februar y2018 75 ESZ news Edizioni Suvini Zerboni - Fourmonthly Newsletter Dialogues with the Stage Three first performances in three months for Alessandro On March 31 Il n’est pas comme nous! - Une fable de tous

i Solbiati. On February 22 in the Auditorium Pollini in Padua, les temps , stage action for female singing and narrating t the di Padova e del Veneto conducted by Marco voice, , , and percussions from Miguel de a

i Angius will play Sette Intermezzi da “Il suono giallo” for Cervantes Saavedra’s El retablo de las maravillas , reduction

b orchestra. The composer tells us: «In June 2015 at the Teatro from the French translation by Alessandro Solbiati, will have l Comunale in , Marco Angius conducted Il suono its first performance at the Petit Faucheux in Tours, with o giallo , my opera inspired by Kandinsky’s stage work of the Mathilde Barthélemy, voice, and the Ensemble ATMusica

S same name, that in 2016 was awarded the Premio Abbiati as (Saori Furukawa, violin, Gilles Deliège, viola, Myrtille Hetzel,

“Best first performance in in 2015”. The general structure cello, and Renaud Détruit, percussions). Solbiati explains: o

r of the opera consisted of a Prologue, six Pictures and an «To move along the thin line that separates vocal music and

d Epilogue, separated by seven short orchestral Intermezzos chamber theatre, “pure” music and at least the suggestion of

n (each between one and three minutes) which, far from having a stage work, the voice as an instrument that gives form and Three premieres in

a a purely “ornamental” function, were intended to incarnate sound to a text and its own particular character, this was the Italy, France and

s the various phases of Kandinsky’s second text that I had starting point for Il n’est pas comme nous! - Une fable de the USA feature in

s added and combined with the rather scanty text of Der gelbe tous les temps . At the basis of this venture was an encounter the composer’s rich

e Klang . Together with Marco Angius, we had immediately with the singing and narrating voice and stage personality of

l agenda thought it was possible to extract these Intermezzi and unite Mathilde Barthélemy, who is able not to separate acting from

A them in a separate work, since each of them, in an aphoristic singing, and to mix the two vocal approaches in a reciprocally arch that inevitably recalls Webern’s op.10, has a clear and rewarding relation. However, it was first necessary to find a independent figural and imaginative structure. It was text that was “strong” but at the same time entertaining and nevertheless necessary, given their destination for the light. Cervantes and his Retablo de las maravillas was the Orchestra di Padova e del Veneto, to remanage the perfect choice: a tale, full of irony but also of a rather bitter orchestration and rearrange it for a chamber orchestra». truth, able to sting and at the same time make you smile. continues on page 2 Multifaceted Reality

Vittorio Montalti is composer in residence for the season of emerge and vanish as in a fade-in fade-out. In particular the

i the Divertimento Ensemble “Rondò 2018”. In this role he will electronics present the idea of the “skeleton” of a ; an

t

l enjoy a substantial series of performances of his works by the instrument of which only the mechanical noises remain. This ensemble directed by Sandro Gorli, starting with the opening almost intimate way of listening to the instrument makes

a

t concert of the season, on January 17 , at the Auditorium San reference to two fundamental concepts of Perec’s poetics:

n Fedele in , which will include the Italian premiere of that of the infra-ordinary and that of the machine. In the third

o Tentative d’épuisement for ensemble and electronics. Next, movement a “musical” switch opens or closes brief views of on February 28, still in Milan, at the Palazzina Liberty, Les certain images. Various miscellaneous objects are depicted

M toits de for flute, clarinet, piano, violin, viola and cello, with a gradual intensification of the orchestration and of the

and Bestiaire remix for solo voice, with Ljuba Bergamelli; at dramaturgy of the piece, until the explosion of one of the

o

i the same venue, on March 19 , Nu descendant un escalier for figures that involves the whole ensemble. I was also r ensemble; finally, on May 15 , at the Fabbrica del Vapore, a interested in the shifts of perspective of the observer in Residence at o new work for ensemble directed by Marco Seco. The Perec’s book. During the days, in fact, the author moves Rondò 2018 is the

t

t composer introduces this new work: «The piece is inspired by between the Tabac Saint Sulpice, the Café de la Mairie and opportunity for a

i Tentative d’épuisement d’un lieu parisien , a book by Georges the Saint Sulpice fountain. So there are some transversal series with two V Perec. For three days in a row the author sits in Place Saint images in the piece, which recur in the three movements, premieres Sulpice in Paris and makes a note of what happens in the always shown in a different light. Many ideas from Perec’s square: the buses that pass, a man walking with a baguette poetics fascinated me and guided me in the composition of under his arm, the flight of the birds, the cars, a girl smoking a the piece. Above all the concept of infra-ordinary, which Perec cigarette… all details, at first sight insignificant, that make up describes as “background noise, what happens when nothing the description of a city. The form of the piece follows the is happening”, and the concept of constraint, which has structure of the book and is inspired by the ideas that lie at always been of fundamental importance in my writing. Perec the basis of the text. The piece is divided into three was in fact one of the major representatives of Oulipo, the movements, which represent the three days that Perec group of French writers and mathematicians founded in 1960, spends in Place Saint Sulpice, and the various images whose credo stemmed from the premises that those who described become musical figures. I wanted to translate into write following a series of rules they know, are much freer music the multiplicity of representations appearing in the than those who write without rules while obeying rules they book, trying a different approach in each movement, don’t know». On May 6 Les toits de Paris will also be played highlighting the heterogeneity of the description. In the first at Maison 44 in by the Ensemble ö!, who will repeat the movement different musical objects are presented in a sort of piece at the Theater Chur in Chur the following day, May 7 . frantic zapping, reaching an explosion at the climax; there Finally, on May 8 at the Carnegie Weill Recital Hall in New follows a re-reading of the first part in the electronics, which York, Solo for piano will be given its first performance by Min becomes a soloist, while the ensemble presents the opening Kwon. figures in scraps. In the second movement the figures from page 1 (Solbiati: Dialogues with the Stage )

Chanfalla is a charlatan who moves in the world of the again restless, fast and urgent, returning to the initial shrill powerful and of high society showing them a retablo in sound of the soprano, which is then transformed into a which extraordinary things can be seen… only if you are sweet, low and enchanting episode, crystalline and part of the “good side of humanity”, that is, in 17 th century suspended, bringing the piece to a close». On January 24 Spain, if you are not converted Jews or illegitimate Alessandro Solbiati’s music was featured in a monographic children. But every era has its “good side” and its excluded, concert at the National Recording House in Kiev in the as we well know. And if someone says they see nothing in same week as the recording of a Cd for EMA Vinci the retablo , “il n’est pas come nous!”, it is someone to be Records, which includes the pieces played in the concert: excluded and sent away. This is how Cervantes’ tale ends. the Sinfonia da camera for sixteen instruments, the I made many limiting choices to make the text synthetic Concerto for guitar, in the version for guitar and fifteen and strong and to have the chance to give equal instruments, Insieme for ten instruments and Neve in the importance to the spoken and sung part and the version for sixteen instruments. The performers for the Sándor Veress instrumental part. In addition I wanted to emphasize the concert and the Cd were the Ukho Ensemble directed by theatrical nature of the piece through a formal division not Luigi Gaggero and the guitarist Luigi Attademo. On Orbis Tonorum for chamber foreseen by Cervantes: my work is divided into a Prologue, February 15 in Milan, during Musica d’Insieme, the orchestra can be heard on three Scenes and an Epilogue, separated by four monographic Cd Novus released by Stradivarius will be February 17 at the Studiobühne instrumental Intermezzos. Each zone uses the presented, featuring the Ex Novo Ensemble, who for the of the Opernhaus Zürich, with instrumentation in a different way, because when only four occasion will play Novus for flute, clarinet, violin, cello and the Ensemble Opera Nova players are available for a piece lasting 50’, it is necessary piano and Albatros for flute, violin and piano. On March 18 directed by Fabio Luisi. The to create many different “timbral physiognomies” to at the Museo del Novecento in Milan, the Festival 5 Sonatina for , clarinet and characterize each textual, scenic and musical situation». Giornate will include Albatros for flute, violin and piano, bassoon will be played on Finally, on April 22 the New York Festival with the New MADE Ensemble, whose members will also March 4 and 5 at the will include the world premiere of Élan for saxophone play in the same venue on March 19 Le sei corde di Nicolò Spiegelsaal of the Opernhaus (soprano and tenor) and piano, with Jacopo Taddei and for guitar (soloist Leopoldo Saracino), on March 20 Le Zürich by Heinz Holliger, Robert Luigi Antonio Nicolardi. The composer comments: «These corde di Nicolò for violin and piano, on March 21 Due Pickup and Elisabeth Göring. two musicians form a young, formidable duo that recently Adagi (Tiresia e la Pizia) for violin (soloist Raphael Negri), The Concerto for violin and left the saxophone classes of Mario Marzi and chamber and on March 22 Promenade in the version for piano and orchestra can be heard on April music classes of Emanuela Piemonti at the Milan string quintet, in its first performance (at the piano Rossella 25 at the Vigadó Concert Hall in Conservatory, and have already won, one after the other, Spinosa, under the baton of Alessandro Calcagnile). During Budapest, with Pablo Hernán every national and international competition they have these months a selection of the Interludi for piano will be Benedí and the Concerto taken part in. A title like Élan , impetus, comes quite played on February 7 at the Galleria d’Arte Moderna in Budapest conducted by András naturally for such a duo, and it is also natural to make it Milan, soloist Alfonso Alberti; Sonata seconda for piano on Keller. On May 24 at the above all a piece full of energy, vitality. I nevertheless March 4 at the Sala Puccini of the Milan Conservatory, Théâtre des Champs-Elysées wanted to go beyond any facile virtuosic display that the soloist Emanuela Piemonti; Interludi , on April 8 in the in Paris, the Quattro danze saxophone is capable of and to build a formal and Galleria d’Arte Moderna in Milan, during the series transilvane for string orchestra expressive arch that is both clear and complex, that would “Autoritratti: I solisti di Divertimento Ensemble”, soloist will be played by the Orchestre on the one hand highlight the “duo” side (in Élan the Maria Grazia Bellocchio. In the coming Spring Emanuela de Chambre de Paris saxophone and piano often blend into a single instrument) Piemonti will play a selection from the Interludi and the conducted by Tabea and on the other a richer and more surprising range of Sonata seconda at the Third Teheran Contemporary Music Zimmermann. timbres than one might expect. This involves using the Festival; Sara Minelli will play Anthos - Parte prima for flute sound box of the piano, and bichords, sounds with the in G on May 2 at the Royal College of Music in London; the voice or breath and so on in the saxophone, certainly not to Ensemble ö! will play Mari for flute, clarinet, violin, cello “amaze with effects”, but for a precise expressive purpose. and piano on May 6 at the Maison 44 in Basel and on May Clarity and complexity come, in fact, from the combination 7 at the Theater Chur in Chur; the Blumen Ensemble will of two different symmetries in the piece. There is a first play A tEma for flute, violin, cello and piano on May 11 in symmetry regarding the alternating use of the soprano and the Salone degli Affreschi of Bari University; Marcel tenor sax: the first starts, then the other has a long Frumasachi and Alexandra Stradella will play Sonetto for passage, and the first returns, drawing, in terms of register, violin and piano on May 13 at the Auditorium Celesti in a sort of U, a high-low-high parabola in A-B-A. But there is Desenzano, during the 11 th Festival of the NED Ensemble. a second symmetry regarding the expressive moods, which On February 20 at the in , the Dvd of is instead in the form A-B-A-B: a very tense and high the opera Leggenda produced by EMA Vinci Records will episode then plunges into the low register (of the tenor sax) be presented. Finally, in April the New Made Ensemble will still restless but slowing down in a sweet and ancient perform Alessandro Solbiati’s music during a meeting- medium-low central part (Organum), until becoming once masterclass at the Conservatory in Cagliari. Federico Gardella New concerto for mandolin, ten years after another piece for the same instrument Almost a Self-portrait A world premiere for Federico Gardella on April 22 at the accompanies it: here the music follows winding paths, it Sala Maffeiana of the Teatro Filarmonico in Verona, with a doesn’t progress through developments, but assonances, it repeat performance the following day, April 23 , at the finds its sense in the definition of form as the exploration of Teatro Verdi in Trieste. Dorina Frati and I Virtuosi Italiani will the gesture rather than the dialectics of contrasts. The give the first performance of Konzertstück for mandolin and soloist and the strings, then, share the same single horizon strings, which the composer introduces with these words: of sound and represent, in a certain sense, two different «Ten years after my Concerto per mandolino e orchestra points of view on that enigmatic matter we call music». I have again considered the concertante character of this During the first days of February Gardella’s music can be instrument in a work that is almost a self-portrait. It is heard at two different venues. Architetture del canto e del inhabited by figures that have accompanied me over these silenzio for flute, clarinet, violin, cello and piano will be years, the gestures that have defined my idea of music. performed at the American Academy in , Villa Aurelia, And so, this Konzertstück starts at the point where the on February 1 in private concert and on February 3 in a Concerto finished, that milestone where, I believed, I would public concert, by the Scharoun Ensemble, along with never have returned. But now the scenario has changed Invenzioni del margine for piano, which Alfonso Alberti will somewhat, and so has the concept of time that play on February 7 at the Galleria d’Arte Moderna in Milan. 2 Ivan Fedele New concertante work for bassoon, commissioned Deepness of Feeling by the Teatro Carlo Felice

