragments taken from all three ensemble opens the second CD of versions, in English, German and Italian. The composition the box set Scelsi Revisited , with takes the form of a close dialogue between the voice and the Klangforum Wien. the onde Martenot, an instrument that coincides with the

7 Ennio Morricone Beyond the Cinema

n July 6 Ennio Morricone passed away at the age of 91. Guido Barbieri and Sandro Cappelletto. The Ensemble The ESZ catalogue O Sergio Miceli introduces the catalogue of the composer’s Proton Bern, who this year celebrate their 10 th year of offers a complete portrait works published by ESZ with the following words: «Of all activity, have made a film dedicated to Morricone’s chamber prompting growing interest the post-war Italian composers, Ennio Morricone is without music, titled The Dark Side of Ennio Morricone , which will doubt one of the most particularly distinctive for the be shown on October 30 at the Cinema REX in Bern. The astonishingly unusual diversity of his output. Unfortunately aim of this tribute is to highlight the “dark side” of Morricone, his multifaceted talent has not always had the respect it that is his production – parallel to the sound tracks of over deserves, and indeed ever since the 60s the Italian musical 500 films – of chamber music for soloists (piano, violin, press, by classing him as a hack who could only write cello) and various other combinations (trio, quintet, sextet, music for films, has so far largely turned a deaf ear to piano and instruments, etc.). In making the film the the large quantity of music he wrote for the concert hall. Ensemble Proton Bern worked alongside the video artists Performances of his music, on the other hand, have always Alexandre Gaeng and Nils Braun. The music of Ennio attracted a faithful following from all walks of life and all Morricone has been heard on many occasions in this generations. The concert-going public has long known how period. Cadenza for flute and magnetic tape from the to appreciate and enjoy the ease with which he was able to Secondo Concerto for flute, cello and orchestra was played handle any musical form or genre and his ability to on July 10 in the Chiesa di Sant’Agostino in Siena during interweave a variety of contrasting styles, and indeed the Chigiana International Festival & Summer Academy, concert promoters both in Italy and abroad are also soloist Roberto Fabbriciani; Se questo è un uomo for showing a growing interest in his music». ESZ are the main soprano, narrator, solo violin and strings on a text by Primo publishers of his “absolute music”, as the composer himself Levi was performed on July 25 at Villa Rufolo in Ravello, liked to call his works not linked to the world of cinema. The during the Ravello Festival, with Mariano Rigillo and the Ivan Vandor ESZ catalogue includes an important series of symphonic Roma Sinfonietta conducted by Andrea Morricone; Quinto works, like the Concerto for orchestra; works for soloist and Studio (Catalogo) for piano, again the Cadenza for flute and Andrea Biagini and Luigi orchestra, like the Secondo Concerto for flute, cello and magnetic tape, and Rag in frantumi for piano could be Sini played Esquisse en noir orchestra, the Terzo Concerto for guitar, marimba and string heard on July 30 at the Orto Botanico in Rome, for the for flute and guitar on July orchestra, the Quarto Concerto for organ, two trumpets, two Istituzione Universitaria dei Concerti, played by the pianist 12 in the Sala Casella of trombones and orchestra, and Ombra di lontana presenza Gilda Buttà and the flautist Paolo Zampini; Non devi the Accademia Filarmonica for viola, string orchestra and magnetic tape; orchestral- dimenticare for narrator and orchestra was performed on Romana. Vittorio Ceccanti vocal or chamber works inspired by his strong civil August 2 in Piazza Maggiore in Bologna, by the Orchestra will perform a new piece engagement, like the Cantata per l’Europa for soprano, two del Teatro Comunale di Bologna conducted by Asher Fisch; for solo cello, Impromptu narrators, mixed choir and orchestra, Musica per una fine Cadenza for flute and magnetic tape was played again on miniature , on November 21 for mixed choir, orchestra and tape with a recording of a August 8 at the Sito Archeologico in Torre di Pordenone, at the Manifattura Tabacchi text by Pier Paolo Pasolini read by the poet himself, Non during the Festival “Un Fiume di Note” and on August 30 at in Florence during “Playout”, devi dimenticare for narrator and orchestra, Se questo è un the Risorgive del Gorgazzo in Polcenigo (Pordenone), once the 17 th Festival di uomo for soprano, narrator, solo violin and strings on a text more with the flute of Roberto Fabbriciani; Neumi for Contempoartensemble. by Primo Levi, Voci dal silenzio for reciting choir, mixed harpsichord was played on September 26 at the Istituto choir, voices on magnetic tape and orchestra, Per i bambini Italiano di Cultura in Cologne, and again on September 27 morti di mafia for soprano, baritone, two narrators and six at the Museum Insel Hombroich, with the soloist Luca instruments on a text by Luciano Violante; a wide range of Quintavalle. Instead, the Terzo Concerto for guitar, marimba sacred and secular vocal music, like Frammenti di Eros , and string orchestra can be heard on November 13 at the Aldo Clementi cantata for soprano, piano and orchestra, on a text by Ridotto dei Palchi “A. Toscanini” of the Teatro alla Scala, Sergio Miceli, and Gestazione for female voice and with the Ensemble “G. Bernasconi” dell’Accademia Teatro The Ensemble van instruments, pre-recorded sounds and string orchestra alla Scala conducted by Marco Angius. Ipotesi for clarinet Conservatorium Maastricht ad libitum , Passaggio secondo for narrator and orchestra and piano can be heard on November 15 and 16 in Rome played …im Himmelreich on texts from Allen Ginsberg’s Indian Journals , and and Latina during the 57 th Festival di Nuova for nine instruments on Vidi aquam for soprano and small orchestra; Consonanza, with Roberto D’Urbano, clarinet. September 18 at the chamber music for soloists or small ensembles, Finally, the label Da Vinci Classics has just Papyruszaal of the Theater like the Quattro studi for piano, Mordenti for released the CD Free Guitar on Earth. aan het Vrijthof, Maastricht, harpsichord, Quattro pezzi for guitar, Riverberi for Contemporary Italian Music for Guitar during the Kunstenfestival Goffredo Petrassi’s 100 th birthday, for flute, cello (CD0247), featuring the guitarist Alberto Musica Sacra 2020. and piano, Totem secondo for five bassoons and Mesirca. The CD contains Ennio Morricone’s two double bassoons, Totem n. 3 (Segnali) for Quattro pezzi per chitarra , alongside Michele bassoon and piano, Esercizi for ten strings, and dall’Ongaro’s Hic - In memoriam Goffredo Refrains , three homages for six, for piano and Petrassi and Alessandro Solbiati’s Corale (via instruments; and a single opera still not performed, via) fiorito from I quattro mari . Partenope , music for the Neapolitan siren to a libretto by Luca Antignani New work for solo violin in the tour with Musicatreize Cubist Mosaic Two works by Luca Antignani will be featured during a tour years on the walls of the psychiatric hospital in Volterra. with Musicatreize. On October 10 in the Salle Musicatreize This new composition sets out to explore the technical in Marseille, then on November 23 in the Sala Utopia I of potential of the violin and introduces a new technique the Haute École de Musique de Lausanne (HEMU), during (a bow with loose hair) which, as in the medieval vielle, the season of the Société de Musique Contemporaine, and makes it possible to play several strings at the same time, finally on November 24 in Annecy, during Sons d’Automne, thus obtaining greater harmonic fullness. The work is built La luna nel pozzo for solo violin, in its world premiere, and like a sort of cubist mosaic, whose pieces create lines that Acqua di mare amaro for violin and 12 voices on a text by are apparently independent but in reality fit together and Dino Campana, will be performed by Francesco D’Orazio interact in a surprising way». The premiere of Batte botte and the Ensemble Musicatreize directed by Roland for children or female choir on a text by Dino Campana has Hayrabedian. The composer introduces his new work: been scheduled on November 27 at the Thé âtre 2 •21 in «After Nubifragiche ombrose for accordion and string trio, Lausanne, and will be performed by the Ensemble La luna nel pozzo is the second work dedicated to N.O.F.4 Diaphane. and inspired by the graffiti he made in the course of twenty 8 Bruno Maderna Collection of writings on music and A Humanist of Contemporaneity celebratory concerts To mark the centenary of his birth Il Saggiatore has due tempi for flute and piano, played by Daniele Ruggieri published an almost complete collection of Maderna’s and Aldo Orvieto, Musica su due dimensioni for flute and writings: Amore e curiosità. Scritti, frammenti e interviste magnetic tape, with Daniele Ruggieri, and the Quartetto sulla musica , edited by Angela Ida De Benedictis, Michele per archi in due tempi , played by the Ex Novo Ensemble. Chiappini and Benedetta Zucconi. The editors present their The homage to Maderna will continue in the same venue book in these terms: «A key figure in the musical life of the on October 26 with the performance of Widmung for violin, 20 th century, Bruno Maderna embodied, as few others, the soloist Carlo Lazari. The Quartetto d’archi in due tempi will lively, eclectic and cosmopolitan nature of the culture and be performed again in Venice on October 20 at the art of his time. One of the most significant composers of Auditorium “Lo Squero” of the Fondazione Giorgio Cini the post-war avant-garde, Maderna was also an by the Mdi Ensemble. Musica su due dimensioni , in the outstanding orchestral conductor, dedicated not only to versions of 1952 and 1957, Notturno for magnetic tape, the promotion of the most daring experimentations, but Continuo for magnetic tape, Dimensioni II , invention on a

Bruno Maderna

also to the transmission of musical legacies of the past: voice for magnetic tape , C a d en z e from Dimensioni III for

