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.