A world premiere for Ivan Fedele at the Teatro Carlo exclusively orchestral passages, and sometimes by Felice in . On March 2 the soloist Paolo Carlini and cadential moments on the solo bassoon also the orchestra of the same opera house, conducted by counterpointed by its “aliases” (the two bassoons and the Alessandro Cadario, will play From Depth to Deepness for double-bassoon at the back of the hall)». The first months bassoon and orchestra. The composer explains: «The two of 2018 offer various occasions to hear Ivan Fedele’s expressions “depth” and “deepness” have more or less the music. The Suite francese III for cello was played on same meaning, but while the first term refers especially to January 7 at the Teatro San Carlo in Modena for the Amici a physical element (of the sea or of the earth), the second della Musica, with Michele Marco Rossi, who will play the also refers to thought, feeling, spirit. So the title suggests work again on February 22 at the Filarmonica Laudamo in a pathway that wants to lead from the low register Messina and on March 23 at the Associazione Riccitelli in (“depth”), which is basically the natural habitat of the Teramo. On January 22 Haru Haiku for soprano, bass bassoon, to a deepness of expression that doesn’t call for clarinet, cello and percussion was played at the Cité de la a showy virtuosity, but expresses a musical idea, which Musique in by the ensemble Accroche Note; develops through alliteration, consisting of evocative on January 24 “Tierra del fuego”, “Aptenodytes” and figures with the characteristics of an icon. Once again the “Chionis Alba” from Études australes for piano were orchestra acts and reacts, with reference to the soloist, played at the Galleria d’Arte Moderna in Milan by Alfonso like a resonant environment in which fragments of the text Alberti; on February 3 Târ , third will be reverberate as if multiplied by a hyperbolic kaleidoscope. played at the Villa Necchi Campiglio in Milan, for the From this point of view an important function is played by Società del Quartetto, by the Quartetto Maurice; on Niccolò Castiglioni the two bassoons of the orchestra placed stereophonically February 4 Suite francese V for harp will be played in the at the back of the hall like two points of reflection, and by Chiesa di San Biagio in Rozzano (Milan) by Emanuela Tropi for chamber group the double-bassoon placed at the back in the centre, with Battigelli, who will repeat the work on April 7 at the can be heard on February the function of a subwoofer. The multiphonic sounds Fondazione Borsieri in Lecco and on April 8 in the Sala 5 at the Teatro Vittoria in employed offer timbres and colours organized like a di Musica in Mendrisio (Switzerland). Finally, it will be Turin, in the season of the palette on which the paints are associated on the basis of possible to hear Modus for bass clarinet and percussion Accademia Corale Stefano chromatic contiguity. The rapid and turbulent passages in on February 13 at the Morat-Institut in Freiburg im Tempia, with the Achrome the low register evoke a dull telluric and subterranean Breisgau (Germany), with the Ensemble Recherche, and Ensemble directed by dimension from which the scraps of colour of the Imaginary Skyline for flute and harp on February 20 at the Marcello Parolini. previously mentioned multiphonic sounds emerge, Fundación BBVA in Bilbao, during the Conciertos de emphasized by the string section and reverberated by the Música Contemporánea, performed by two soloists of the wind. The work is in one continuous movement but is Trio Salzedo (Marine Pérez and Frédérique Cambreling). substantially in three parts, punctuated sometimes by

Nicola Sani Premiere in of the new version Additional Prospective of a piano work O n May 29 at the Millennium Center in Beijing, during sonorities are processed by de-composing different types the “Meet in Beijing Arts Festival”, Concetto spaziale, of sounds created within the soundboard of the piano. attese in the new version for pedal piano and digital The features that identify the piano performance are system will be premiered by Roberto Prosseda. The eliminated, allowing the sonic component of the composer explains: «A parallel space, a perforated instrument to emerge, raw, malleable matter, that at times surface between two sound universes. In the new version recalls the sonorities of digital synthesis. Through the of Concetto spaziale , the pedal piano introduces a novel technologically reshaped sound possible strategies are acoustic and performing environment that gathers the made available to return the instrumental sound, which sediment of the concrete sounds produced by the takes on a completely different character, being keyboard and the sound board of the piano and unites transfigured in its search for an almost alien linearity. them with the elaboration of the electro-acoustic part, This gives rise to a unique process, which dilates in the emphasizing the low notes that then enhance the richness totalizing and all-embracing space, a container explored of the harmonics. The sense of this new version for pedal in its constituent, primitive elements, a sort of magma, the piano is not to have a piano with extra notes, but one with original nucleus of life as self-moving energy, sufficiently an additional spatial “perspective”: a piano that is fluid to allow its evolution, mysterious and unpredictable expanded, both in terms of performing technique and of like the abysses of the sea, interchangeable like the the acoustic production of the sound matter. The unfathomable depth of the ego. The spatial rhythm composition is freely inspired by the themes of spatialism correlated to the expansion of the matter reaches dizzy in painting and the work of the artist Lucio Fontana, to heights; often the magmatic concentration releases which the title refers. This new version accentuates the events and surprises of an infinite space, in an incessant similarities to the surfaces riddled with holes of the great de-composing and re-composing of the sonic matter. spatialist painter, through which clots of shapeless matter Sign, sound and movement become united in a single emerge. The two surfaces become spatial planes to be gesture/spatial concept. The new version of Concetto penetrated in order to create a possible continuity spaziale for pedal piano was realized in collaboration with between the space of the spectator and that of the work; Roberto Prosseda, an extraordinary performer and true in this way depth and three-dimensionality are rendered instigator of the revival of this instrument in our time». On concrete, without the need of tricks of perspective. Just as March 20 A Time for the Evening for clarinet, violin, cello Fontana makes use of cuts and holes to transcend the and piano will be played in the Sala Ketty La Rocca of limit imposed by the surface of paintings so as to unveil Le Murate in during the ContempoArteFestival, the spatiality and infinite scenarios that push beyond the and again on March 24 in the Sala Mozart of the Regia physical and mental limits, the piano “lacerates” in real Accademia Filarmonica in Bologna, by soloists of the time the canvas made up of timbral structures formed ContempoArtEnsemble: Davide Bandieri, clarinet, Duccio by the elaboration of the sonorities produced by the Ceccanti, violin, Vittorio Ceccanti, cello, and Matteo Fossi, instrument through electro-acoustic means. These piano. 3 Giovanni Verrando The composer continues to explore his personal idea of instruments System Intruments

On March 5 in St. Paul’s Hall of the University of figures I have in mind, I always need to start from the Huddersfield, West Yorkshire, the world premiere of Fifth sound, from my sound. In this case, it was sufficient to look Born Unicorn for transformed cello and electronics will be for it in the details of the means I had in front of me». Last given by Francesco Dillon. The composer tells us about his December a video was made and published of Fourth new work: «While working on my new to identify the Born Unicorn (angular version) for prepared viola, with the details of the sounds that I was carefully documenting, little dedicatee Marco Fusi as soloist. The recording on video, by little I examined the timbre produced by each of the instead of just an audio documentation on Cd, aimed to parts that made up the instrument: not just the strings, the show the work on an instrument, the gestures used by the bridge, the body and all the segments that are visible and performer, as well as the more general approach to the accessible, but also the soundpost, the tailpiece hanger, sound. In this way the video highlights the increasingly the ring of the bow and so on. Each detail has its own evident link between music written for personalized identity that contributes to the overall sound of the instruments and the visual side of the same work, a side instrument and at the same time distinguishes it. where the contents of the work can be effectively Paraphrasing a well known saying of deconstructionism, illustrated. Again in 2017/18, for the second consecutive “there is nothing outside the cello”, and parallelly “there is academic year, the Conservatory in Lugano is offering a not just the known sound of the cello” because it is a course of “Chamber music with new lutherie”. The course system, an apparatus made up of various parts, each with is open to players, singers and conductors, and is in two its own specific timbre. Fifth Born Unicorn , written for parts. The first phase is more theoretical, with elements of Francesco Dillon, is a piece for cello and electronics which psycho-acoustics and the study of the new lutherie. It in reality was born “for transformed and dismantled cello”. involves learning to manage sound in detail, to tackle the The transformed cello is the one used on stage by the new repertory using instruments of the new lutherie, to soloist. With this I obtain the sounds initially imagined handle the musical instruments as “apparati”, that is, using electronics and particular chosen devices (for concretely made up of various parts: the instrument true example, a strip of cloth rubbed on the strings). The and proper, the material and the tools needed to play it, the Carlo Ciceri dismantled cello is instead the instrument, or rather the microphoning, managing the amplification, etc. The single parts of the disassembled instrument, that produced performers learn how to control the timbral properties Aspra for amplified ensemble around half of the electronic sounds, in this case pre- (brilliance, stability, etc.), to directly manage the will be performed on February recorded by me. For some years now I have been carefully descriptors of their own instrument, to experiment with new 27 at the Kleiner Saal of the transcribing my imaginary musical ideas, taking me instrumental gestures, to read the notation conceived for Hochschule für Musik und beyond the instruments as I knew them. This need, totally new instruments. The second phase involves the rehearsal Darstellende Kunst in Frankfurt personal and without belonging to any inexistent ultimate and performance of pieces of today’s music that make use for the International Modern truth, stems from being spontaneously tired (obviously as a of new lutherie, electronics, digital and concrete, and Ensemble Academy, with the composer, not a listener) of the already familiar and prepared acoustic instruments. The aim is to produce the IEMA-Ensemble. hetero-determined sound. The traditional sound wouldn’t figure of a musician able to tackle the repertory of more offer me any expressive force or even a faithful translation recent music with greater theoretical and technical of my imaginary musical repertory. Fifth Born Unicorn awareness. The course ends with a public concert constitutes an important step in this direction as it allowed featuring pieces of very recent music that make use of new me to look more deeply, also in a conceptually simple way, lutherie. On December 19 , in the Faculty of Musicology into how traditional acoustic instruments are “systems”, and Cultural Heritage of Cremona University, Giovanni and lets me express more easily my personal idea of Verrando held a conference titled “La nuova liuteria e la instruments. It also entails single parts of the instrument composizione”. being made to sound separately. To represent the musical