Amore e curiosità

a humanist of contemporaneity, endowed with a flute and Lamento can be h e a rd i n the concert scheduled Scritti, frammenti e interviste sulla musica

communicative force that allowed him to master a vast for November 6 at the Rotunde of the Worpsweder A cura di Angela Ida De Benedictis,

Michele Chiappini

e Benedetta Zucconi range of repertoires and to bring together a multiplicity of Kunstschau in Bremen, with Roberto Fabbriciani and

aesthetic ideals apparently distant and unrelated. Sparing students of the Hochschule für Künste Bremen and the

in words and in his own opinions on theory, Maderna has Atelier Neue Musik coordinated by Kilian Schwoon, sound

left traces of his thoughts and views about the world of engineer. A solo recital devoted entirely to Maderna’s

music in interviews, critical writings, rare programme notes, works for flute will be performed by the same Fabbriciani,

private letters and public conversations that cover his assisted by pianist Mas si m iliano Damer in i, on December 1

whole artistic career, from his years as an apprentice up at the Museo del Nove cento, Sala Fontana, in Milan. Don to his premature death. Collected for the first time in an Perlimplin , radio opera in one act from Federico García almost complete synthesis, these documents are now Lorca’s comedy, will be given on November 15 at the gathered in Amore e curiosità , a book equipped with a Auditorio Stelio Molo RSI in Lugano during the series solid critical apparatus that offers the reader the chance to 900presente, with the Ensemble900 directed by Arturo appreciate the nature and the historical-cultural context of Tamayo. On November 25 , in the Auditorium “Cesare the single texts». Many events have been organized to Pollini”, Padua, an “Omaggio a Maderna” will include the mark the centenary of Maderna’s birth. Among these, on Concerto for two pianos and instruments, the Fantasia e August 8 , at the Sito Archeologico of Torre di Pordenone, fuga for two pianos and the Liriche su Verlaine for soprano during the Festival “Un Fiume di Note”, Lamento for flute and piano. The programme will be completed by Camillo Martino Traversa or cor anglais was played by Roberto Fabbriciani, who Togni’s Les feuilles amères for soprano on a text by Paul repeated the work on August 30 at the Risorgive del Jean Toulet, dedicated to Bruno Maderna. The concert will The Ensemble Gorgazzo in Polcenigo (Pordenone). The Introduzione e be given by the soprano Silvia Frigato, the pianists Aldo Intercontemporain will play passacaglia “Lauda Sion Salvatorem” for orchestra was Orvieto and Fausto Bongelli, and the Art Percussion Manhattan Bridge - 4:30 performed on September 12 at the Teatro del Maggio Ensemble directed by Giovanni Mancuso. The Orchestra a.m. for flute, clarinet, piano, Musicale Fiorentino by the Orchestra del Maggio Musicale Sinfonica Nazionale della Rai conducted by Roberto violin and cello on October Fiorentino conducted by Daniele Gatti. The Liriche su Polastri will perform Composizione n. 1 and Composizione 20 at the Teatro Farnese in Verlaine for soprano and piano could be heard on n. 2 for orchestra on December 3 at the Auditorium Rai in Parma, during Traiettorie September 16 at the Fabbrica del Vapore in Milan, during Turin for the concert series Rai NuovaMusica, and on 2020, XXX Rassegna the project Call for Young Performers of the Divertimento December 4 at the Teatro Comunale “L. Pavarotti” in Internazionale di Musica Ensemble, with Regina Maria Granda Vargas and Yuki Ito. Modena. Finally, on December 19 in the Auditorio de Moderna e Contemporanea. A tribute concert will take place on October 12 in the Sale Musikene in San Sebastián, Basque country, Serenata n. 2 Apollinee of the Gran Teatro La Fenice during the Ex Novo for eleven instruments will be played by the Orquesta Musica series. The programme will include Divertimento in Musikene conducted by Nacho de Paz. Jean-Luc Hervé New Attention From July 2 to September 13 the interactive installation Crousaud performed Éloge de la plante (La finta Biotope was re-proposed in the Jardin de la Treille in La giardiniera) for voce female voice and electronics. Installation at Ircam Villette, during Ircam’s Festival ManiFeste. Biotope invites Other works by Jean-Luc Hervé can be heard in this and residence in Valence the visitor to enter a place transformed by the sonic period. On September 12 in the Bellevilloise in Paris, environment: the Jardin de la Treille becomes the nursery during the Festival Ensembles, Algorithmic Beauty for viola of a polyphony. Waiting to surprise the public is, in fact, a was played by Gilles Deliège, soloist of the Ensemble dialogue between the individuals of a population of small Sillages; Amplification/Propagation III b for violin, viola, “sonic animals”, invisible because they are concealed cello and piano was played by the Ensemble Court-circuit inside the garden. The musical installation is “emotive”: it on September 30 at the Teatro Farnese in Parma, during reacts to the presence of humans just like living organisms the Festival Traiettorie, XXX Rassegna Internazionale di that become agitated or fall silent if the visitors are too Musica Moderna e Contemporanea. On October 2 at invasive, numerous or noisy, only resuming their song the Teatro alle Tese dell’Arsenale, during the Biennale again when calm is restored. Due to the organic nature of di Venezia, 64 th Festival Internazionale di Musica the installation, the artist asks the visitor to modify their Contemporanea, De près for seven musicians and behaviour, reacting to the environment. Through listening, electronics will be given its Italian premiere by the a renewed attention is built towards what surrounds us. Ensemble Interface directed by Francesco Pavan, with the Jean-Luc Hervé will be composer in residence at the Lux, composer himself on electronics. Au dehors for clarinet, Scène Nationale, in Valence for the next two seasons. He violin, cello and piano can be heard on November 18 at will be involved in concerts, first performances and cultural the Festival Ars Musica in Brussels, with the Ensemble 21. activity in the territory, focusing on musical works able to Finally, on November 21 in the Sala Marjan Kozina Hall of convey his interest in nature and ecological matters, the Slovenska Filharmonija, Ljubljana, 4 for two prepared always with attention to promoting contemporary music. pianos and two percussionists will be performed by the His first appointment was on September 26 in the Parc de Ensemble Neofonia. la Marquise in Châteauvert, where the soprano Jeanne 9 Javier Torres Maldonado Interior Essence On October 28 at the Teatro Gayarre in Pamplona, treatment of the signal but exclusively through the use of Debut of a new work during the fifth edition of the Festival “After Cage”, Tensión innovative instrumental techniques». Jardín privado , an deriving from an original tranquila I for oboe and electronics, will be premiered by acusmatic composition, was premiered in June within an electro-acoustic research Collettivo E.72, who commissioned the work, and the open-air acoustic installation curated by the Department oboist Pilar Fontalba, to whom it is dedicated. The piece of Music Pedagogy of the Universität Mozarteum in the was realized during the period the composer spent at Mirabell-Garten in Salzburg. This miniature triggered a the Sistema Nacional de Creadores de Arte (FONCA second, longer electro-acoustic work, Jardines artificiales , Secretaria de Cultura, National Council for Culture and an acusmatic composition made during the composer’s the Arts) in Mexico. Torres Maldonado period at the Sistema Nacional de describes his new composition with these Creadores de Arte in Mexico, and given words: «This piece, commissioned by its first performance on August 30 at the Collettivo E.72 in Pamplona, was Fabbrica del Vapore in Milan during the composed over the space of a year in Contemporary Music Hub, Vapore d’Estate, which the collaboration and exchange of for AGON, Acusmonium Audior, curated by ideas with the oboist Pilar Fontalba about Marcela Pavia, with Eraldo Bocca, electro- the use and techniques of the instrument acoustic project, and Dante Tanzi, performer was particularly significant. Tensión on the Acusmonium. The composer tranquila I is the first piece in a cycle in introduces the two works: « Jardines which I intend to explore musical ideas artificiales was conceived starting from Sándor Veress and instrumental techniques focusing on various materials used in Jardín privado , an the interior essence of the gesture, its acusmatic miniature I composed towards On August 28 the ANAM simplification and extreme amplification. the end of the quarantine period, at the Orchestra and Tabea The title alludes to the character that results from acting on request of the Mozarteum in Salzburg for a “Sweet Spot”, Zimmermann in the double material on the basis of this principle. In Tensión tranquila I a sort of forum for electro-acoustic music that takes place role of viola and conductor, an idea is present that is quite uncommon in the music every year in different locations in Salzburg, an event that played Quattro danze I have written lately, because its nature is not associated like many others was affected by the pandemic, meaning transilvane for string with a pre-existing sound, whether “natural” or “artificial”, that much of its programme was cancelled. The event for orchestra at the Australian but is the result, as I have said, of an instrumental gesture which the Mozarteum asked me to compose Jardín privado National Academy of Music taken to its extreme that depends on the physicality of the was one of the first activities to take place within the “new in Melbourne. The work was player’s action on the oboe: a very slow glissando, wide normality”, after the pandemic had been largely overcome. repeated on September in register, regular and extremely long (the first time it It was performed in the very central Mirabell-Garten in 12 at the Heiliggeist appears it lasts more than 2’20” and covers a total interval Salzburg and was not a formal concert, but rather an event Kirche in Basel by the of a major second; the second time it covers an interval of in which the listeners could walk from one listening station Kammerorchester Basel a major sixth and lasts at least 42”). This gesture is to another (the loudspeakers were hidden in different parts directed by Heinz Holliger multiplied and mirrored in many different ways in the of the garden), listening to individual pieces while they and on September 22, 24 electronics part through various live treatments. Like walked. Given that the creative process of the first and 25 in the Concert Hall the stone that comes before the sculpture, these two miniature was very enjoyable, partly thanks to the materials of the Helsinki Music glissandos allowed me, in a certain sense, to pre-sculpt the used – many of which I recorded from the window of my Centre, with the Helsinki form of the whole piece. By way of contrast, there are also studio during quarantine, mostly at night or very early in the Philharmonic Orchestra some ideas already present in my previous works, morning – and to the idea that they were associated with a conducted by Pekka especially in the electronics part: techniques with which I walk in a garden, I decided to make a longer version of the Kuusisto. A further try to establish a link between sonic objects coming from piece, this time on request of the Studio AGON in Milan for performance will be given reality. The ways they are manipulated during the process the Acusmonium Audior. The new piece, Jardines on November 19 at the of composition, which also includes digital means, are also artificiales, was therefore characterized not only by a longer Prinzregententheater in present and are reflected in ways that are sometimes duration, but also by a simple and irregular form in which Munich, with the Münchener evident, conserving in various moments a strict link with one can note a tendency towards a crescendo that is not Kammerorchester the structure of the original sounds and their perceptive unidirectional, but that proceeds in waves of different conducted by Yuki Kasai. qualities. However, some of the basic objects are the result intensity, each with a different duration, and alternates with On September 18 at the of pre-compositional elaborations (in particular, for a various interruptions in which some of the primary sound Himmelfahrtkirche, still in sample of sounds produced by different birds I used objects reappear; these are mostly of natural origin and Munich, the same orchestra techniques of cross synthesis between the original sound their link with the source is often evident, although they all conducted by Nicolas and different manipulations), so that their “natural” nature is underwent different processes of transformation that in Altstaedt played Musica transformed into “artificial”. Other basic concrete materials some moments highlight the “artificiality” of their new concertante for twelve come from the envelope present in the sample of a crystal nature. The evolution of the gesturality proposed initially strings. glass and its resonance, as well as the sound resulting flows into an unpredictable and irregular glissando that from its breaking, and also the sounds coming from the leads to the last section, precisely matching the original oboe itself, especially whistle-tones and those in which miniature Jardín Privado . The auditory images suggest a the noise component is more accentuated. The different walk inside and outside of real and imaginary gardens in interactions between the instrumental part and these which the listening perspective is constantly changing». On materials and the resulting processes do not always July 23 at the Logelloù in Penvénan, Brittany, the Festival maintain their apparently opposing nature, given that at Aérolithes included the version for soprano saxophone and various moments it is the oboe itself that assumes different electronics of Alborada , with Stéphane Sordet, soloist of guises coming from the concrete objects. At the end of the the Ensemble Sillages. On September 21 Invención for piece the oboe glissandos reappear superimposed on the violin was played by Maya Giles during the online recitals percussion of “crystals” and their resonance, but this time, from Boston “Música por un cambio” (featuring although shorter, the nature of the gesture and the general contemporary music and international conferences against spectral composition are again amplified: this is not only racism organized by the violinist Armando Ortiz, broadcast due to the superimposition and complementarity of the via YouTube, Facebook and other social networks and instrumental and electronic sounds described, but above available online). Interstizi for violin and cello will be played all because this time the glissandos are performed by the by Taller Sonoro on October 4 at the Teatros del Canal in oboist on various multiphonics which, on account of their Madrid. The same composition will be played by the nature as a “glissando”, go against the ordinary Cycklus Ensemble on January 14 , during the XI Circuito instrumental technique in order to produce them. These de Música Contemporánea Musikagileak, at the Museo glissandos of multiphonics are not obtained through any San Telmo in San Sebastián, Basque Country.

