Dolci Note D'armenia Ignota

Total Page:16

File Type:pdf, Size:1020Kb

Dolci Note D'armenia Ignota 40 LA NOSTRA DOMENICA DOMENICA 1 MARZO 2009 Musica Metronomy Afterhours & co Hot Gossip Chi si credono d’essere? Lontani dall’Ariston Adrenalina da Varese Metronomy Aa.Vv. Hot Gossip Nights out Il paese è reale You Look Faster When Because Casasonica You Are Young Ghost Records * **** ** GLI ALTRI Primo: se volete essere alla moda dovete Bravi Afterhours: sono passati quasi in- Vengono da Varese, ma il loro sguardo è farvi piacere i Metronomy, ovvero Joseph denni da Sanremo e hanno fatto un po’ di internazionale. Così come il suono di que- DISCHI Mount, ragazzotto inglese. Secondo: se pubblicità a questo album collettivo che stocd, chitarristicoe pimpante,tra echibe- cercate un buon disco di electro-pop non prelude ad un tour. 19 canzoni nuove tra at, punk e indie. Sono in tre, cantano in in- ascoltate i Metronomy. Suoni sintetici fa- cui spiccano quelle di Paolo Benvegnù, glese e raccontano di un mondo schiavo stidiosi, finta attitudine «home-made». Di- Dente, Marco Parente, Beatrice Antolini e A di troppe sollecitazioni. Non sempre origi- cono di ispirarsi ai Devo, ma - ahinoi - tra le Toys Orchestra. Tutti, o quasi, i generi che nalissimi, sanno però come si costruisce due band c’è l’abisso. SI.BO. ribollono nell’Italia reale del rock. SI.BO. un pezzo «killer». D.P. The Music of Armenia toriamente in legno di albicocco; op- (6cd acquistabiliseparatamen- pure il kanon, la cetra diffusa un po’ te). Celestial Harmonies / distri- in tutto il bacino indoeuropeo, dalle buzione Evolution Alpi al Gange, ma che noi, evolutissi- ***** mi e raffinatissimi delibatori di musi- che sanremesi, non sappiamo nep- GIORDANO MONTECCHI pure che faccia abbia, né come suo- [email protected] ni. nni fa, una dozzina L’ARCA DI NOÈ forse, ero a Raven- Se l’arca di Noè si fosse davvero inca- na nella Basilica di gliata sul monte Ararat (cinquemila San Vitale. Già se e rotti metri), al confine fra Turchia entri lì dentro ti in- e Armenia, significherebbe due co- canti e rischi di non se. Primo, che quella volta piovve ve- Auscirne più. Ma quella volta ero lì ramente un’iradiddio. Soprattutto, per ascoltare un concerto. Comin- significherebbe che tutti veniamo cia la musica e a poco a poco è co- da quelle parti. In pochi ci credia- me se qualcosa dentro, un calore, mo, ma ci farebbe bene pensarlo. E una pressione interna, il cuore for- DOLCI forse è per questo che la musica ar- se, crescesse e spingesse per uscire mena suona così tenera, ma anche o per volare. Qualcosa infine è usci- così elevata ed ecumenica, piena di to dagli occhi: lacrime dolci, a sigil- NOTE poesia e malinconia indicibili, che lo di un momento indimenticabile. sfumano però nella gioia di esistere. Era musica dell’Armenia e da allo- I sei album di cui uno doppio, più un ra quei suoni e quell’emozione così settimo antologico (gli album sono profonda e totale restano incancel- D’ARMENIA acquistabili separatamente) sono labili. A pochi metri da me, sotto le frutto delle registrazioni effettuate volte bizantine, c’era Gevorg Daba- attorno alla metà degli anni 90 dal ghian grande solista di duduk, ac- IGNOTA compositore e ricercatore neozelan- compagnato da altri due duduk e dese David Parsons. Vi si snoda una da un tamburo a cornice. Suoni folk, sacri, medioevali, da un’area magnifica documentazione di que- Qualche tempo dopo, grazie al- splendida e martoriata dalla storia sta cultura musicale ultramillenaria l’ambasciata armena in Itaia riuscii e di sconcertante bellezza fiorita in uno dei paesi più splendidi a procurarmi un duduk e, infine, e martoriati del pianeta, le cui tradi- riuscii a portarmi a casa quella se- zioni più antiche risuonano come rie di sei cd pubblicati da Celestial musica del mondo che sogniamo. Harmonies intitolata The Music of Chi pensa che la bellezza come ri- Armenia. Serie che oggi viene prov- fugio sia una cosa reazionaria me- videnzialmente ristampata e allo- glio che cambi aria. Da qui infatti ar- ra bisogna proprio dirlo in giro. riva «una dolcezza al core che ’nten- Perché allora, di slancio, mi venne der non la può chi non la prova». Be- da dire che questa è la musica più atrice la trasmetteva per «li occhi», bella del mondo. Musica medieva- questa musica la trasmette per li le, musica sacra per coro, musica orecchi, ma l’effetto è il medesimo, folklorica, voci scolpite nella me- infatti «par che de la sua labbia si moria, strumenti dalle sonorità in- mova un spirito soave pien d’amore, cantevoli come il duduk appunto, che va dicendo a l’anima: «Sospi- un piccolo oboe realizzato obbliga- Armenia Il monastero Khor Virab con il Monte Ararat sullo sfondo ra!».G.
Recommended publications
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
    [Show full text]
  • Heckelphone / Bass Oboe Repertoire
    Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org.
    [Show full text]
  • Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: Phd