New chamber work Aureliano Cattaneo inspired by Bach and the tragedy of contemporary Towards the Unknown war refugees Tw o world premieres in France for Aureliano Cattaneo. cello (5 strings) obbligato. This is contraposed by brief On January 20 in the Salle des Concerts of the Cité de la statements, in French, of refugees from wars in Africa and Musique at the Philharmonie 2 in Paris, Neben for string the Middle East. From the cantata I took just a small quartet, presented in the last issue of ESZ News, was fragment of text and I developed the idea, wholly Baroque, played by the Cuarteto Casals, who will take the work on of the continuous interaction between the voice and the tour with them to the Mozartsaal of the Konzerthaus in instrument. Here this idea is taken to its extreme, the voice Wien on February 16 , to the Kleiner Saal of the and instrument are in reality just one thing, a two-headed Elbphilharmonie in Hamburg on March 16 , to the creature. Weg is the metaphor for a path, and the uncertain Kulturzentrum Schloss Bonndorf on March 17 , to the start, almost without form, without direction, represents Wigmore Hall in London on March 24 , to the Auditori de the essence of this journey towards the unknown. The Girona on March 25 , to the Conservatorio “G. Verdi” in premiere of Weg will be in Gosnay in France, a town not far Turin on May 9 , to the Sala Pau Casals of the Auditori in from Calais, where thousands of refugees are still massed. Barcelona on May 29 and finally to the Sala de Cámara of This work is intended as a homage to all those who are the Auditorio Nacional de Música in Madrid on June 14 . forced to undertake a long “path”, “away” from their own On April 15 in Gosnay, during the series Musique en Roue land, because of war but also to search for a place to live Libre, Weg for soprano and cello will be given its first in». Two important performances of Aureliano Cattaneo’s performance by the duo Donatienne Michel-Dansac and music will take place in the month of February: on Fabrice Bihan, to whom the work is dedicated. The February 8 at the Royal Festival Hall in London, during composer explains: «The word “weg” has various different the Philharmonia Orchestra’s series Music of Today, the meanings in German: written with a small first letter it can Violinkonzert in the version for violin and ensemble will be be an adverb, meaning “away”, but also “outside”; with a played by Irvine Arditti and the Philharmonia Orchestra capital letter it is a noun and means “path”, but also conducted by Brad Lubman. Then, on February 14 at the “journey”. This variety of meanings is the principle for Weg . Teatro Central in Seville, the Trio Arbós will play Rito for The text takes its starting point from a cantata by Bach, violin, cello and piano. BWV 68, in which an aria is written for soprano and small 4 Malika Kishino Two new works explore the breath of prayer and Vocal Breath cerebral functions