10 Giorgio Colombo Taccani Enigmatic Smiles

n September 20 in the Abbazia di San Fruttuoso, in the appeals, is the result of a patchwork made from three O Three new works in park of Monte di Portofino, during the Festival “Suoni in different materials: a list of derogative and offensive words three weeks of autumn cammino”, the world premiere of Istoria botanica for three with ethnic and racial connotations in use in the United female voices or small female choir will be given by the States, the list of races in which to be included, present on Musicaround Ensemble directed by Vera Marenco. South African passports during apartheid, and finally a very The composer tells us: «Zambul, Buebenda, Fulfel, short poem by Walt Whitman. The climate of Kanadi… A herbarium from the late 17 th century the work, especially the monotonous listing offers mysterious and fascinating names, whose of the derogative terms, is opaque and evocative power captivates us, immediately taking indifferently hostile. Only Whitman’s lines us on a journey from Pernambuco to Candia, from warm the path a little, while always Bosco di Ravenna to Sumatra. Accompanying us remaining far from any improbable on our journey is a group of female voices, ready brightening, closing instead in an Francesco Hoch before our gaze to transform into a small, agile atmosphere of uncertainty and fragility». magic lantern. Its brief, constantly alternating On September 9 at the Tenuta Tenaglia, The Tre prove d’omaggio musical images, equally eager to suggest us a Monferrato, during the series Rondò in for flute, clarinet, violin, changing path, guide us through the herbs and Monferrato of the Divertimento Ensemble, cello and piano were flowers that smile at us enigmatically from those Manuela Rasori and Valentina Piovano played on September 19 distant pages». On October 4 at the Teatro performed Amans, supplex for solo voice in the Cattedrale di Nostra Massimo in Palermo, for the Associazione Siciliana and Diana, Luna for two female voices on Signora Assunta in Savona, Amici della Musica, Davide Cabassi will give the first extracts from Ovid’s Metamorphosis . On September 16 in during the Festival performance of Die klare lebenden Steine for piano, a the Fabbrica del Vapore in Milan, during the Call for Young Internazionale di Musica di premiere originally scheduled for April 3 during the “Verso Performers of the Divertimento Ensemble, Kypris for solo Savona, by the Dèdalo Traiettorie” series in Parma, but then postponed due to the voice on three epigrams by Asclepiades was performed by Ensemble directed by da Covid 19 outbreak. The work was introduced in the last the soprano Lilia Gamberini, and again on September 19 , Georgios Balatsinos; the number of ESZ News. On October 11 in the SpazioTeatro by Akiko Kozato in the Salotto in Prova in Milan. On work will be repeated in 89 in Milan, Maria Eleonora Caminada and Leonardo De October 17 the same venue will host a performance of November at the Festival Marchi will give the first performance of Stranger for voice Call me Later for toy piano, played by Antonietta Loffredo. Spazionovecento in and 10-string guitar. The performance will take place in a Kubin for electric guitar and piano was played by the duo Cremona. Beethoven in concert whose theme is racial discrimination and hatred. of the same name, consisting of Francesco Zago and pensiero for harp was Colombo Taccani introduces the work: «I willingly accepted Elena Talarico, on September 30 at the Domus Ars in performed by Luisa Netzer this commission from Luca Schieppati, artistic director of Naples during the concert season of the Associazione on July 16 in Lugano during the SpazioTeatro 89 season, for both ethical and musical Domenico Scarlatti. On November 6 Giovanni Martinelli the Concerts “En plein air” reasons. There is little need for me to speak about the will play Erma for guitar in Busto Arsizio and then on at Agorà LAC, Lugano Arte ethical reasons; from a more strictly musical viewpoint, December 19 in the Salotto in Prova in Milan. Finally, e Cultura. besides the pleasure of working once again with two Amans, supplex can be heard again on November 6 in the excellent musicians, I was curious about using the 10- Sala Ketty La Rocca at Le Murate in Florence, during the string guitar in a chamber setting, a new experience for me GAMO International Festival, with the voice of Gaia personally and little explored in general. The text I used, Mattiuzzi. deliberately avoiding any predictable invectives or heartfelt Daniela Terranova Infinite Relations