Tw o world premieres for Malika Kishino this Spring. (Poland). The composer introduces her new work: «The On March 24 at St. John’s Church in Waterloo, London, left and right hemispheres of our brain do not carry out during the London Ear Festival, Prayer/Inori II for eight the same functions. The left one performs tasks that deal voices will be performed by the Helsinki Chamber Choir with logic, speech, language, comprehension, time directed by Nils Schweckendiek. The composer explains: sequencing and mathematical skills. The right one, «Prayer/Inori II is a new version for 8 voices of however, is the more artistic and creative side of the brain Prayer/Inori which was composed for mixed a and deals with feelings, visualization, imagination cappella choir just after the devastating East and perception. The brain stem is responsible for Japan Earthquake on March 11 th 2011. The our basic life functions such as our cardiovascular piece was written as a tribute to all the victims system and respiratory control. Brain science Ritratto di Don Chisciotte , of the Earthquake, Tsunami and Nuclear interests me a lot especially after one of my family ballet in one act on a libretto Disaster. When I think of human voices, I am members had a stroke. In my piece Vokale , I have by A.M. Milloss, was immediately reminded of a particularly intense attempted to represent the characteristic functions performed on January 26 at childhood memory. In my childhood, I often of both hemispheres and the brain stem in my the National Concert Hall in heard the voices of chanting Sutras . They were division of the choir, which consists of 3 groups: Dublin by the RTE National sung together by both Buddhist priests and the the 3 altos, 2 tenors and 2 basses who are in the Symphony Orchestra local old women. The tempo and tunes sung by centre at the front of the stage play the role of conducted by Daniele the old women were slightly different than those being the trigger in the piece. The 4 sopranos, 5 Rustioni. The pupils of the sung by the priests but still had the overall effect as being altos, 3 tenors, 3 basses are the left hemisphere and Istituto Superiore di Studi one powerful voice. The chanting of Sutras is in fact perform verbal tasks such as speaking, and chattering Musicali “G. Briccialdi” in praying but for me, the singing and the praying were with rhythmic gestures. The 8 sopranos, 3 tenors, 3 Terni, directed by Marco inseparable. The human voice is the most direct medium basses represent the right hemisphere and perform Gatti, will play Ottetto di for expressing ourselves. And I guess that singing and imaginative tasks utilizing 5 vowels and their formants. ottoni for four trumpets and praying have the same roots. The poem that I chose for These are portrayed with stretched and drawn out four trombones on February my piece is by Rabindranath Tagore and is entitled “Fruits musical gestures. During the musical process, the 15 at their institute. The gathering No. LXXIX”, and describes praying. It was equipoise of these three groups constantly fluctuates. Quinto Concerto for orchestra originally written in Bengali and was translated into Sometimes the character of the left hemisphere is can be heard on May 15 at English by Tagore himself. The text portrayed for me a dominating, but we are then escorted into a state of well the Auditorium in Milan, with transformation from an introverted murmuring to a being represented by calmness and floating linear-like the Orchestra Sinfonica di releasing of fearless freedom. I was especially attracted gestures which can possibly be from the right Milano by the idea of “fearlessness”. I discovered that our hemisphere. Arthur Rimbaud’s texts discuss the colours of conducted by Carlo breathing rhythm affects our fear and memory. If we’re the 5 vowels with imaginative examples that clearly show Boccadoro. afraid, our breathing and heartbeat are faster. On the the different methods of handling objects by either the other hand, deep long breaths calm the mind and release right or left hemispheres. He wrote the following in his us from anxiety. Following up on Tagore´s universal poem: “I invented colours for the vowels! - A black, E poem, I attempted to represent my image of prayer using white, I red, O blue, U green. - I made rules for the form sound material such as voice vibration, deep sighing, and and movement of every consonant, and I boasted of breathing which allows us to feel the warmth of life or inventing, with rhythms from within me, a kind of poetry Camillo Togni indeed its clarity and coldness. In certain sections each that all the senses, sooner or later, would recognize. And I singer spells out the words. These individual moments alone would be its translator…”. (A. Rimbaud, Alchimie du Du bleicher Geselle for overlap and produce considerable energy. In this verbe, Délires II ). In my piece Vokale , I have attempted chamber group will be played composition the idea that numerous microcosms (single to represent the vowels in a non-verbal way by timbre on March 10 at the Auditorium people) can form macrocosms, appealed to me. A single (colour of sound), using the system and functions of the San Barnaba in Brescia, note is made up of a mixture of partials, and a hemispheres». The series of Monochromer Garten are during the series “Sulle Ali del composition is an aggregate of single notes. The image being performed again in these months. The duo Hanatsu Novecento”, by the Dèdalo of humans murmuring in their prayers on the earth and Miroir (Ayako Okubo and Olivier Maurel) played Ensemble directed by the progressively gathering energy and achieving a higher Monochromer Garten VII in the new version for flute and finalist of the orchestral level, reminds me of the process of a fundamental note percussion on January 20 at the Criée Centre d’Art conductor Competition of the that is being constantly transformed and thereby revealing Contemporain in Rennes and will perform the piece City of Brescia named after its partials and creating a rich sound cosmos». The again on March 24 in the Salle Ponnelle of the Opéra Giancarlo Facchinetti. Dresdner Kammerchor and the Paderewski Chamber National du Rhin in Strasbourg. Makiko Goto will play Choir Poznan directed by Hans-Christoph Rademann will Monochromer Garten V for koto player on February 18 give the first performance of Vokale for mixed choir at the Kurhaus in Kleve, on February 19 at the divided into three groups, a commission of the Dresdner Studio of the Ensemble MusikFabrik in Cologne and from Kammerchor, on April 27 at the Festspielhaus Hellerau in March 4 to 11 during a New Zealand tour to Christchurch, Dresden, and will repeat the work the following day, April Auckland, Wellington and Dunedin. 28 , at the Paderewski Musikakademie in Poznan Maurilio Cacciatore Important recognition assigned by the ZKM German Prize in Karlsruhe Maurilio Cacciatore has been awarded the composers of electronic and acousmatic music, Giga-Hertz-Poduktionspreis 2017. The prize, promoting the start of new projects; in the case of promoted by the ZKM Institut für Musik und Cacciatore this foresees the realization of a piece Akustik and the SWR Experimentalstudio for piano, synthesizer, lighting system, live video and conferred by a jury made up of Elena and live electronics. During the awards ceremony, Ungeheuer, Björn Gottstein, Ludger held on November 23 at the ZKM Kubus in Brümmer, Detlef Heusinger and Peter Karlsruhe, the composer proposed a new version Weibel, was awarded to the composer for of Jardins de Fabrique , electronic music on digital Meccanica degli avatar for eight instruments support. and live electronics. Its aim is to support 5 Giorgio Colombo Taccani A series of new works re-elaborates Sonic Images ideas close to the composer These months see five world premieres, one of which for orchestra, performance of Quattro parole will be given by the Orchestra Verdi and various other performances for Giorgio Colombo Taccani. On conducted by Carlo Boccadoro. Colombo Taccani introduces his new January 13 at the Teatro “Divino Amore” in Martina Franca, Ludmila piece for orchestra: «“It was only after a few days of silence and Ignatova and Andrea Monarda gave the first performance of Ali for solitude that, in a fold in the pockets, his fingers came across a piece of voice and guitar. Colombo Taccani comments: «I am truly grateful to paper, screwed up and tattered. On anxiously opening it he made out Andrea Monarda for what he has done and continues to do for my with difficulty four words, surrounded by cancellations and rips: they music. It was therefore a great pleasure to dedicate to him and to were “destini, assorto, inverno, ritorno”. The words were quiet, for now. Ludmila Ignatova this short vocal piece, built on the basis of Giulio But only for a while, because from those words each thread would Caccini’s well known Amarilli, mia cara . The original vocal part has become re-knotted (…)”. An imaginary quotation, as a first step in my been drastically reduced, revealing, in the few syllables that have new work for orchestra written on commission of the Orchestra Verdi in survived and are left in their original place, a new text, rarefied and Milan and dedicated with gratitude to Carlo Boccadoro, who will be its mysteriously allusive, also reflected in the title itself first conductor. The work is divided into four separate episodes, (“Acre / Dolce / L’acre sale / Diletto / Ali amare / Mari although with clear internal references and symmetries: extremely amari / Reali / Ore”). The guitar part, on the other hand, aggressive and agitated at its extremes, and more meditative and is totally independent, although still based on elements relaxed in the two central parts. The whole is linked by a short cell taken from Caccini’s composition. The restlessly of seven notes, a personal idée fixe that for around thirty years has suspended climate is temporarily interrupted by a periodically resurfaced and generated new works, always different moment of tension where the eliminations have led to a from one another in dimension, instrumentation and type of repetition of the noun to evoke the image of “Mari amari elaboration. The first episode, linked to the word “destini”, opens / Reali”, then immediately returning to a more with extremely energetic chords on the full orchestra, which will act meditative and intimate atmosphere». Eugenio as a guide until their very violent explosion in the final bars. The Colombo will give the first performance of Lectio brevis immediately evident characteristic of the whole work (at least in my for alto saxophone, which will take place at the Conservatory in intentions) is the wish to present clear, easily recognizable gestures, Frosinone on February 15 , with a repeat performance on February 22 with highly defined figures, combining a controlled and at times at the B-Folk in Rome. The composer tells us: «Over the years a complex handling of the elaborative principles with a search for an certain number of my works have shared the same constructive immediacy of reading that isn’t afraid of appearing rudimental, elements, either of my own invention or taken from pieces dear to me elementary. Equally evident, and linked to the wish for clarity of and of varying provenance. I found it very interesting to work with these gestures, should be the simplification of the harmonic discourse, often recurrent starting points, trying to adopt new strategies and aims, and focused around clear gravity centres, almost tonic polarities though achieving results that were very far from each other. While in these without any tonal organization. The reference to the word “assorto”, months Quattro parole for orchestra has taken up a short melodic which forms the basis for the second episode, determines instead the fragment from a piece I wrote as far back as the end of my studies at most meditative and relaxed moment of the work. The piccolo with the the Conservatory and already used for the basis of other previous fascinating timbre of its lowest register is the main instrument to be works, for Lectio brevis , written at the very welcome request of Eugenio entrusted with the gradual and ever turning-back line of a quite Colombo for his alto saxophone, I went back once more to another of simple melody, which is nothing other than the basis for the whole my idées fixes , that is, the opening phrase of a very famous political composition. Small ruffles and momentary outbursts don’t significantly song, whose identity I leave to the curiosity of the listener. In this case, alter its character, which is instead enriched with a constant timbral in the few minutes available, this fragment is slowly conquered, note by exploration. The third episode, linked to the word “inverno”, highlights note, in a climate that is extremely varied, rich in changing moods and the solo first violin, which acts as a guide right from the first bars, with almost improvisational. The last note, screamed at the highest register interventions of variable length during the following bars that take their of the instrument, leads to a rapid and fleeting epilogue, in which the starting point from the conclusive note of the previous episode. The song in question would actually make its appearance in full and finally path is pervaded by sounds of air, sudden gusts that transform into compact, if it were not made difficult to recognize by the continuous hostile bursts, grey and opaque pulsations. The instruments extend tremolos and ruthless erosions of timbre». On March 3 , during the their range of timbres to paint this picture that is cold but full of Saxophobia Festival in Bratislava, Andreas Van Zoelen and Ladislav underlying nervousness. As also in the previous episode the orchestra Fanzowitz will give the world premiere of Unstable Portrait of A.S. for rarely exploits the full available instrumentation, preferring instead an tenor saxophone and piano. The composer explains: «I am very happy alchemy of colours mostly based on combinations of just a few to have been able to work again for Andreas Van Zoelen, an excellent components. In the final episode, “ritorno”, there is no difficulty in as well as historical player of the instrument and possessor of an resorting to what is probably the most obvious form of elaboration, endless collection of saxophones. It is the actual figure of Adolphe Sax, namely a return to the first episode and thus reiterating in the very first with his artistic merits and his rather bizarre life, that hovers in the bars the violent chords that had closed “destini”. The mirror is of course background of this piece, suggesting the exploration of the various not mechanical (hardly anything, to use a simple metaphor, goes back nuances of the instrument in an approach that in this case avoids any to exactly what it was…), but rather an often much varied if not adventurous performing techniques, and the development of a path full completely reinvented re-reading of the various sections of the of sudden mood shifts and with frequent changes of scene. It therefore opening episode, with a general tendency to grow in energy and features a succession of almost immobile, extremely faint passages, aggressiveness. The orchestra in fact recovers, with a certain and obsessive fortissimo repetitions of chords, unrestrained bursts and constancy, its full instrumentation and the gestures are once more brief snatches of melody that are eroded through constant repetitions, often elementary and clear. The arrival at the opening chords, on which until the final heavy and rudimental gesture that brings the piece to a the vicissitudes and adventures presented during the course of the sudden close». The composer’s list of pieces involving unusual work shed new light, brings the path to an energetic conclusion». combinations of instruments has a new entry, although a little less L’àgnili for voice and piano was played by the (Tiziana excessive compared to some of the more recent extravagances: an Scandaletti, voice, , piano) during the Festival invitation from the Duo Kubin, made up of Elena Talarico piano and Camino Contro Corrente in Camino al Tagliamento on September 27 Francesco Zago electric guitar, resulted in a piece named after them, and on December 17 at the Spazio Classica in Milan. In controluce for Kubin , with an extremely energetic and lively character. The work, piano was played by Luca Benatti on October 28 at the Auditorium which will be premiered on May 3 at the Spazio ScopriCoop in Milan, is CUBEC in Modena, while Carlo Siega played Sottotraccia for electric divided into two successive moments: the basis is drawn, with slight guitar on October 29 at Argo16, in Venice, and on November 25 modifications and with ineffective sections removed, from a piano part during the 7 th Festival of Italian Contemporary Music at the Area taken from a previous piece for piano and trombone ( Obake , 2008). Sismica in Forlì. Andrea Monarda played Erma for guitar on January This component, which seemed to offer further potential for 13 during the Martina Franca Chamber Music Festival. Finally, Blind exploitation, has been joined by a totally new electric guitar part, ready Trust for electric guitar, theorbo and accordion, after the performance to capture in a fanciful and at times flagrant manner every possible on December 29 in Vigo Rendena, will be played again on March 25 sound the instrument is capable of. The result is a piece with a high during the series Contrasti in Trento, again by the Azione_Improvvisa and almost constant level of virtuosity, in a constant shifting of images Ensemble consisting of Pierpaolo Dinapoli, Andrea Antonel and and scenes». On May 15 , at the Auditorium in Milan, the first Margherita Berlanda, with Raul Masu as sound engineer. 6 Gabriele Cosmi Incidental music for the theatre and other new Figures of Passions works explore the reasons for human action Four new works for Gabriele Cosmi in the first months obtain what she wants. Medea carries out her actions with of the year. On January 7 Musica per orchestra d’archi , extreme lucidity, her inner power thus feeds her intellect. commissioned by the Laboratorio Arte Musica e Spettacolo Medea’s gesture is not casual; she knows exactly what she (Lams) in Matera and presented in the last issue of ESZ has to do and finds the strength to do it. Today this story News, was played by the Orchestra di Matera e della seems to have little to do with us. Too often we are unable Basilicata in Palazzo Lanfranchi, Matera. The incidental to turn our energy into actions that match our sentiment; music Salomè Suite , commissioned by the Teatro degli we are like a burning metal that comes too often into Incamminati, Compagnia I Demoni, Teatro Litta in Milan, contact with water, producing just smoke. Or else we are already performed in a reduced version on November 14 too cold and controlled until we are inflamed and pervaded at the Teatro Elfo Puccini in Milan with direction by Alberto by strong sentiments. I felt the need to recall this ancient Oliva, who is responsible for all the versions of the play, story because all of us, in our work, within our domestic was given a preview on January 9 at the Teatro Rossi in walls, in our politics, in our interpersonal relations, feel the Casalpusterlengo. From January 18 , the date of the first lack of Medea; we aren’t like her: maybe we should be». actual performance, to February 1 Salomè will be staged On March 22 at the Coronet Theatre in London, the at the Teatro Litta in Milan, and repeated on March 20 at London Sinfonietta will premiere Musica per 5 strumenti , the Teatro Cenacolo in Lecco. The play by Oscar commissioned by the London Ear Festival. The composer Wilde/Giovanni Testori, a production of the Teatro degli tells us: « Musica per 5 strumenti is a work in three Incamminati/I Demoni, features Mino Manni, Francesco movements: the first and the third have common lexical Meola, Giovanna Rossi, Valentina Violo and voice off-stage elements but diverge in their grammar. The second Franco Branciaroli, with stage design by Alessandro Chiti, movement differs from the first in its lexicon, linking itself to costumes by Lella Diaz, lights by Luca Lombardi, sound the third in its grammar. The third movement thus becomes design by Gabriele Cosmi, and assistant to the director a synthesis of the previous movements, conveying Valentina Sichetti. Cosmi explains: «Salomè is a game of information from both of the preceding movements. The Francisco Guerrero the powerful. It starts with the proposal of Herod, a king idea of generating communicating vessels from which that wants to have fun and take advantage of his position particles migrate from one movement to the other, is the Zayin III for string trio was and his abundant wealth: “Salomè, dance for me, in main concept underpinning the form of the composition». played on January 23 at the exchange you can have whatever you want”. Finally, Over the last months Cosmi’s music has been performed at Theater Chur in Chur, by the unexpectedly and disturbingly, comes Salomè’s reply: various venues: on October 12 at the Festival di Tropea Ensemble ö!, who repeated “I want the head of John the Baptist”. Meantime there is the (So ancora che visse II for soprano and piano, with the Cho the performance on January moment of the dance, the triumph of the senses, the loss of Nahon duo, who repeated the work on January 9 at the 28 at the Maison 44 in control, the Dionysian intoxication of those who give into Istituto Italiano di Cultura in San Francisco); on December Basel. Antar Atman for pure pleasure without considering the consequences of 14 at the Teatro Comunale in San Vito al Tagliamento orchestra can be heard on their actions. Herod signs a blank cheque, the opposite of (Musica per violoncello ed elettronica , soloist Michele March 16 and 17 at the Faust’s pact with Mephistopheles: he doesn’t sell his soul Marco Rossi); on December 15 at the Auditorium Paris Mozarteum in Salzburg, with to the devil for knowledge, but for lust, for a long but limited in Frosinone ( Geghard V for string orchestra, with the the Sinfonieorchester der moment of supreme carnality». On February 17 at the Orchestra da Camera di Frosinone); on December 18 at Universität Mozarteum Gran Teatro La Fenice in Venice, who commissioned the the Casa della Letteratura in Rome ( I Begin to Hear Voices directed by Johannes new work, Io non sono Medea , for large choir and organ, for soprano, with Lisa la Pietra). Then, from February 16 Kalitzke. will be premiered by the choir of the Theatre conducted by to March 4 the Teatro Franco Parenti in Milan is staging Marino Moretti, with Ulisse Trabachin at the organ. The Delitto e castigo , production by the Teatro Franco Parenti, composer explains: «The west seems unable today to direction by Alberto Oliva, adaptation by Alberto Oliva and undertake strong actions, meaningful gestures able to Mino Manni, with original incidental music by Gabriele leave a mark, able to unleash the forces that determine the Cosmi ( Delitto Suite ). On April 14 La signorina Else by flow of events. We aren’t living in a period of unconditioned Arthur Schnitzler will be staged at the Teatro Stabile in surrender, but we are only capable of local gestures, of Verona, and then from April 17 to 22 at the Teatro Out Off little importance, of little consequence. Our small everyday in Milan, a production of the Teatro Out Off in collaboration gestures don’t seem to influence our lives. On reading with the Teatro Stabile di Napoli - Teatro Nazionale, again Medea by Euripides we come into contact with a figure with the direction of Alberto Oliva. Cosmi has contributed to Martino Traversa capable of extreme actions so long as they offer liberation the play with his incidental music Else Suite . On May 27 in from the wretched condition that society imposes on her: a the Auditorium Celesti in Desenzano Andrea Mannucci On January 20 at the woman prepared to kill a part of herself, her children, fully will conduct the Orchestra d’Archi NED Ensemble in a Galleria d’Arte Moderna in aware that this will haunt her for the rest of her days. At the performance of Musica per orchestra d’archi . Finally, Milan, pianist Alfonso start of the tragedy we find a woman dominated and Gabriele Cosmi has been awarded first prize in the Alberti played Oiseaux overcome by the emotions of her own suffering, her anger “Sinopoli” Competition in Frosinone, as well as in the tristes and nos. 1, 2 and 5 and her distress. Medea is nevertheless able to dominate “Francesco Agnello” National Composition Competition of the Sei Annotazioni at these sentiments by channelling them into action; her sight promoted by the Cidim. the first concert of the isn’t blurred by her anger and she hatches a perfect plan to cycle “Invenzioni”, during which Alberti talked with the composer about his Ivan Vandor compositions. New version of a chamber Eight Characters work in Florence On March 20 at the Sala Ketty La Rocca of Le these pieces has a particular connotation – the Murate, Progetti Arte Contemporanea in Florence, last one, for example, is the varied reprisal, the ContempoArteFestival will host the first like a recapitulation, of the first, the fourth is a performance of the revised version of Otto brevi 2-part canon for cello – and each of them also pezzi for cello and piano, with Vittorio Ceccanti and has its own character – the second mysterious, Matteo Fossi, soloists of the ContempoArtEnsemble. the fifth impetuous, the sixth lyrical and the The composer explains: «The Otto brevi pezzi for seventh joking. Lastly, they share a common cello and piano were written in 2011 and then structure mainly based on small intervals and revised four years later in a new version. Each of their inversions».