On October 10 at the Remise Bludenz, during the the piano, obtained using two e-bows, cast a horizon that Bludenzer Tage zeitgemäßer Musik, which commissioned sustains and amplifies the sounds of the clarinet and cello. the work, Flowers Endlessly Open for clarinet, cello and The trio, conceived as a single sonic organism, traces a Chamber premiere inspired piano will be given its world premiere by the Trio Catch, trajectory where the sonic gestures change the colour of by a line from Rilke with repeated performances on November 16 at their timbre by moving from one instrument to the Radialsystem in Berlin, and on November 17 another, imitating each other and multiplying, at the Resonanzraum in Hamburg. The composer giving rise to a circular play of mirrorings in explains: «The title of the work is a quotation from which each identity seems blurred». Daniela Rainer Maria Rilke’s eighth Duino Elegy . The Terranova’s music can be heard on various flowers hidden among the lines are an archetype, occasions in this period. On November 11 the a “sign” that conceals infinite relations of meaning. Ensemble Sturm und Klang will perform Notturno In describing the gesture of the flowers that in forma di rosa for flute, clarinet, viola, cello and “endlessly open in a pure space”, Rilke makes piano at the Projection Room in Uccle (Brussels) reference to the precious rarity of a fleeting for the Festival Ars Musica. Breathing Rust and Filippo Perocco imagination, boundless and fragile. The flower Clouds for flute will be played by Alessandra does not produce awareness: it is a shadow, a Rombolà on November 14 at the Istituto Italiano Michele Marco Rossi will clue, a resonance in front of which our cognitive and di Cultura in Wien, during the series Wien Modern; a new play Esili canti d’attesa for emotional desires remain suspended. This semantic work for solo cello is scheduled on November 21 at the cello on October 20 at the wealth allows the flower to be used as a metaphor for the Manifattura Tabacchi in Florence during “Playout”, XVII Oratorio di San Filippo Neri hidden essence of the composition, able to draw near to Festival del Contempoartensemble, with Vittorio Ceccanti in Bologna, during the the border, the limen that separates what can only be as soloist; Variazioni sul bianco for cello and piano will Bologna Festival. perceived through intuition from what can be understood by be played on December 5 at the Area Sismica in Forlì, the intellect. In the work, fragile forms of sonic material cast with Francesco Dillon and Emanuele Torquati. From a spiral that seems to wrap around itself like the profile of September 15 to 22 Daniela Terranova concluded her the petals of a flower. When the figures appear to become composition course organized by the Fondazione Paolo defined, they then dissolve into new forms: a process that Grassi in Martina Franca. The week of lessons also starts hesitantly and then remains suspended, drawing a included seminars and workshops with the guest structure that moves beyond the individuality of the objects musicians: Anna D’Errico (piano), Marco Fusi (violin) to weave a wider continuity of sound. The score explores a and Chiara Percivati (clarinet). changing and unstable texture. The sounds produced by 11 Maurilio Cacciatore Important premiere with the SWR Experimentalstudio and two new solo works Acoustic Feedbacks On S eptember 26 at the Christuskirche in Freiburg im conference given by Luigi Nono in 1983, in which he linked Breisgau the world premiere of Anche questo è silenzio the concepts of sound and silence, and spoke of silence as for ensemble, acoustic feedbacks and live electronics the basis for listening. And so the inflection of the concept was given by the Ensemble Experimental and the SWR silence taught to me by Ivan Fedele as semantic silence, Experimentalstudio, with Michael Acker, Joachim Haas and parametric silence and physical silence finds a profound Lukas Nowok on sound and live electronics, directed by application here. In my chamber music I very occasionally Detlef Heusinger. The composer introduces use all the instruments together in order to link the his new work: «Ever since 2014, with Lost formal structure with a change in the instrumental in Feedback , I have been interested in groups used. Above all, this means that the integrating acoustic feedback within my attention is renewed continuously with the timbres Carmine Emanuele Cella a compositions. This has never been obtained. The same strategy is also applied to the speculative but has been applied variously registers and spectral components of the sound Nicolas Arsenijevic, over the years with a chamber conception as a whole; rarely, hardly ever, all the regions of saxophone, and Carmine of its use. In other words, when these the spectrum play at the same time and their Emanuele Cella on live involuntary sound events become deliberate controlled alternation helps to create a formal electronics will perform and controlled, they assume a presence and structure more linked to the physical Improvviso statico for independence. The theatrical aspect is by characteristics of the sound as perceived entities alto saxophone and live no means secondary when using these rather than for the development of thematic electronics on November 6 techniques: the instruments or the stimulated materials». On October 22 at the Teatro Dal at the École de Mines in surfaces produce sounds apparently by Verme in Milan, the revised version of Cosa vedo Paris during the series themselves, detaching the instrumental act from the cosa sento for cello and electronics will be premiered by “Musique aux Mines”. musical one. In this piece I decided to go one step further Michele Marco Rossi, soloist of the Syntax Ensemble, and in the path I have been following for some years. The use the composer himself on electronics who explains this of electro-mechanical objects (the ebow, mechanical bow, operation: «On the occasion of repeating this piece, I etc.) is combined with the voluntary performance of the decided to revise some details of the instrumental part and acoustic feedbacks through the use of microphones in radicalize the idea of mimesis underpinning the work. The conflict with the loudspeakers. This means that the piece is grounded on a sort of ambiguity: the electronics microphones are used by some of the performers as transmitted from inside the instrument substitutes the instrumental means, so that actions carried out through instrumental part, since the actions written in the score are their management have a sonic outcome heterogeneous to mostly soundless and require some acting skills on the part the instrument but integrated (unlike in the past) within the of the players because they are linked to what really instrumental act. In other words, in this piece I am able to happens. As the piece slowly progresses, the cello regains Giovanni Bertelli unite the instrumental and musical act. The active use its musical autonomy but the result is always enriched by of the microphones may immediately bring to mind the omnipresent electronics, as if the cello was magically On October 22 at the Stockhausen’s Microphonie ; here the intention is able to play sounds foreign to its nature. A very slight Teatro Dal Verme in apparently similar but in practice very different. In spatialization makes the aura of the cello even greater Milan Cascando , “like a Stockhausen’s piece the microphones are means of and more engaging». On November 28 at the Sala della serenade” for violin and exploring a tamtam but go substantially beyond their Musica della Fondazione Zeffirelli in Florence, during the live electronics, will be original purpose, that is capturing the sound of the 17 th Festival di Contemporartensemble, Giovanni Riccucci played by Francesco instrument. In my case the microphones do not capture the will premiere Breve IV for B flat clarinet. The composer tells D’Orazio, soloist of the audio to diffuse or elaborate it; they are simply in conflict, us: «At the request of the Contemporartensemble I have Syntax Ensemble, with and their distance and everything linked to their shifting in added a new number to this series: two minutes without Maurilio Cacciatore on space helps to create a variety of sound similar to what can a break for the performer in order to create virtual electronics. be obtained through a different handling of a components polyphonies with the idea of growing tension. All the Brevi of a musical instrument. The microphone thus loses its are short, are conceived as concert encores and are characteristics as a transducer and becomes totally an intended to highlight the virtuosity of the players». IV instrumental component, more analogical in kind than Anfibio for amplified flute will be played on November 12 digital. Moreover, the fact that the instruments play without at the Gare du Nord in Basel by Maruta Staravoitava. the intervention of a “classic” instrumental action is one of On November 13 at the Espace K in Strasbourg, Ayako the meanings of the title. The relation between sound and Okubo, soloist of the ensemble Hanatsu Miroir, will play silence has recently fascinated me after listening to a Ecco perché ho paura dei folletti for amplified bass flute. Francesco Ciurlo Three premieres in the season of the Divertimento Ensemble Relentless Flux Francesco Ciurlo is composer in residence for the Rondò ensemble, commissioned by the Divertimento Ensemble, is 2020 season of the Divertimento Ensemble. The three in three movements. The first, “Claustrofobico”, consists of premieres originally scheduled for Spring were cancelled a series of 71 fragments, always led by the voice of the due to the Covid outbreak and have been reprogrammed oboe, which proceed inexorably and inescapably in search for this Autumn (see ESZnews no. 81 for an introduction of a form that could be at the same time both continuous to the first two pieces). In detail, on October 24 the and discreet. The second movement, “Geometrico e Divertimento Ensemble, with the soprano Anna Piroli and freddo”, is built on and around the sound of some bichords directed by Sandro Gorli, will give the world premiere of on the oboe. These sounds, delicate but also ragged and Arie di troposfera for soprano and ensemble in the Sala metallic, lie at the centre of long agglomerates of chords Puccini of the Conservatorio “G. Verdi” in Milan. The same that almost seem to be an amplification, in various venue will host two more premieres on November 28 : directions, of the bichords. In the third movement, “In Lebos Lobos for soprano, baritone and piano, and equilibrio sulle punte”, the rhythmic ostinato led by the Abstraction to the Point of , concerto for oboe and percussion is maintained from start to finish. The oboe ensemble, will be performed by the Divertimento Ensemble retains its function as a chordal “centre”, as in the second directed by Sandro Gorli, with the soprano Laura Catrani, movement, but in the context of a relentless and obsessive the baritone Friedo Henken and the oboist Luca Avanzi. flux, until reaching a sudden acceleration that unleashes a The composer introduces the last of these pieces as maximum of virtuosity on the part of the soloist». follows: «This work for oboe soloist and ten-piece 12 Simone Cardini Pulsation, Corporeality, Space