7 Premiere of a concerto, Luis de Pablo monographic concert and new book on the composer Musical Poetry

On March 8 and 9 at the Palacio Euskalduna in Bilbao, On February 22 at the Instituto Cervantes in Frankfurt, Amicitia , concerto for accordion and orchestra, will be the International Ensemble Modern Academy will devote given its first performance by Iñaki Alberdi and the Bilbao an entire concert to Luis de Pablo, in his presence, Orkestra Sinfónikoa, conducted by during which a new book on his work will be Erik Nielsen. The composer presented, with the participation of the introduces his new work: « Amicitia , author Daniel Lorenzo, whose Luis de Pablo concerto for accordion and y el poema en música (Ediciones Fundación orchestra, was composed between Autor - SGAE) studies the role of poetry in September and December 2014 in the poetics and work of the composer. Luis San Sebastián. The idea for the de Pablo’s immense body of chamber-vocal work came earlier and was the works inspired by a continuous and constant outcome of my admiration for and contact with poetic literature, constitutes a friendship with – hence the title – multifaceted legacy full of nuances. This Henri Pousseur the extraordinary accordion player significant and so characteristic element of Iñaki Alberdi. It was he who his output is the focus of Daniel Lorenzo’s Phonemes pour Cathy for solo requested, and I’d say almost “demanded”, the piece work, which also examines the evolution of the voice will be performed on many years ago. This was a positive experience for me: composer’s musical style in terms of his preferred February 3 at the LaBar Recital it forced me to deepen my knowledge of an instrument reading: Vicente Aleixandre, Gottfried Benn, Fernando Hall of the University of Notre that had always interested me but that I would never Pessoa, Luis de Góngora, Selomo Ibn Gabirol, José Dame, South Bend (Indiana), have given the attention it deserves. Its endless Miguel Ullán, and many others. The conversation by the soprano Jamie Jordan, possibilities offered musical combinations that were new between the author of the book and the composer will be who will repeat the work on to me. The three movements that make up the piece – followed by a performance, by the IEMA-Ensemble, of February 4 at the Constellation “Moto perpetuo”, “Imago”, “Velox” – provided me with Dibujos for flute, clarinet, violin and cello, the Cuarteto in Chicago. stimuli that have without doubt enriched my palette of concertante for two , viola and obbligato bassoon, timbres and forms. The work is dedicated to Iñaki Alberdi and Números , six pieces for octet. Finally, on April 23 whom I thank once more for the wonderful interpretation in the Museo Nacional Centro de Arte Reina Sofía in he will give and for the enrichment that this work has Madrid, A la memoria de… for cor anglais, viola and offered me. The piece was commissioned by the SGAE ensemble, will be played by the Sinfonietta de la Escuela (Sociedad General de Autores y Editores) and the AEOS de Música Reina Sofía conducted by Johannes Kalitzke. (Asociación Española de Orquestas Sinfónicas)».

Two previously unpublished Ottorino Respighi works for flute and strings, fruit of Rimsky-Korsakov’s teaching, see the light after Russian School over a century On February 4 at the Opera di Firenze, Teatro del who had learned to be a skilled orchestrator from his Maggio Musicale Fiorentino, the world premiere will take Russian experience with Rimsky-Korsakov, proves place of two works for flute and strings by Ottorino himself to be a solid and meticulous craftsman who Respighi, the Suite pour instruments d’archet et flûte and moulds together rich and effective musical material, Melodia e Valse caréssante , with Roberto Fabbriciani, bridging a gap in Italian orchestral music. The writing is who edited this very recent critical edition, and the always very precise, placing great attention on the Orchestra of the opera house conducted dynamics and articulations and proving to be by Alpesh Chauhan. The manuscript of modern and innovative. The Melodia e Valse the incomplete score of the Suite pour caréssante belong to a single autograph Carmine Emanuele Cella instruments d’archet et flûte is kept in the manuscript kept in the Civico Museo Bibliografico Civico Museo Bibliografico Musicale in Musicale in Bologna. The Melodia in E major was La mémoire de l’eau for nine Bologna. The missing parts, namely written originally for violin and piano in the form of musicians can be heard on some pages of the second piece ( Valse ) a three movement romanza. Towards the end of February 6 at the Cité de la and the entire Furlana , can instead be 1900 Respighi left Bologna for St. Petersburg Musique et de la Danse in found in the Archivio Respighi of the where he met Rimsky-Korsakov and had Strasbourg, in the programme Fondazione Cini in Venice. In this Suite , composition and orchestration lessons with him. of the Haute École des Arts composed in 1905, Respighi takes up the Having returned to Italy in 1901 he completed his du Rhin (HEAR), with the instrumentation of Bach’s Suite in B diploma in composition and in 1902 went back to Ensemble de Musique minor. It starts with the lively theme of the Badinage ; the Russia. The composition of Melodia e Valse caressante Contemporaine de l’Académie Valse , in A major, opens in a “Tempo moderato” and dates from this second visit. Russian influences are Supérieure de Musique de proceeds in a delicate and transparent manner. already evident in the theme of the “Andantino mosso” Strasbourg directed by Luigi Sentimental circumstances probably inspired the magical presented by the first violins at the start of the Melodia . Gaggero. nocturnal atmosphere of the Berceuse de Noël . The last The flute appears only in the central part, where it plays movement of the Suite is titled Furlana , which Respighi a motive then taken up by the first violins. The second himself also calls Trescone : the first title refers to a appearance of the flute is in the “Coda”, where the dance originating from Friuli, present in Venetian territory thematic material is fragmented in an atmosphere of since the 17th century, then spreading throughout marked timbral rarefaction, with pizzicatos on the violins , in particular to France where it was profitably and , and harmonic notes on the first violins. This is adopted by musicians like Rameau, Couperin and Ravel; followed by the Valse caressante , of which three the other refers to a Tuscan folk dance involving the versions exist: for piano, for orchestra, both in E flat typical exchange of handkerchiefs. The French flavour of major, and for violin and piano in D major. In the Valse this Suite derives not only from its title, from the French the flute opens with an improvisation-like introduction names used in some of the movements and the which ends on a dominant seventh that rests under a instrumentation, but also from the limpid sonority and the pause mark. Five sections follow in rondo form. modern harmonies recalling Claude Debussy. Respighi, 8 Andrea Mannucci Opera in memory of Aldo Moro and new chamber work inspired Spiritual Dimension by Mayakovsky To remember the 40 th anniversary of the death of Aldo in an immediately comprehensible way, psychic situations Moro, Andrea Mannucci has recently revised his chamber for which the language of the avant-garde has not opera Moro , a tragedy in one act and 11 scenes on a provided an adequate vocabulary. The eleven scenes that libretto by Marco Ongaro, for three voices (soprano, tenor, make up Moro trace a psychic and emotional curve that baritone) and an ensemble of eight starts from violent and heated tones in the instruments. Mannucci explains: «40 years attempt to contrast and fight against a destiny have passed since that dramatic day: it that is inevitable and already marked, and was 16 March 1978, I had just turned 18, gradually accepting the human passage from I was a young musician, lean and absent. corporal imprisonment to the freedom of being, Rossella Spinosa I lived for sounds, notes, contemporary the music accepts this path and turns back on music, I cared little or nothing for politics, itself. From the musical point of view the Abisso Mediterraneo. pietà l’è for social dramas. That morning I was at singing is the true protagonist of this drama morta , opera in one act on a the market with my mother when suddenly through four characters – Moro, Cassandra, the libretto by Geppino Materazzi people began to shout, the market vendors Angel, the Coryphaeus and chorus – who don’t and Pap A. Khouma, adaptation closed their stalls, the police started to act as autonomous subjects but are exclusively of texts by Rossella Spinosa, clear people away... From that day my life the mirror of the protagonist’s conscience». will be staged on February 15 changed, I became interested in politics, Paolo Ghidoni and Claudio Bonfiglio will give at the Teatro Masini in Faenza I joined a youth movement, I began to be the first performance of A piena voce , Sonata during the Emilia Romagna aware of society, I wanted to become for violin and piano, on March 20 at the Museo Festival. The performers will actively involved. The tragic opera takes place in the del Novecento in MiIan during the Festival 5 Giornate. be Paola Cacciatori, mezzo symbolic space of Aldo Moro’s days of imprisonment. A further performance is scheduled on May 13 in the soprano, Luca Micheletti, From the assault in Via Fani to the President’s death, the Auditorium Celesti in Desenzano, during the 11 th Festival baritone and narrator, Akueson opera narrates the intimate suffering of a man of power of the NED Ensemble, with soloists Marcel Frumasachi Adotey Dotcha, dancer, who was deprived of power, who worked on the building and Alexandra Stradella. The composer introduces his Rossella Spinosa, live of a civil cohabitation and was deprived of his freedom. new work: «The title comes from a collection of poems by electronics, the New Made The intimate suffering of a man who is aware of the Vladimir Mayakovsky, one of the greatest poets of the 20 th Ensemble and the Cappella inevitability of his own destiny, the destiny that we all century. The work is divided into three parts following the Musicale of the Duomo di share: death. During the course of the plot, the image scheme Fast - Slow - Fast, structured and built on the Milano directed by Alessandro of the politician takes on a spiritual dimension that basis of compositional material aimed at exploring more Calcagnile. It will be staged transcends not only the opposing factions of the public deeply the interactions between the two instruments, again on May 20 at the sphere, but also the different confessional conceptions, especially in terms of melody, which here assumes the Auditorium Celesti in reaching at its culmination the universality that links Christ predominant and constructive role. The first piece has a Desenzano during the 11 th to Socrates, and the greatest classical values to dramatic and rhapsodic character and alternates between Festival of the NED Ensemble, Christianity. The Angel and Cassandra, the only people Grave and Allegro animato. The reference text is the conducted by Andrea who talked with Moro in his dark cell, represent this duality poem Listen , a lively human canvas, poignant, rich in Mannucci. and this substantial identity. Death isn’t a political question pathos and contradictions. The central section, Adagio, is nor one of faith, death concerns us all and, in the end, we a lyrical intermezzo in which the violin takes the main role, all have to come to face it with greater or lesser dignity. while the piano has the function of simple accompaniment In tragedy, classical or modern, there is no room for and doesn’t obstruct the monologue of the soloist. The polemics. It is here that the figure of Moro becomes a reference poem, Conclusion , deals with the personal symbolic model, emblem of the passage from corporal motive of love, a love that for Mayakovsky takes on a imprisonment to the infinite freedom of the being. An global meaning of sacrifice and redemption. The third unsent letter and Moro’s last letter appear, poetically section, Allegro incisivo, has the three-part form A-B-A, in paraphrased, in two different scenes of the text, which in which there is also a kind of trio. The rhapsodic character general is the lyrical expression of a human reflection on alternates with moments organized more along the lines the immanence and transcendence which has always of the expressive-melodic tradition for this duo. The inspired art and towards which art always strives. It is not reference poem, Order No. 2 to the Army of the Aarts , is Gilberto Bosco a descent into the underworld, but a journey on high, that a sort of poetic tirade against current fashions and directs sees Love, just as in the President’s last letter, as the only the musical fabric towards grotesque and sarcastic Sesto improvviso for clarinet, really important element. Written in 2010 on commission sonorities. The game, meant as pure amusement, viola, cello and piano will be of the Atelier of opera creation “Appel d’Airs” and already spreads out in search of continual musical inventions». played on February 5 at the staged on 10 February 2011 in the Église Reformée des The harpist Emanuela Battigelli is currently taking on tour Teatro Vittoria in Turin, in the Batignolles with the direction of Andrea Battistoni, the Ninna nanna for harp: on December 10 at the Teatro season of the Accademia opera is being reproposed to mark the fortieth anniversary Comunale in Gradisca d’Isonzo (Gorizia), on December Corale Stefano Tempia, with the of Moro’s death. In this opera I applied the “art of 13 in the Chiesa di San Martino Vescovo in , on Achrome Ensemble directed by compromise”, also in analogy, in adhesion to the historical February 4 in the Chiesa di San Biagio in Rozzano Marcello Parolini. compromise. In Moro the musical compromise occurs (Milan), on April 7 at the Fondazione Borsieri in Lecco, through the use of techniques and materials from the and finally on April 8 in the Sala di Musica in Mendrisio musical avant-garde, but at the same time it borrows (Switzerland). gestures and characters from the past in order to express,

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9 Daniela Terranova Two new chamber works premiered in Madrid and Milan Phantoms and Metamorphosis

Daniela Terranova opens the new year with two world are born from the constant, slow metamorphosis of some premieres. On March 10 at the Palacio del Marqués de “drops of sound” subtracted from the flow of time. The play Salamanca, during the concert series of the Fundación of the repetitions brings about a circular expressive BBVA in Madrid, Hinoki. Still Life for saxophone, accordion structure, which imprisons thought and doublebass will be played by the Trio Feedback and listening. The opening silence is broken by short, (Ricard Capellino, saxophone, Esteban Algora, accordion, fragmented gestures that gradually take on form, direction, Elena García, doublebass), to whom the work is and dynamics, thanks to the exasperated use of teeming dedicated. In the words of the composer, «the work bands of sound realized using techniques similar to the explores the intriguing nature of sound offered by the rasgueado or derived from it. The entire gesturality ensemble. My aim is to create a “pneumatic” structure: a employed is linked to an exploration of materials that restless sonic organism that we hear breathing and make up the actual instrument: wood and metal are shuddering, in a changing texture that alternates between embraced and solicited by the player, like a modern evanescent colours and concrete volumes. In the border demiurge, giving life and breath to an otherwise inert body. zones, where the sound blends with silence becoming The title is a quotation from Virginia Woolf’s The Waves, almost bare and soundless, traces of a distant presence a novel that uses the symbol of water to signify the liquid can be heard and new phantoms emerge. The title of the and changeable state of existence. Bernard, one of the six work recalls Charles Ray’s impressive sculpture, Hinoki main characters, makes the following reflection about (2007), kept in Chicago: a reproduction in wood (made by time: “time – the drop, the drop – the roof, the roof – time – a Japanese craftsman) of the enormous tree trunk, fallen the drop”, and again “time […] lets fall its drop. The drop and decomposing that Ray found in California. It is a that has formed on the roof of the soul falls. On the roof of “living” still life, which tries to breathe through the my mind time, forming, lets fall its drop”. It is a thought that reproduction of the openings in the trunk: an extreme remains trapped in a circular structure, a metaphor for the attempt of art to arrest the corruptibility of matter». On relentless flux of a time that reveals all human fragility». April 16 at the PACTA Salone in Milan, during the series Notturno in forma di rosa for flute, clarinet, violin, cello and “PACTAsoundZONE”, the first performance will be given of piano will be played by the Ensemble Blumine directed by And time lets fall its drop for electric guitar, played by Caterina Centofante on April 15 at the Basilica di S. Maria Silvia Cignoli, to whom the piece is dedicated. The Maggiore in Bergamo and on April 18 at the Teatro Lauro composer explains: «It is a work in which form and colour Rossi in Macerata during the Nuova Musica season. Valerio Sannicandro Two new works explore the relations between instruments and ways of resonance Lunar Song The new year sees two premieres for Valerio (rustling sounds), at others stand out like distant and Sannicandro. On February 13 Tactile Songs II will be unreal colours». On May 28 Kern for clarinet, trombone, performed in Freiburg (Germany) by the Ensemble harp, doublebass and two percussionists will be played Recherche. The composer explains: «In this version for at the LWL Museum in Münster (Germany). Sannicandro bass flute, clarinet, viola and percussion, written for the describes his new work: « Kern (“kernel”) is a composition Ensemble Recherche, Tactile Songs II explores more written for a precise space, the Foyer of the LWL-Museum deeply a palette of timbres consisting of ephemeral in Münster. Apart from the spatial arrangement of the sounds and concrete and pulsating aggregates, conceived players (which varies according to the sections), the to create continuous changes of sonic gravity. Using musical material is entirely based on an analysis of the suspended sounds, of a percussive nature, and an ways of resonance calculated starting from the dimensions imaginary song made of indeterminate pitches and of the space. In this way the most marked frequencies (of rustlings, the composition assumes the character of the ways of resonance) give rise to melodic sequences, a moto perpetuo that becomes increasingly denser. harmonic combinations, rhythmic and formal structures. Swapping their “traditional” roles, the percussion creates a While the first part of the work focuses on the perception kind of melody on the membrane of the instrument, while of the sound sources, in particular the play of ricochets the bass flute assumes the role of percussion: vocal between the harp and percussion, at the end the sounds based on consonants are amplified and confer a instruments become concentrated in a position so as to mysterious, almost lunar character in which the other form a band of sound that is extremely dense but mobile instruments (clarinet and viola) are at times absorbed and changing». Javier Torres Maldonado Prestigious commission from the Mozarteum and masterclasses in Canada and France Sixty Years of Salzburg The Estudios concretos for guitar and electronics will be Academy “Le Domaine Forget”, one of the most performed by Pablo Márquez on May 26 at the Casa del prestigious academies of advanced music and dance Suono in Parma, during the Festival Paganini, concluding training in , based in Québec, Canada. On a masterclass held by Márquez and Javier Torres May 16 and 17 he will be involved in a similar masterclass Maldonado for the pupils of the Level II Master in Guitar of of composition and electro-acoustic composition at the the Conservatory in Parma. The Mozarteum in Salzburg Conservatory of Strasbourg (Académie Supérieure de has commissioned Javier Torres Maldonado to write an Musique). Alborada , in the version for soprano, saxophone acousmatic work for the celebrations of the sixtieth and electronics, has been chosen to open the new Cd S3 anniversary of the electronic music studio of the Austrian Spectral Sax Style , featuring Jesús Núñez (saxophones) academic institution, founded in 1958 by Irmfried Radauer and Juan D. García Aguilera (electronics). Finally, the and today directed by Achim Christian Bornhoeft. The composer has been nominated a member of the Sistema composition will be performed during the celebratory Nacional de Creadores de Arte, National Endowment for concert scheduled for Autumn 2018. From June 10 to 23 Culture and Arts (Fonca) in Mexico for the three year Torres Maldonado will be guest professor for the period 2018-21. composition masterclass of the International Music 10 Theatre productions in Belgium, Germany and Three Stages and a Festival Italy, and a wide-ranging celebration in Florence Th e first half of 2018 sees three new productions of Il soprano Susanna Rigacci and the Cameristi del Maggio Prigioniero , a prologue and one act from “La torture par Musicale Fiorentino directed by Mario Ruffini. The l’espérance” by Villiers de l’Isle Adam and “La légende programme continues on June 19 with the study day “Il d’Ulenspiegel et Lamme Goedzak” by Charles de Coster. Novecento di Luigi Dallapiccola”, involving Luciano Alberti, The series opened with the production at the Carlo Sini, Enrico Girardi, Paolo Petazzi, Quirino Théâtre La Monnaie/De Munt in Brussels, on Principe, Mila De Santis, Eleonora Negri and January 16 , 18 , 19 , 21 , 23 , 25 and 27 , with Marco Vallora, whose contributions will be Ángeles Blancas Gulín (La Madre), Georg interspersed by live performances organized by Nigl (Il Prigioniero), John Graham-Hall the Conservatorio “Luigi Cherubini” and the (Il Carceriere, Il Grande Inquisitore), Julian Accademia del Teatro del Maggio Musicale Hubbard (Primo Sacerdote) and Guillaume Fiorentino. Luigi Dallapiccola’s music was also Antoine (Secondo Sacerdote); direction by heard on January 28 in the Sala Arte Povera of Andrea Breth, stage design by Martin the Museo del Novecento in Milan, where Laura Zehetgruper and costumes by Nina von Catrani and Maria Grazia Bellocchio, soloists of Mechow. The Orchestre Symphonique et the Divertimento Ensemble, Chœurs de La Monnaie and the Académie des performed Rencesvals for voice The Concerto grosso in Fa Chœurs de La Monnaie were conducted by and piano from the Chanson de maggiore for wind quintet Franck Ollu. The same production, in collaboration with Roland , Quaderno musicale di and strings can be heard on the Oper , will be staged at the Opernhaus in Annalibera for piano and Quattro March 2, and again on March Stuttgart on April 26 , 29 , May 26 , and June 9 , 16 , 25 . liriche di Antonio Machado for 4, at the Opera di Firenze, Apart from the orchestra, here the Staatsorchester voice and piano. Quaderno Teatro del Maggio Musicale Stuttgart, the cast and production will be the same as in musicale di Annalibera can be Fiorentino, with the Orchestra Belgium. A different production will be staged on June heard again on February 4 , still del Maggio Musicale 19 , 21 and 23 at the Opera di Firenze, Teatro del in Milan, at the Palazzina Liberty Fiorentino conducted by Maggio Musicale Fiorentino, with Anna Maria Chiuri as “Dario Fo e Franca Rame”, Leonardo García Alarcón. The the Mother, the direction and choreography of Virgilio during the chamber season of Musica notturna for chamber Sieni, Lorenzo Fratini as choirmaster, and the Orchestra Milano Classica, with the pianist orchestra will be played on and Choir of the Maggio Musicale Fiorentino conducted Michele Fedrigotti. On February May 9 at the Barbican Hall by Zubin Mehta. On the occasion of this production the 12 in the Théâtre La Monnaie/De in London by the BBC Centro Studi Luigi Dallapiccola is organizing a series of Munt, Cinque canti for baritone Symphony Orchestra events under the title “Dallapiccola torna in città”, which and instruments on Greek conducted by Daniele includes a chamber concert, a study conference and thirty- poems in the translation of Salvatore Quasimodo will Rustioni. six other collateral events. The concert, to be held on May be performed by Dietrich Henschel and La Monnaie 14 at the Teatro del Maggio Musicale Fiorentino, will Ensemble, during the events scheduled around the feature Due liriche di Anacreonte for soprano and Brussels production of Il Prigioniero . Finally, on March 30 instruments in the translation by Salvatore Quasimodo, at the Staatstheater in Kassel, Preghiere for baritone and the Quattro liriche di Antonio Machado for voice and chamber orchestra will be performed by Armin Kolarczyk instruments, and Commiato for soprano and 15 players and the Staatsorchester Kassel conducted by Francesco on a text formerly attributed to Brunetto Latini, with the Angelico.