On November 18 in the Sala Sinopoli of the Auditorium inferred (suspended, fragmented, violent, physical) of that Parco della Musica in Rome, Ancorato, proteso, diffratto body constrained in mental fetters and emptied of its Physicality and emotionality for ensemble will be given its world premiere by Umberto thought: this is the paroxysm of the denunciation of at the centre of three new Di Nucci, electric guitar soloist, and the Ensemble separation. The voice thus becomes the essential organ works Novecento directed by Pasquale Corrado. The composer of a body that searches for itself in these nervous writes: «The initial submerged pulsation suggests a movements, and the word is a word that almost tends to parallel hidden tactus and represents the fil rouge that destroy itself, retransforming and confronting itself with a runs through the whole work, while in my crucible I mix gesture that generates in space the external form of the five moments: expectation (desire or transition), actual word to discover a body with no more lacerations, pause/suspension (enchantment or fear), research (mèlos divisions and separated functions: this is the pillar that or harmonic coagulation), reaction (aggressiveness or Artaud himself tells us is necessary in order to live, while violence) and reflection (immersion or bewilderment). to exist it suffices to let yourself be». On July 4 the Each situation, which acts as a retention (memory), reMusik, VII St. Petersburg International Music Festival, protension (anticipation), or else memory/return, is already featured Seduto e polvere e frutti, tra parole intangibili for a becoming (futurition) in the listener: cells and rhythmic violin, cello and piano in live streaming, with the Moscow proliferations, inflections and melodic outlines can thus be Contemporary Music Ensemble. E toccare spazi doubly transfigured and interpreted in two ways, as a iridescenti for ensemble can be heard on November 28 in particular situation, or as a function. The electric guitar is the Sala Puccini of the Conservatorio “G. Verdi” in Milan the soloist that interacts with the ensemble dialogically, during the Rondò 2020 season, with Umberto Di Nucci, contrapuntally, or sees it as a sort of resonant chamber. electric guitar, and the Divertimento Ensemble directed by Around him I built a vectoriality constructed constantly by Sandro Gorli. The same piece will be played by the Mdi the “other”, a continuously suspended trend, refused, Ensemble in the version for seven instruments, again at denied, encouraged or confirmed, in which the the Milan Conservatory. In February a new piece for piano peculiarities of the single moments might, through will be performed in Paris, commissioned by the Fondation allusions and relations with the other situations, become Royaumont. Meanwhile, on May 1 EMA Vinci Records systematically efferent. This reflection on a condition in released the CD Broken Shake of the Duo Essentia which stasis, tension, bond and aspiration cohabit, through (Samuele Telari bayan, Alice Cortegiani clarinet) lacerating contradictions or reconciled imbrications is the containing Simone Cardini’s Exaptation for B flat clarinet Andrea Manzoli unresolved and unexpressed question of the piece: and bayan. In the coming months the duo Raponi / investigating this fracture in which, clearly suspended, Dinapoli will record a CD for Tactus Records containing On December 15 in the intuitions pulsate». On November 23 in the Sala Tra contorni incostanti for alto flute and guitar. In the words L’Aquila, Ciro Longobardi Shakespeare of the Teatro Elfo Puccini, the Il Festival di of the composer, this work «attempts an active, slow and I Solisti Aquilani Milano Musica will include the world premiere of Il suffit transformation of the materials through a vectoriality that directed by Pasquale de se laisser à être for female voice, saxophone, electric pushes the actual material into a sort of inclusion in time Corrado will play Post guitar and cello on texts by Antonin Artaud, with the (and its effects) which deviates, derails, dismembers and fata resurgo for piano voice of Irina Ghivièr and the Trio SEV. The composer reformulates the space and its borders: and I attempt the and strings. introduces this new work: «A knowingly worn out idea of an impression, in which the contact and alternation consideration, expressed in the opening lines, evokes an of contrasts may experience a corporeality of the material image of a human being (a woman) who develops her own between the absence and the tenuous presence of the personality through a constant need for mitigation and other. The formal elements are expressed in a plurality of control of instinctiveness. The apex of this process is viewpoints, between new equilibriums and perspectives in precisely the creation of the word; as if the preceding which the meaning of each situation appears to dilate, thought becomes lost in the act of turning it into speech, slide into a territoriality of conjunctions, of spaces, or into song. In the dialogue with the ensemble and its reflections and interpretative projections until almost shifting sonorities a new, subterraneous possibility can be overlapping or plummeting into the rifts of this distance». Maurizio Azzan Vortexes of Sense

On November 27 in the Sala Ketty La Rocca of Le into an imaginary acoustic dilation of the cry hinted at in Murate in Florence, during the GAMO International the last line. This work was commissioned by Alda Caiello, The fantasy of poetry in a Festival, the world premiere of di maree, anatomia for to whom it is dedicated, with the support of the SIAE new work at the GAMO voice, two polystyrene boxes and electro-acoustic device Classici di Oggi». On September 5 , in the Auditorium on a text by Daniele Bellomi, will be given by Alda Caiello, Spirito Santo in Vibo Valentia, the concert series with the composer on electronics. Azzan explains: «Birth MusicAma Calabria included a performance of Tutte le as a moment of traumatic detachment is an ancient theme. estensioni dell’aura for saxophone, percussion and In the poem by Daniele Bellomi that gives my piece its electro-acoustic device; the same piece can be heard title, the violence of this event is multiplied a hundredfold again on October 9 at the Festival Incó_ntemporanea in in the myriad of images relentlessly evoked by an Piacenza and on January 9 in the Salotto in Prova in extremely dense language, at times hermetic, in which Milan, performed on each occasion by the Duo Dubois: sound and sense vie with one another without ever giving Alberto Cavallaro, saxophone, and Federico Tramontana, way to narration or a single perspective. The voice neither percussion. The Ensemble Fractales played Of Other narrates nor acts: it is just an attempt to identify possible Spaces for five spatialized instruments, in its Italian viewpoints from which to observe fragments of the world. premiere, on September 30 at the Teatro Piccolo Arsenale Like the tides that sometimes recur in the texts of Bellomi, in Venice, during La Biennale, 64 th Festival Internazionale the flux of words pull to the shore reminiscences that di Musica Contemporanea. On November 27 in the Casa create a mutual short-circuit, vortexes of sense that have Cava Auditorium in Matera, the MA/IN - MAteria suggested the rhythm and form of this work, in which INtermedia Festival will feature a performance of Aria(e). dimensions extraneous to one another, of the human Tre studi sull’aura for voice, percussion and electro- voice, of the sound of polystyrene made to vibrate by the acoustic device, with the soprano Eleonora Claps and fluid movement of a bow, and of the electronics filtered Fabio Macchia on percussion. Finally, in December in Tel through this acoustically deforming material, clash with Aviv, In limine for violin, cello and piano will be played by one another, reject each other and then penetrate together the Eutopia Ensemble. 13 Eric Maestri Three premieres with electronics and the start of a cycle of sonic scores Joy and Utopia Th r ee world premieres for Eric Maestri in these months. sound, at the same time detached and attached from/to On July 13 during Radio France’s Festival France Musique its sense. The piece continues in this way. The reading in Paris, Superconsolations for flute, viola and harp was of the poetry is the framework – as always, considered played by the New Gates Trio. The composer tells us: provisional – of the sounds that surround it. The poetry «Superconsolations is a short piece requested by the New speaks of nature and of what, according to nature, are Gates Trio. I concentrate on just a few notes, I repeat them, the human artifices, of their finitude, their similitude with I think about them, I deviate from the path. There is no pre- everything. Here, in this sense, the music evokes these Goffredo Petrassi established plan, just some outlines to follow that spaces, it is conceived as a flux over and through progressively multiply, making the path deeper the words, giving rise to sounds as if these images Daniele Fasani played and more varied. There is no linear time, but were running through the imagination of a reader. Invenzioni nn. 1, 2, 4, 5 for rather events that follow one another; one leads This piece is an imaginary reading, inside the mind piano on July 21 in live to the next, but could also anticipate it. The term of a reader who is attentive but at the same time streaming from the Castello consolation simply derives from the climate that distracted. The voice is there, but not present. The Caetani in Sermoneta has been created over these months. A climate true voice, there, before us all, is singing. The during the Festival Pontino in which we console ourselves by thinking of instruments build a mobile network, in constant di Musica. On November 13 other things, abstracting ourselves from evolution. The electronics draw shapes that are the Ensemble “G. everything. The piece deals with this topic: it is a abstract and at the same time concrete. The music Bernasconi” dell’Accademia composition that consoles, because while writing delves into the different senses of the poetry, Teatro alla Scala conducted it I found moments of pure joy and utopia». On repeats them, arising from the abstract images by Marco Angius will play September 16 at the Fabbrica del Vapore in Milan, during evoked. It turns back on us: it is a sort of spiral on a text the Quarto Concerto for the project Call for Young Performers of the Rondò series that defines possible paths to follow, traces that seem to string orchestra at the of the Divertimento Ensemble, the first performance of promise a final meaning that continues to be denied». Eric Ridotto dei Palchi “A. Ritratto voce in the version for voice and electronics was Maestri has begun a new ongoing cycle of compositions Toscanini” of the Teatro alla given by the soprano Valentina Piovano, with Andrea Nicoli that involve sonic scores: MetActions . The composer Scala. On November 14 as sound engineer. Valentina Piovano will repeat the work explains: «The idea behind the MetActions – a series of Andrea Biagini will play on November 6 in the Sala Ketty La Rocca of Le Murate in sonic metaphors of sonic scores – is to use sound as a Soufle for a flautist at the Florence during the GAMO International Festival. Maestri score. The performers must listen to these sounds through Teatro Palladium in Rome, introduces the new work: «The piece is a bizarre, abstract, headphones and imitate them. This aural score uses during the Festival di Nuova interior, interrogative reading of a phrase from Baruch electronic sounds, mostly synthetic and environmental Consonanza. Spinoza’s Ethics : “Duration is the indefinite continuation sounds, which are not feasible as such on the instruments. of existence”. It is a path through, over and across this Thus, the musicians must invent, listen and imitate, create phrase: read in segments, in the order of its pronunciation, sonic metaphors with their instrument; they must free their in search of hidden clues. Reading it as if she didn’t playing and create their part by trying to get as close as understand its meaning, the singer repeats it to herself as possible to what they hear. The goal of these sonic scores if she were alone. Her state of mind is uncertain, as if she is often unreachable as such. The instrumentalist were dealing with something incomprehensible, as if she approaches the sound target given by the audio score by Vittorio Montalti had embarked, without knowing it, on a journey whose start means of metaphors of these sounds, which may be literal and finish were unknown. Impassive, concentrated, cold or may be extremely distant, inventing anything else that On November 27 the and expressive: lost. The electronics is there to accompany may come to mind through listening. In this way, the piece Quartetto Maurice will play this journey through the notes of the singer. It emphasizes becomes an action derived from listening. In their most Untitled n. 2 for amplified the contrasts and expression, lacerates the empty texture. successful interpretation, these pieces become a kind of string quartet and live One by one, very slowly, through their repetition, the notes mental game, like board games that require the player to electronics at the Casa and words start to make sense, though clearly provisional, mime a certain thing, or an idea. The sonic score is thus a Cava Auditorium in Matera, and this illusion brings about a joy that, at the same time, kind of sonic ideogram, which remains mute and which during the MA/IN - MAteria we know – and the singer knows – is not real. So the guides the gestures of the musicians by means of sonic INtermedia Festival. contradiction is there, the ambivalence remains ideas». The first composition available in this new cycle unresolved». E i tifoni i maremoti for soprano, instruments is MetActions (I) for flute, viola and harp. Finally, two and electronics on a text by Camillo Pennati, can be heard theoretical articles by Eric Maestri have appeared in on November 5 during the series Bologna Modern, and on prestigious publications: An Exploratory Inquiry into the November 29 at the Casa Cava Auditorium in Matera Relationship between Temporality and Composition was during the Festival MA/IN - MAtera INtermedia. It will be published in August 2020 in the journal «Organized performed by the soprano Livia Rado and the Ensemble Sound» (Cambridge University Press, vol. 35, 2), and L’Arsenale directed by Filippo Perocco. The composer L’acte compositionnel comme écoute projective: le cas explains: « E i tifoni i maremoti is at the end of a cycle of de “Trans”, pour saxophone ténor et électronique was poems by Camillo Pennati, it is a constant flow in which the published in June 2019 in «Hybrid. Revue des arts et words emerge as they wish, in random order, in the wrong médiations humaines» (Presses Universitaires de place. The rhythm breaks up. The word becomes colour, Vincennes). Leonardo Marino Residence at the Peter Eötvös Contemporary Music Foundation Necessity and Purity Two world premieres for Leonardo Marino this Autumn fits perfectly into the path of research I have been pursuing during his participation in the Mentoring Program 2020 now for many years, in search of the purity and necessity of the Peter Eötvös Contemporary Music Foundation. within musical writing». A second new work for flute, horn, On October 9 at the Budapest Music Center of the Peter percussion, harpsichord, piano (and celesta), cello and Eötvös Foundation, Budapest, Looking at Your Soul with double bass can be heard on November 27 , again at the a Telescope for string orchestra will be played by the Budapest Music Center of the Peter Eötvös Contemporary Danubia Orchestra Óbuda. The composer introduces the Music Foundation, and again played by the Danubia work: «The composition has a very intimate character and Orchestra Óbuda. Finally, on January 31 in the Klaus von is a sort of “Adagio” for strings. The piece is made up of a Bismarck Saal, großer Sendesaal of the WDR Funkhaus very few simple elements, its “soul”, which are explored Köln, Cologne, a new work for a cappella mixed-voice choir and put into focus a little at a time until building a violent will be premiered by the Chorakademie des WDR sonic image that is nothing other than the enlargement Rundfunkchores, directed by Joanna Slusarczyk. “through a telescope” of the frail opening idea. The work 14 Andrea Mannucci Premiere for Nuova Consonanza, and The Order in Chance concerts in Tuscany On December 13 at the Teatro Palladium in Rome, during desire, love, reason, beauty and commitment. In their midst, the Festival di Nuova Consonanza, 7 parole , Sentimental the vectors of a thousand impulses, represented by the Suite on a ghost text by Marco Ongaro for ensemble will be Lieder , push the will of the person through convoluted spirals, given its world premiere by NED Ensemble directed by the long, irregular stretches of space and time, bringing about the composer, who introduces the work as follows: «The awareness of rebellion necessary to restart the path with a Sentimental suite 7 Parole takes its starting point from new self-awareness. Youth thus becomes the point of arrival autobiographical references opportunely dissolved in the while infancy and adolescence are zones of growth to shake rigorous succession of the seven notes represented off in order to finally enter life in the form unknowingly decided alphabetically by the Anglo-Saxon notation system. From from the outset. Love moves the world and the world stops it. A to G, the diatonic scale rises until it reaches the next A superior force exists that frees us from this flux and holds it octave, symbolizing the cyclicity of the occurrences and like an anomalous breath inherent in the various seasons of reoccurrences of existence in a direction that we hope will be existence. This force is the human spirit that becomes aware virtuously upwards, regardless of the apparent highs and lows of its own fragility and takes strength from it. In the end, the of events. The goal of the alphabetical order and the musical person discovers that he is what he was, young at last». scale is to recognize an order in randomness, forcing it if The micro-opera “Mi piace” – third panel of the Trittico dello necessary, despite the unknown forces that tend to influence smartphone for voices, piano and smartphones to a libretto by the existential path of individuals and history. “Addio”, Marco Ongaro – was performed on July 27 in the Courtyard “Baciare”, “Chiuso”, “Destino”, “Esperienza”, “Fiore”, of Palazzo Ricci during the 42 nd Cantiere d’Arte Internazionale “Giovane” (“Farewell”, “Kiss”, “Close”, “Destiny”, “Experience”, in Montepulciano (Siena), and on July 29 during the 18 th “Flower”, “Young”) are the seven steps taken by human beings Concert season of Villa Rospigliosi in Lamporecchio (Pistoia). in detaching themselves from the family nucleus to take on It was performed by the Duo Alterno: Tiziana Scandaletti, individual life and join others thanks to the whims of ambition, soprano, and Riccardo Piacentini, piano.