Giorgio Gaslini Exhibition at the Museo del Novecento in Milan All-round Musician and monographic concert in Parma Giorgio Gaslini is celebrated in two important initiatives. Varon will present Francesco Leprino’s videos Scarlatti From January 16 to May 8 the Museo del Novecento in and Peintres au Café-Sonnant with music by Giorgio Milan is holding the exhibition Gaslini. The video will be accompanied by Omaggio a Giorgio Gaslini - personal and musical recollections by Musicista Totale , realized by the Gianluigi Trovesi, Roberto Bonati and Filippo Museo del Novecento and NoMus. Vignato (winner of the Giorgio Gaslini The inauguration of the exhibition International Prize 2017, trombone), with the was enriched by the concert participation of Adriano Bassi. The series will Chamber Music for female featuring winners of the International conclude on May 8 at the Museo del voice, clarinet, cello and Giorgio Gaslini Prize: Francesco Novecento, where , harp on poems by James Orio (2015, piano) and Luca Massimiliano Damerini, Roberto Fabbriciani Joyce can be heard on Perciballi (2016, electric guitar). and Alfonso Alberti will remember the figure February 23 at the Theater On the same day the programme and work of Giorgio Gaslini, accompanied by Neuwiesenhof in Winterthur, of events was presented in the some of the composer’s music. On April 7 at with Jeannine Hirzel, showroom of Laminam with live music. The series includes the “Spazio Dante” in Parma, the monographic concert mezzo-soprano, and the a conference by Roberto Calabretto on the theme “Gaslini Per Giorgio Gaslini will be held, coordinated by Alessandra Musikkollegium Winterthur and film music”, on February 13 at the Museo del Garosi in collaboration with the Conservatorio “G. Nicolini” directed by Pierre-Alain Novecento. During the event Andrea Monarda will perform in Piacenza. The programme will include Suite Monot. Dieci minuti all’alba for guitar, Ariablu for guitar, Libras for elisabettiana for traversière flute, voice and piano, with two guitars, Moto velocetto perpetuo for flute and guitar, Erika Fumarola, Luo Lifang and Clara Franguelli; Peintre and Quattro Songs from Songbook for voice and guitar. au café sonnant for two and percussionist, with On March 13 , still at the Museo del Novecento, during the Giada Ghelfi and Corinna Soressi, piano, and Mario meeting “Libraries and keyboards”, Maria Giovanna Mascolo, percussion; Vietnam Suite for harp and piano in Barletta, Davide Ielmini and Giovanna Ravasi will illustrate the arrangement performed by Claudio Rausa clarinet, the Fondo Gaslini, a collection of discs, original scores, Gregorio Ferrarese, doublebass, Francesco Mugavero, manuscripts and work materials kept at Villa Gomes in piano, and Choi Jisun, voice. The programme will be Maggianico (Lecco). The event will include a showing of completed by Lo squillabario for trumpet and three pieces Mario Serenellini’s short film La tastiera infinita . On April from Lieder Book , Vol. I: “Il ciclo dell’aria” for soprano and 10 in the Chiostro “Nina Vinchi” of the Piccolo Teatro, Gaia piano. 11 RiccardoPanfili Compulsory piece for the Premio Paganini Exit Strategy This year Riccardo Panfili has the honour of supplying tension (the scrutinizing gaze of an awesome tradition) the piece for the finale of the “Premio Paganini” the only possibility of escape is by resorting to an exit International Violin Competition, whose 55 th edition will strategy. One could easily leave the room (like the take place in Genoa from April 5 to 14 under the British, sneaking out) and follow other paths, those that direction of Fabio Luisi. The competition was born in involve working with pure sound (jumping from the 1954 and over the years has rewarded talents like frying-pan into the fire, from one tradition to another: Salvatore Accardo, Gidon Kremer and Leonidas a room in which Grisey, Lachenmann, Nono and other Kavakos. Panfili introduces the piece written for the colossals replace Bartók, Brahms, Paganini). For those occasion, Esercizi di sovversione for solo violin: who enjoy discomfort, the other possibility is to refuse «Writing a piece for solo violin is already in itself a great to run away and set to work on a series of exercises of responsibility; writing it for the Concorso Paganini in subversion: taking the gestures of an instrumental Genoa borders on acrobatics, a triple somersault, a tradition that goes from Bach to Ligeti (passing through double pike dive with a twist. To think of the young Paganini, Brahms, Bartók) and turning them inside out virtuosi who, shut away in their rooms, plough their way like a glove, forcing them – with strict training – to say through a repertoire ranging from Bach to Bartók, something else, to do something different. Between passing through Paganini, Wienawski, Brahms, Ligeti fleeing elsewhere, constructing another identity (another etc., and to end with they have to tackle an obscure room, another tradition) and subverting the identity itself, piece by an obscure Panfili, has a certain worrying these exercises for violin opt for the second possibility: effect. One imagines poor Panfili seated at a desk while that of subversion; and so it was that once again we are he is writing under the severe eye of Bartók, under the forced to take a seat on the side of the wrong because shadow of the fluttering wig of Bach, distracted by the those of the right were all occupied». cigar smoke of Herr Brahms. In a context of such Giovanni Bertelli Monographic Cd featuring the Divertimento Ensemble Mirror Games Stradivarius has released the Cd Lorem ipsum (STR permeates works like Amare Madre and Cascando : 37085), entirely dedicated to the music of Giovanni there is no trace of irony, nor of lightness. In both cases Bertelli. It features the soprano Alda Caiello, the mezzo- one has the impression of descending into ever deeper soprano Johanna Brault, the violinist Lorenzo Gorli, the and desolate layers, of being swallowed up along with viola player Daniel Palmizio and the Divertimento the fragments of a shattered world. Not even the major Ensemble directed by Sandro Gorli. The programme of chords that end the two pieces have any flavour of the Cd includes Lorem ipsum for voice, ensemble and sarcasm or redemption. On the contrary, they seem to electronics, Amare Madre on ’s “Alla allude to a terrible loss. […] To conclude, dear listener, mia nazione” for mezzo-soprano and ensemble, Libro here is my final piece of advice: don’t be afraid of losing d’estate for viola and ensemble, Cascando for violin and yourself in the labyrinths of these works, they are electronics, and Forse sono proprio vermi on a text by generated by the play of your own ear. Live inside them, Raffaella Petrosino for voice and ensemble. The don’t hesitate to turn back on your steps if necessary. programme covers a fairly wide period of time and Keep moving, be amazed at what appears before you, arrives at the composer’s most recent work. Bertelli take it for what it is, but especially what it isn’t: what it comments: «It is not easy to introduce music that turns could be, at what it could (perhaps) represent, what it its most evident aesthetic elements into a paradox and would be if… Laugh at what you are shown, enjoy the mirror games. Music that thrives on contradictions, flashes of the world that you manage to glimpse, pull which seems to shy away from comprehension precisely yourself out of the sounds, the signs and the shadows». at the moment when its tricks are being revealed. […] Le premier jour for six voices on extracts from Marcel One has the doubt that the lightness is only a mask, that Proust’s À la recherche du temps perdu will be the irony is thrown in as a mirror to distract the listener – performed on May 16 at the Convent of St. Agnes of the first of many mirrors through which he will have to Bohemia, National Gallery, during the series Prague orient himself. […] Such doubts may also arise when Spring 2018, by the Neue Vocalsolisten Stuttgart. listening to the gloomy and magmatic material that Jean-Luc Hervé Conclusion of a cycle for solo instrument and electronics Sounds in Autonomy A world premiere for Jean-Luc Hervé on March 23 tournent) the sound material develops through repetition at the Festival Électrocution in Brest, with a repeat and directional transformation without ever turning performance on March 29 in Brussels: Jean-Marc back». Still in Brest, at Le Quartz, on January 25 En Fessart will play #3 (…Les sons tournent) for découverte for two violins and electronics was played by doublebass clarinet and electronics, which the composer the Ensemble Sillages. Au dehors for clarinet, violin, describes as follows: «Together with Horizons inclinés cello and piano can be heard on February 28 at the and Éloge de la plante , #3 (…Les sons tournent) forms Kyoto Art Center, with the Ensemble Kujoyama. Finally, a cycle for solo instruments and multichannel diffusion Jeanne Crousaud and Axel Bouhier will perform Éloge system hidden in the audience, whose underlying idea is de la plante (La finta giardiniera) for female voice and to “animate” the place with sounds that escape from the electronics on May 19 at the Festival Sonik in Quimper, work, acquire their own autonomy and develop at the on May 26 at the Muséum National d’Histoire Naturelle margin of the piece played by the performer. Each of in Paris during the “Fête de la Nature”, and on June 3 at these pieces also includes a hidden homage to a the Domaine de Trévarez in Saint Goazec, during the composer of the past; in this case the title evokes festival “Rendez-vous aux jardins”. Debussy, inventor of new forms. In #3 (…Les sons 12 Stefano Gervasoni

Gramigna for cimbalom and ensemble can be heard on for flute, violin and viola by Stefano Gervasoni from Bach, will February 6 in the Cité de la Musique et de la Danse in be played by the Ex Novo Ensemble (Daniele Ruggieri, flute, Strasbourg, in the programme of the Haute École des Arts du Carlo Lazari, violin, and Mario Paladin, viola) on March 24 at Rhin (HEAR), with the Ensemble de Musique Contemporaine the Teatro Čajka, for the Amici della Musica in Modena, de l’Académie Supérieure de Musique de Strasbourg together with Adagio ghiacciato from Mozart’s KV 356 for directed by Luigi Gaggero. The same work will be played violin and piano, with the duo Carlo Lazari and Aldo Orvieto, again on March 2 at the Distler Hall of Tufts University in and Altra voce, Omaggio a Robert Schumann for piano and Medford (Boston, Massachusetts), with Nicholas Tolle, transparent electronic device, with Aldo Orvieto, piano, and cimbalom, and the Ensemble Sound Icon directed by Jeffrey Alvise Vidolin, sound and live electronics. Fado errático , A Means. Capriccio ostico for ensemble can be heard on song concert upon fados by Amália Rodrigues , for female March 13 at the Théâtre de la Renaissance in Oullins (Lyon), voice, twenty instruments and live electronics will be during the Biennale Musiques en Scène, and on March 16 at performed on April 26 at the Forum Meyrin in Geneva by the Alhambre in Geneva during the Festival Archipel, with the Cristina Branco and the Lemanic Modern Ensemble directed Lemanic Modern Ensemble directed by William Blank. The by Eduardo Leandro. Quindici Invenzioni a due voci (BWV 772-786), transcription Michele dall’Ongaro