Caterina Di Cecca “Tosca” returns at the Festival Puccini in Stream of Consciousness Torre del Lago

On July 14 at the Villa Museo Puccini in Torre del Lago, the of the past day from her own point of view. The intention is to project “Agli Astri e al Ciel, dedicato a Tosca” during the 66 th focus interest on the emotional impact that the actions have Festival Puccini included the world premiere of À rebours - on the only female character in the story. The enamoured Tosca su Tosca , melologue for reciting voice and piano. It Tosca is imprisoned by a chain of events not caused by her to featured the voice of Stefania Sandrelli with Orazio Sciortino which she responds knowingly and desperately, revealing the on piano. Caterina Di Cecca explains: « À rebours - Tosca personal traits that made her the centre of thoughts of the two su Tosca is a stream of consciousness from the opera’s male protagonists: her “bold anger” and “pulsing love”». protagonist who looks back (that is, à rebours ) on the events Sara Caneva Restless melologue at the Festival Puccini in Tosca Questions Herself Torre del Lago

On July 13 at the Villa Museo Puccini in Torre del Lago, the at a mirror in Scarpia’s salon, where she becomes aware, on world premiere of Chiamata dalla realtà delle cose , “melologo seeing her own reflection, of the stabbing she has just inflicted dopo Tosca” for narrating voice and piano, was given by on the tyrant. She oscillates between first and third person, Stefania Sandrelli and Orazio Sciortino, during the project terrified, and between the lines of Puccini, asks herself “Agli Astri e al Ciel, dedicato a Tosca” at the 66 th Festival anxiously about the nature of enduring, of acting, of presence, Puccini. The composer writes: « Chiamata dalla realtà delle of the sense of reality, of vision, of love, and the extreme cose is an imaginary monologue between Tosca and herself, consequences».

Luigi Cherubini The critical edition of the “Marce” becomes a Celebrative Occasions prestigious discographic project Two important projects, publishing and discographic, give the organic manner. They were written over the course of thirty public at large further access to the works of Luigi Cherubini. years (1797-1825) during a particularly active period on many

ESZ has published his Marce for orchestra, in the critical fronts ( Conservatoire , theatre, private academies, public edition by Mariateresa Dellaborra. At the same time these nine events). Considered at the time “the greatest composer in

marches have been recorded as world premiere recordings by France”, Cherubini puts all his mastery into these occasional Riccardo Chailly conducting the Filarmonica della Scala, on pieces which, despite their standard and established topoi , Luigi Cherubini MARCE the Decca CD Cherubini Discoveries (Decca 483 1591). So it display a marked freedom of invention and singular PER ORCHESTRA

Edizione critica di Mariateresa Dellaborra is now possible to hear the Marche religieuse pour le jour du expression. Besides its intrinsic musical value, this repertoire,

sacre de Charles X , the Marche religieuse pour le pompe whose instrumentation wavers between the classical orchestra

funèbre du Général Hoche , the Marcia composta per il Sig. and band (due to the notable addition of percussion,

Baron di Braun alla sua terra di Schönau presso Vienna 1805 , woodwind and brass), deepens our knowledge of the EDIZIONI SUVINI ZERBONI - MILANO the Marche du préfet du département de L’Eure et Loir , the composer’s role in a given historical period and context. The Marche pour le retour du préfet du département de l’Eure et circumstances surrounding their composition inform us of his Loir , the Marche pour instruments à vent, Chimay 12 juillet association with important figures of Parisian politics and 1809 , the Marche, Chimay 22 Septembre 1810 , the Marche, 8 society, the different geographical areas where he worked Février 1814 , the Marche pour le pompe funèbre du Général either out of necessity or choice, and, last but not least, Hoche and the Marche funèbre, Paris mars 1820 . This is the provide details of historical episodes that still today are often first time that Cherubini’s Marches, composed for a variety of incomplete or blurred. celebrative occasions, have been published in a unitary and 15 Saverio Mercadante Further new publications mark the 150 years from his death Chamber Flute E S Z continue their contribution to the celebrations of the episodes of the “Rondò” . The Trio , an unicum in the series 150 th anniversary of Saverio Mercadante’s death, with of eleven trios by Mercadante (but certainly his, as testified

SAAVVEERRIO MERCAADANTE important publishing initiatives. In particular, two precious by the autograph), was until recently considered I QUARTETTI PEPER FLAUTO E ARCHI

Edizione crriitiitiicaca a cdiuurara Maariiaateresa Dellllaaborrrra

chamber works have now been edited by Mariateresa incomplete. However, the work on the critical edition –

Dellaborra: the Trio for two flutes and bassoon and the carried out by the workshop “Strumenti e metodi per

Quartetto n. 1 in G major, the latter being part of the series un’edizione critica” coordinated by Mariateresa Dellaborra

“I Quartetti per flauto e archi”. In both cases these are at the Conservatory in Genoa – led to the conclusion that ore [1814]

works dating from the composer’s crucial years of study the work is complete and perfectly performable. Belonging

with Nicola Zingarelli at the Reale Collegio di Musica in to a genre that was greatly esteemed by critics of the time

Naples, and of his early operas at the theatres of San («the most perfect of all compositions, producing the

Carlo and the Fondo. While the importance of the regular greatest effect in proportion to the means employed»,

EDIZIONI SUVIN I ZE ERR-MOBONI ILAN

SAAVERIOVERIO MMERCADANTEERCADAANTNTE public concerts given by the advanced students of the writes Pietro Lichtental in the influential Dizionario Conservatory is indisputable, the social context of the published in Milan in 1826), the work was most likely time also offered numerous occasions for domestic composed some time in 1816, the year of Rossini’s performances of chamber music, in which amateurs and Barbiere , and is again in three movements: with no tempo TRIOTRIO professions participated side by side, and had already markings, “Largo”, “Rondò brillante”. The writing, showing PPerer duedue flautiflauti e fagottoffaagotttto EdizioneEdizione criticacritica benefited the quartets of Paisiello and Cimarosa. the influence of Rossini, exalts the concertante character Mercadante contributed to this environment with at least by engaging the instruments in an arioso dialogue in the twelve works, between 1813-16. In the Quartetto in G first movement, a conversation between the two flutes major, from 1814, the flute dominates the other instruments made interesting by an unexpected modulation to a remote unchallenged, in accordance with the practice of the key in the second, and the agile virtuosity of the three EDIZIONIEDIIZZIONI SUVINISUVINI ZZERBONIERBONNII - MMILANOILANO quatuor brillant , which aimed to highlight the peculiar players in the third, though without lacking in terms of timbres and techniques of the instrument. The work is in expression. Both critical editions contain an introduction three movements (with no tempo markings, “Siciliana”, providing historical-aesthetic background about Naples of “Rondò - Allegro”), and combines a sonata form featuring the time and the early 19 th century Italian chamber music pleasant thematic invention, a broad melody in the slow repertoire, an area undeservedly neglected but still able to movement, and a finale enlivened by the variety of the offer considerable surprises to a modern audience. Alessandro Rolla Double edition of a work revised by his son Music for Two Generations Fresh off the press is the new edition of Alessandro Basilica di San Petronio and violin teacher at the Liceo Rolla’s Sinfonia in D major BI 535, edited by Paolo Giorgi Filarmonico: years in which, besides participating in the

and published in the series “Concerti e Sinfonie (1780- activities of the Accademia Filarmonica, he also had the CONCER TI ES INFONI E (1780-1840) Colllalna did musisicas trumentael i coalboorazone coo l SIddM Socieeà IItaallaana d MMusicooogi 1840)”, in collaboration with the Società Italiana di task of organizing the public concerts at the Liceo for civil

Musicologia. An outstanding figure in Italian musical life and religious occasions, in collaboration with the societies

th th between the end of the 18 and start of the 19 centuries, and academies of the city. The Sinfonia is written in a

Rolla is still awaiting recognition of his true stature as a single movement (Allegro) and is in sonata form, giving SINFO NIA IN RE MAGGIO RE BI535 EdiziEdizzoonee crirttica cuua di Paolo iGoorg

composer. The Sinfonia in D major has come down to us in particular prominence to the string section and especially to two versions differing in instrumentation and orchestration, the first violins, who generally play the themes. Version A

both of which are now available in a critical edition. The was conceived as music for the Duke’s entertainment in

th first version probably dates from 1796, the year appearing the late 18 century, and has a lighter instrumentation that EDIZIONI SUVINI ZERBONI - MILLA NO on a recently discovered non-autograph copy, that is to say places more emphasis on the upper, melodic parts; version in the period when Alessandro Rolla was first violin in the B revises the original composition almost thirty years later orchestra of the Duke of Parma, after being accepted with the intent to highlight the more daring harmonic unanimously (1794) as a member of the prestigious passages by using different timbres. In the second version Accademia Filarmonica in Bologna as a «Maestro the instrumentation is considerably extended and various Compositore e Professore di Violino». The second version instruments are assigned specific roles (notably the solo may have been revised by his son Antonio in the period violin part, presumably destined for Antonio Rolla himself), between 1821 and 1823, when Rolla junior was engaged in bringing the work closer to the operatic tastes of the early Bologna as director of theatre productions, first violin at the 19 th century.

Giovanni Battista Martini Three new titles in the opera omnia for instruments Feast of Timbres Three new titles are added to obbligato in D major for two *LRYDQQL %DWWLVWD 0DUWLQL  the publication of the critical /Û23(5$ 67580(17$/( oboes, two trumpets, cello *LRYDQQL %DWWLVWD 0DUWLQL  /Û23(5$ 67580(17$/( edition of Padre Giovanni *LRYDQQL %DWWLVWD 0DUWLQL  obbligato, strings and basso Battista Martini’s instrumental /Û23(5$ 67580(17$/( continuo (HH.32 n. 1) and the output, edited by Federico Ferri Concerto col flauto traversiero 6LQIRQLD D  VWUXPHQWL ++ Q  LQ )D PDJJ SHU DUFKL GXH FRUQL H EDVVR FRQWLQXR

and Daniele Proni. Fresh off HGL]LRQH FULWLFD D FXUD GL in G major for transverse flute, ++ Q  )HGHULFR )HUUL H 'DQLHOH 3URQL &RQFHUWR FRO öDXWR WUDYHUVLHUR LQ 6RO PDJJ SHU öDXWR WUDYHUVLHUR DUFKL H EDVVR FRQWLQXR

HGL]LRQH FULWLFD D FXUD GL the press are the volumes &RQFHUWR FRQ YLROLQL RERª REEOLJDWL WURPEH H )HGHULFR )HUUL H 'DQLHOH 3URQL strings and basso continuo YLRORQFHOOR REEOLJDWR ++ Q  containing the Sinfonia a 4 LQ 5H PDJJ SHU GXH RERL GXH WURPEH YLRORQFHOOR REEOLJDWR DUFKL H EDVVR FRQWLQXR (HH.32 n. 7), the latter being in HGL]LRQH FULWLFD D FXUD GL )HGHULFR )HUUL H 'DQLHOH 3URQL

strumenti in F major for strings, (GL]LRQL 6XYLQL =HUERQL  0LODQR four movements with a double

two horns and basso continuo (GL]LRQL 6XYLQL =HUERQL  0LODQR minuet, one of the most effective