Gilda, mia Gilda (per non dire Il Rigoletto) , melologue for Music Festival 2018. On April 28 in Villa Necchi Campiglio in narrator and string quintet on a text by Vittorio Sermonti, will Milan, for the Società del Quartetto, the Quartetto n. 6 for be performed by Sonia Bergamasco and the Soloists of the strings will be played by the Quartetto Epos. Checkpoint for ContempoArtEnsemble directed by Vittorio Ceccanti on April chamber orchestra can be heard on May 15 and 16 at the 10 in the Sala Luca Giordano of Palazzo Medici Riccardi in Auditorium Nino Rota in Bari, with the Orchestra Sinfonica Florence during the ContempoArteFestival, and on April 13 at Metropolitana di Bari conducted by Gabriele Bonolis. the Teatro Goldoni in Livorno, as a preview to the Livorno Maurizio Azzan

On February 24 at the Salotto in Prova in Milan, Geometrie live electronics. In limine for violin, cello and piano will be nelle mani for amplified guitar will be played by Ruben Mattia played on March 24 at the Sala Fondazione Caritro in Trento Santorsa. Each Mirror Infects Itself for violin and live during the Festival Contrasti by the Ensemble MotoContrario, electronics can be heard on March 26 at the Cité and on April 30 , during a monographic concert at the Cité Internationale des Arts in Paris, with the violinist Apolline Internationale des Arts that will include, in their French Kirklar and, in its Austrian premiere, at the Institut für premiere, both In limine and Of Other Spaces for five Elektronische Musik und Akustik - IEM, Kunstuniversität spatialized instruments, with the Ensemble Fractales. The in on April 26 , and again on April 28 at the Echoraum second piece will be given its first performance in Austria on in Wien, with Lorenzo Derinni, violin, and Davide Gagliardi, May 24 at the Kulturzentrum Mi Barrio in Vienna.

Aulodia for Lothar for oboe d’amore and guitar ad libitum Moderna in Milan during the series “Autoritratti: I solisti di was played on January 14 at the Museo del Novecento in Divertimento Ensemble”. L’augellino belverde , philosophical Milan by Luca Avanzi, soloist of the Divertimento Ensemble, fable by Carlo Gozzi, adapted into three parts by Vittorio alongside Musica su due dimensioni for flute and magnetic Sermonti, can be heard on May 10 at the Ex Complesso tape (soloist Lorenzo Missaglia), Honeyr êves for flute and Conventuale di San Francesco in Alessandria during the piano (Lorenzo Missaglia and Maria Grazia Bellocchio) and Festival “Scatola Sonora” under the direction of Giovanni Serenata III for magnetic tape. Widmung for violin will be Cestino and in collaboration with the Alessandria played by Lorenzo Gorli on April 22 at the Galleria d’Arte Conservatory. Francesco Hoch

On January 20 at the Fondazione Marguerite Arp in and the tenor Massimiliano Pascucci, who was also director, Locarno-Solduno, where the Dada painter Hans Arp often performed Dadarp for four voices, Per dire... for tenor, Duetti stayed, a monographic concert was held titled “Senso e non- for soprano and tenor on texts by the Ticino poets Roberto sense” with music by Francesco Hoch, starting with the Bernasconi, Antonio Rossi, Aurelio Buletti, Gilberto Isella and composition Dadarp . Giulia Genini, recorder, the VoxÀltera Dubravko Pusek, Piume di senso for recorder, Hommage for Ensemble (Barbara Zanichelli and Alice Rossi, sopranos, three voices and Stra... dire for soprano. Apart from the Duetti , Federica Napoletani and Giovanna Bagutti, mezzo-sopranos) all the texts are by Hoch himself. Christophe Bertrand

Sanh for bass clarinet, cello and piano will be played on at the Roulette Festival in New York. Mana can be heard on April 12 by the Ensemble Court-circuit (Pierre Dutrieu, April 12 in the Sala Koncertowa NOSPR of Katowice in clarinet, Frédéric Baldassare, cello, Jean-Marie Cottet, piano) Poland, with the Narodowa Orkiestra Symfoniczna Polskiego at the Laboratoire Cambridge in Cambridge (USA), and again Radia conducted by Alexander Liebreich. Maria Grazia on April 13 at the Razzo Hall of Clark University in Worcester, Bellocchio will play Haos for piano on May 27 at the Fabbrica on April 14 at the Andy Warhol Museum Theater in Pittsburgh, del Vapore in Milan during the Rondò 2018 season. on April 17 at the University of Buffalo, and finally on April 19 13 FPFiirrrismst etW eWosreldcou Przeliodrfno iPr amseasrnofcluoets ermances FFFEBRUiiARY rrsst tW WoLuis de Parblo lod rPledAPRrIL foPremr a AMICITIA Ottorino Respighi Concerto for accordion and orchestra Aureliano Cattaneo SUITE POUR INSTRUMENTS D’ARCHET ET FLÛTE Bilbao, Palacio Euskalduna, March 8 WEG for flute and strings Iñaki Alberdi, accordion for soprano and cello (Critical edition by Roberto Fabbriciani) Bilbao Orkestra Sinfónikoa Gosnay (France), Musique en Roue Libre, April 15 Florence, Opera di Firenze, Teatro del Maggio Musicale conductor: Erik Nielsen Donatienne Michel-Dansac, soprano Fiorentino, February 4 Fabrice Bihan, cello Roberto Fabbriciani, flute Daniela Terranova Orchestra del Maggio Musicale Fiorentino HINOKI. STILL LIFE Daniela Terranova conductor: Alpesh Chauhan for sax, accordion and doublebass AND TIME LETS FALL ITS DROP Madrid, Fundación BBVA, Palacio del Marqués de for electric guitar Ottorino Respighi Salamanca, March 10 Milan, PACTA Salone, “PACTAsoundZONE”, April 16 MELODIA E VALSE CARÉSSANTE Trio Feedback: Silvia Cignoli, electric guitar for flute and strings Ricard Capellino, sax (Critical edition by Roberto Fabbriciani) Esteban Algora, accordion Alessandro Solbiati Florence, Opera di Firenze, Teatro del Maggio Musicale Elena García, doublebass ÉLAN Fiorentino, February 4 for saxophone (soprano and tenor) and piano Roberto Fabbriciani, flute Ivan Vandor New York, New York Chamber Music Festival, April 22 Orchestra del Maggio Musicale Fiorentino OTTO BREVI PEZZI Jacopo Taddei, saxophone conductor: Alpesh Chauhan for cello and piano Luigi Antonio Nicolardi, piano (Premiere of the revised version) Federico Gardella Valerio Sannicandro Florence, ContempoArteFestival, Le Murate, Progetti KONZERTSTÜCK TACTILE SONGS II Arte Contemporanea, Sala Ketty La Rocca, March 20 for bass flute, clarinet, viola and percussions for mandolin and strings I Solisti di ContempoArtEnsemble: Freiburg i.B., Morat-Institut, February 13 Verona, Teatro Filarmonico, Sala Maffeiana, April 22 Vittorio Ceccanti, cello Ensemble Recherche Dorina Frati, mandolin Matteo Fossi, piano I Virtuosi Italiani Giorgio Colombo Taccani LECTIO BREVIS Gabriele Cosmi Malika Kishino for alto saxophone MUSICA PER CINQUE STRUMENTI VOKALE Frosinone, Conservatorio “L. Refice”, February 15 London, London Ear Festival, Coronet Theatre, for mixed choir divided in three groups Eugenio Colombo, alto saxophone March 20 (Commission by Dresdner Kammerchor) London Sinfonietta Dresden, Festspielhaus Hellerau, April 27 Gabriele Cosmi Paderewski Chamber Choir Poznan IO NON SONO MEDEA Andrea Mannucci Dresdner Kammerchor for choir and organ on a text by the Author A PIENA VOCE conductor: Hans-Christoph Rademann from Euripide’s “Medea” Sonata for violin and piano (Commission by “Nuova Musica alla Fenice” and Milan, XI Festival 5 Giornate, Museo del Novecento, Fondazione Amici della Fenice) March 20 MAY Venice, Gran Teatro La Fenice, February 17 Paolo Ghidoni, violin Coro del Gran Teatro La Fenice Claudio Bonfiglio, piano Giorgio Colombo Taccani Ulisse Trabacchin, organ KUBIN conductor: Marino Moretti Jean-Luc Hervé for electric guitar and piano #3 (…Les sons tournent) Milan, Spazio ScopriCoop, May 3 Alessandro Solbiati for doublebass clarinet and electronics Francesco Zago, electric guitar SETTE INTERMEZZI da “Il suono giallo” Brest, Festival Électrocution, March 23 Elena Talarico, piano for orchestra Jean-Marc Fessart, clarinet Padova, Auditorium Pollini, February 22 Giorgio Colombo Taccani Orchestra di Padova e del Veneto Malika Kishino QUATTRO PAROLE conductor: Marco Angius PRAYER/INORI II for orchestra for eight voices Milan, Auditorium di Milano, May 15 London, London Ear Festival, St John’s Church, Orchestra Sinfonica di Milano Giuseppe Verdi MARCH Waterloo, March 24 conductor: Carlo Boccadoro Helsinki Chamber Choir Giorgio Colombo Taccani conductor: Nils Schweckendiek Valerio Sannicandro UNSTABLE PORTRAIT OF A.S. KERN for tenor saxophone and piano Alessandro Solbiati for clarinet, trombone, harp, doublebass and Bratislava, Saxophobia Festival, March 3 IL N’EST PAS COMME NOUS! two percussionists Andreas Van Zoelen, tenor saxophone Une fable de tous les temps Münster, LWL Museum, May 28 Ladislav Fanzowitz, piano Stage action for female singing and narrating voice, violin, viola, cello and percussions from Miguel de Nicola Sani Ivan Fedele Cervantes Saavedra’s “El retablo de las maravillas”. CONCETTO SPAZIALE, ATTESE FROM DEPTH TO DEEPNESS Reduction from the French translation by Version for pedal piano and digital system for bassoon and orchestra Alessandro Solbiati Beijing, Meet in Beijing Arts Festival, Millennium Center, (Commission by Teatro Carlo Felice) Tours, Le Petit Faucheux, March 31 May 29 Genova, Teatro Carlo Felice, March 2 Mathilde Barthélemy, voice Roberto Prosseda, piano Paolo Carlini, bassoon Ensemble ATMusica: Orchestra del Teatro Carlo Felice Saori Furukawa, violin conductor: Alessandro Cadario Gilles Deliège, viola Myrtille Hetzel, cello Constantly updated, at the website Giovanni Verrando Renaud Détruit, percussions www.esz.it FIFTH BORN UNICORN you will find the complete for transformed cello and electronics performance list of our composers Huddersfield, University of Huddersfield, St. Paul’s Hall, March 5 Francesco Dillon, cello

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