(HH.27 n. 9), the Concerto con (GL]LRQL 6XYLQL =HUERQL  0LODQR works in Martini’s instrumental violini, oboè obbligati, trombe e violoncello output. 16 FFPFiiirrrrismsts etW etWos relWdcou Przeliodorfno iPr ramselasdrnofcluoe ts Permearnfcoes rma FSEPiTEMBErR st WMichele dall’Ongoaro rldValerio SannicPandro er WIN A BOOK OF DEPTHS Ivan Fedele for flute, clarinet, violin, cello, percussion for ensemble LEADING LINES (Quinto Quartetto) and piano (Production of Radio France - Studio recording) for string quartet and live electronics Milan, Società del Quartetto, Sala Verdi del Boulogne-Billancourt (Paris), La Seine Musicale, (Commission by Grame Lyon, Milano Musica, Conservatorio, October 6 October 20 Collectif Tana) Sentieri Selvaggi L’Instant Donné Paris, Ircam, Festival ManiFeste, Centre Pompidou, conductor: Carlo Boccadoro Grand Salle, September 2 Alessandro Solbiati Quatuor Tana Ivan Fedele SON ATA (TIRE SI A E LA PI ZIA ) Simone Conforti (Grame), computer music designer 4 HAIKU Version for violin and electronics for female voice, bass clarinet, cello and Milan, Teatro Dal Verme, October 22 Stefano Gervasoni percussion Soloist of Syntax Ensemble: EUFAUNIQU E (1 st and 2 nd Part) Milan, Società del Quartetto, Sala Verdi del Francesco D’Orazio, violin for en semble Conservatorio, October 6 Maurilio Cacciatore, electronics (Commission by Ensemble Intercontemporain) Carmela Remigio, soprano Paris, Ircam, Festival ManiFeste, Philharmonie de Sentieri Selvaggi Francesco Ciurlo Paris, Studio, September 3 conductor: Carlo Boccadoro ARIE DI TROPOSFERA Ensemble Intercontemporain for soprano and ensemble conductor: Matthias Pintscher Giorgio Colombo Taccani Milan, Rondò 2020, Conservatorio “G. Verdi”, KLARE LEBENDE STEINE Sala Puccini, October 24 Eric Maestri for piano Anna Piroli, soprano RITRATTO VOCE Palermo, Associazione Siciliana Amici della Musica, Divertimento Ensemble Version for voice and elect ronics Teatro Massimo, October 4 conductor: Sandro Gorli Milan, Divertimento Ensemble, Call for Young Davide Cabassi, piano Performers, Fabbrica del Vapore, September 16 Javier Torres Maldonado Valentina Piovano, soprano Malika Kishino TENSIÓN TRANQUILA I Andrea Nicoli, sound engineer OUD for oboe and electronics Double Concerto for marimba, piano and Pamplona, Festival “After Cage”, Teatro Gayarre, Luis de Pablo ensemble October 28 CONCIERTO PARA VIOLA Y ORQUESTA (Commission by Takako Arakida Fund) Pilar Fontalba, oboe for viola and orchestra Tokyo, Opera City, Recital Hall, October 9 Venice, La Biennale, 64. Festival Internazionale di Satoshi Inagaki, piano Musica Contemporanea, Arsenale, Teatro alle Tese, Noriko Miyamoto, marimba NOVEMBER September 25 Ensemble Nomad Garth Knox, viola conductor: Norio Sato Eric Maestri Orchestra di Padova e del Veneto E I TIFONI I MAREMOTI conductor: Marco Angius Leonardo Marino for soprano, instruments and electronics LOOKING AT YOUR SOUL WITH A TELESCOPE on a text by Camillo Pennati Maurilio Cacciatore for string orchestra Bologna, Bologna Modern, November 5 ANCHE QUESTO È SILENZIO Budapest, Budapest Music Center, Peter Eötvös Livia Rado, soprano for ensemble, acoustic feedbacks and live Contemporary Music Foundation, October 9 Ensemble L’Arsenale electronics Danubia Orchestra Óbuda conductor: Filippo Perocco Freiburg i.B., Christuskirche, September 26 Ensemble Experimental Carlos Roqué Alsina Ivan Fedele SWR Experimentalstudio TRIO 2019 (Quasi figurativo) SHE WALKS IN BEAUTY Michael Acker, Joachim Haas, Lukas Nowok, live for violin, cello and piano for three female voices and piano electronics Cherbourg, Festival Les Fieffés Musiciens, Centre on a text by George Byron conductor: Detlef Heusinger d’Art Le Point du Jour, October 10 Draguignan, Auditorium, November 6 Trio Ernest Musicatreize conductor: Roland Hayrabedian OCTOBER Daniela Terranova FLOWERS ENDLESSY OPEN Nicola Sani Giovanni Verrando for clarinet, cello and piano ANNA BLOSSOM HAS WHEELS INSTRUMENTAL FREAK SHOW Bludenz, Bludenzer Tage zeitgemäßer Musik, for voice, ondes Martenot and piano A Manifesto on Diversity Remise Bludenz, October 10 Bruxelles, Festival Ars Musica, Théâtre Poème, for voice, six performers and electronics Trio Catch November 13 (Commission by Ensemble Interface with the Anna Clementi, voice support of Ernst von Siemens Music Foundation) Luca Antignani Thomas Bloch, ondes Martenot Venice, La Biennale, 64. Festival Internazionale di LA LUNA NEL POZZO Giusy Caruso, piano Musica Contemporanea, Arsenale, Teatro alle Tese, for violin October 2 Mars eille, Salle Musicat rei ze, October 10 Alessandro Solbiati Giulia Zaniboni, voice Francesco D’Or azio, violin …RUFT UNS! Ensemble Interface for soprano saxophone Michele Innocente e Giovanni Verrando, video Giorgio Colombo Taccani Tallinn (Estonia), Estonian Music and Theatre Angelo Linzalata, set & light design STRANGER Academy, Chamber Hall, November 14 Paolo Brandi, sound engineer for voice and 10-string guitar Claude Delangle, soprano saxophone Andrea Tremolada, instrument maker Milan, SpazioTeatro 89, October 11 Maria Eleonora Caminada, soprano Simone Cardini Leonardo De Marchi, guitar ANCORATO, PROTESO, DIFFRATTO Giorgio Colombo Taccani for ensemble ISTORIA BOTANICA Alessandro Solbiati Rome, Auditorium Parco della Musica, Sala for three female voices or little female choir …RUFT UNS! Sinopoli, November 18 on a text from the index of “Istoria botanica” for soprano saxophone Umberto Di Nucci, electric guitar by Giacomo Zanoni (Avant-premiere) Ensemble Novecento Camogli, Festival “Suoni in Cammino”, Chiesa Tilburg (Netherlands), University of Fine and conductor: Pasquale Corrado Abbazia di San Fruttuoso, October 20 Performing Arts, Concert Hall, October 12 Musicaround Ensemble Claude Delangle, soprano saxophone conductor: Vera Marenco a FFPFiiirrrrismsts etW etWos relWdcou Przeliodorfno iPr ramselasdrnofcluoe ts Permearnfcoes rm r FMalika Kisihino rst LWuca Antignani orldDECEMBER Pe RITUS BATTE BOTTE for orchestra for children or female choir on a text by Andrea Mannucci (Commission by hr-Sinfonieorchester) Dino Campana 7 PAROLE Frankfurt, Forum N Kalligraphien, hr-Sendesaal, Lausanne, Thé âtre 2 •21, November 27 Sentimental Suite for ensemble November 20 Ensemble Diaphane on a ghost text by Marco Ongaro hr-Sinfonieorchester Rome, Festival di Nuova Consonanza, Teatro conductor: Stefan Asbury Leonardo Marino Palladium, December 13 NEW WORK NED Ensemble Nicola Sani for flute, horn, percussion, harpsichord, piano and conductor: Andrea Mannucci IL CELLO IN UNA STANZA celesta, cello, double bass for cello Budapest Music Center, Peter E ötv ös Music Florence, XVII Festival di Contempoartensemble, Foundation, November 27 JANUARY “Playout”, Manifattura Tabacchi, November 21 Danubia Orchestra Óbuda Vittorio Ceccanti, cello Malika Kishino Aureliano Cattaneo AIR SONG Daniela Terranova ARCO for organ NOVITÀ for Baroque and modern instruments Berlin, Sophienkirche, January 10 for cello (Commission by Collegium Novum Zürich with the Anna-Victoria Baltrusch, organo Florence, XVII Festival di Contempoartensemble, support of Ernst von Siemens Musikstiftung) “Playout”, Manifattura Tabacchi, November 21 Zürich, Tonhalle Maag, November 28 Alessandro Solbiati Vittorio Ceccanti, cello Collegium Novum Zürich CHIAROSCURO conductor: Emilio Pomarico for double bass Ivan Vandor Milan, Divertimento Ensemble, Rondò 2021, IMPROMPTU MINIATURE Francesco Ciurlo January 23 for cello LEBOS LOBOS Emiliano Amadori, double bass Florence, XVII Festival di Contempoartensemble, for soprano, baritone and piano “Playout”, Manifattura Tabacchi, November 21 Milan, Rondò 2020, Conservatorio “G. Verdi”, Malika Kishino Vittorio Ceccanti, cello Sala Puccini, November 28 CONCERTO POUR VIOLA Laura Catrani, soprano for viola and orchestra Simone Cardini Friedo Henken, baritone (Commission by Gürzenich-Orchester Köln) IL SUFFIT DE SE LAISSER À ÊTRE Divertimento Ensemble Köln, Museum Ludwig, January 24 for female voice, saxophone, electric guitar conductor: Sandro Gorli Vincent Royer, viola and cello on texts by Antonin Artaud Members of the Gürzenich-Orchester Köln Milan, Festival di Milano Musica, Teatro Elfo Puccini, Francesco Ciurlo conductor: François-Xavier Roth Sala Shakespeare, November 23 ABSTRACTION TO THE POINT OF Irina Ghivièr, voice Concerto for oboe and ensemble Alessandro Solbiati Trio SEV Milan, Rondò 2020, Conservatorio “G. Verdi”, AZUR Sala Puccini, November 28 for vocal quartet, piano 4 hands and Giovanni Verrando Luca Avanzi, oboe percussion on texts by Charles Baudelaire SEVENTH BORN UNI CORN Divertimento Ensemble Tours, Conservatoire “F. Poulenc”, “La nuit des for amplified bass cla rinet, filtering half-clarinet conductor: Sandro Gorli Conservatoires”, January 29 in B flat and elect ronics Teachers and Pupils of the Conservatoire Milan, BASE, November 26 Maurilio Cacciatore “F. Poulenc” in Tours Soloist of Mdi Ensemble: BREVE IV Paolo Casiraghi, clarinet for clarinet Leonardo Marino Florence, XVII Festival di Contempoartensemble, NEW WORK Maurizio Azzan “Playout”, Sala della Musica della Fondazione for mixed choir DI MA REE, AN ATOMI A Zeffirelli, November 28 Köln, WDR Funkhaus, Klaus von Bismarck Saal, for voice, two polystyrene boxes and electro- Giovanni Riccucci, clarinet großer Sendesaal, January 31 acoustic device on a text by Daniele Bellomi Chorakademie des WDR Rundfunkchores (Commission by Alda Caiello with the support of Michele dall’Ongaro conductor: Joanna Slusarczyk SIAE Classici di Oggi) NEW WORK Florence, GAMO International Festival, Le Murate, for bass clarinet Sala Ketty La Rocca, November 27 Florence, XVII Festival di Contempoartensemble, Alda Caiello, voice “Playout”, Sala della Musica della Fondazione Maurizio Azzan, electronics Zeffirelli, November 28 Constantly updated, at the website Giovanni Riccucci, bass clarinet www.esz.it Luis de Pablo you will find the complete FLAUTA, TÚ VOLADORA Marco Quagliarini performance list of our composers for flute ORME (Premiere of the version for solo flute) for viola Florence, GAMO International Festival, Le Murate, Florence, XVII Festival di Contempoartensemble, Sala Ketty La Rocca, November 27 “Playout”, Sala della Musica della Fondazione Roberto Fabbriciani, flute Zeffirelli, November 28 Anna Serova, viola

ESZ news EdiZioni Suvini ZErboni Editore: Sugarmusic S.p.A. Galleria del Corso, 4 - 20122 Milano Tel. 02 - 770701 - E-mail: [email protected] - www.esz.it Direttore responsabile: Maria Novella Viganò - Responsabile del Settore Classica: Alessandro Savasta Redazione: Raffaele Mellace - Coordinamento di redazione: Gabriele Bonomo - Progetto e realizzazione grafica: Paolo Lu ngo - Traduzioni: Mike Webb Aut. del Tribunale di Milano n. 718 del 25-10-1991