    Access to Electronic Thesis Author: Lonán Ó Briain Thesis title: Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: PhD This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain May 2012 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music University of Sheffield © 2012 Lonán Ó Briain All Rights Reserved Abstract Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain While previous studies of Hmong music in Vietnam have focused solely on traditional music, this thesis aims to counteract those limited representations through an examination of multiple forms of music used by the Vietnamese-Hmong. My research shows that in contemporary Vietnam, the lives and musical activities of the Hmong are constantly changing, and their musical traditions are thoroughly integrated with and impacted by modernity. Presentational performances and high fidelity recordings are becoming more prominent in this cultural sphere, increasing numbers are turning to predominantly foreign- produced Hmong popular music, and elements of Hmong traditional music have been appropriated and reinvented as part of Vietnam’s national musical heritage and tourism industry. Depending on the context, these musics can be used to either support the political ideologies of the Party or enable individuals to resist them.
    [Show full text]
  • A Cognitive Approach to Medieval Mode
    An Exploratory Study of Western Orchestration: Patterns through History Song Hui Chon[1] Rochester Institute of Technology David Huron Ohio State University Dana DeVlieger University of Minnesota ABSTRACT: Changes in instrument combination patterns in Western classical orchestral music are traced over a three hundred year period from 1701 to 2000. Using a stratified sample of sonorities from 180 orchestral works by 147 composers, various empirical analyses are reported. These include analyses of instrumentation presence, instrument usage, ensemble size, common instrument combinations, instrument clusterings, and their changes over time. In addition, the study reports associations of different instruments with various dynamic levels, different tempos, pitch class doublings, affinities between instruments and chord factors, as well as interactions between pitch, dynamics, and tempo. Results affirm many common intuitions and historical observations regarding orchestration, but also reveal a number of previously unrecognized patterns of instrument use. Submitted 2017 March 13; accepted 2017 August 22. KEYWORDS: orchestration, instrumentation, instrument combinations, music history ORCHESTRATION might be defined as the art of combining musical instruments to produce a distinctive sonorous effect. Since the mid-19th century, composers have written a number of treatises on orchestration (e.g., Berlioz, 1855; Gevaert, 1885; Widor, 1906; Rimsky-Korsakov, 1964; Forsyth, 1914; Kennan, 1952; Koechlin, 1954-9; Piston, 1955; Blatter, 1980; Adler, 2002; Sevsay, 2013). Most orchestration treatises devote the bulk of their texts to descriptions of instrument properties, such as instrument ranges and timbral characteristics in different registers. For example, it is common to distinguish the various registers of the clarinet as chalumeau, throat, clarion, and altissimo registers. Works on orchestration also often include descriptions of instrument families, such as strings, woodwinds, brass, and percussion.
    [Show full text]
  • The Aulos and Tibia
    Arosemena-Ott 1 The Aulos and Tibia: Variation across the Ancient Mediterranean’s Principal Woodwind by Gerhardt W. Arosemena Ott Bibliography and Research Skills MUH 530 Gregory Stepanich Nov. 12, 2019 Arosemena-Ott 2 Table of Contents Introduction……………………………………………………… 3 - 4 The Reed…………………………………………………………. 4 - 9 Origins…………………………………………………………… 9 - 11 Ethno-Geographic Variation……………………………………. 11 - 14 Technological Variation………………………………………... 14 - 19 Conclusion……………………………………………………… 19 - 20 Appendix……………………………………………………….. 21 - 26 References………………………………………………………. 27 - 28 Arosemena-Ott 3 The modern oboe is one of the most prominent Classical instruments, whether in chamber music, cinema, opera, or the symphony orchestra. Its penetrating tone, warm timbre, and unique acoustics allow the oboe to best tune a full orchestra, with the principal oboist regarded as the leader of the woodwinds. Albrecht Mayer, principal oboist of the Berliner Philharmoniker, believes “we all realise that there is something very special about [the oboe]… which also has a special history in the orchestra. The technical demands of an oboist are certainly the highest possible, such as playing using circular breathing – that is, while playing, still being able to inhale and exhale – but there are all kinds of difficulties from all sides that push the oboe and oboist to their limits. Master [composers] know exactly what is possible and what isn’t with the oboe, and that is why they are able to exact the full use of the soloist’s skills” (translation). But the history of the modern double reed begins in the Ancient Mediterranean with the Greco- Roman aulos and tibia. The auloi of the ancient world were woodwind instruments consisting of two pipes, played simultaneously, each with a double reed.
    [Show full text]
  • Musical Instruments
    Musical Instruments Answers Worksheet 1 Families Brass Family Woodwind Family String Family Percussion Family Trumpet Trombone Clarinet Violin Timpani 3. Write the name of another instrument in the STRING FAMILY Viola, Cello, Double Bass 4. Write the name of another instrument in the BRASS FAMILY .French horn, Tuba 5. Write the name of another instrument in the PERCUSSION FAMILY Drums, triangle, castanets 6. Write the name of another instrument in the WOODWIND FAMILY Flute, piccolo,oboe 7. To which family does the XYLOPHONE belong? Percussion Worksheet 2 String Family The following instruments are not string instruments. Timpani Harmonica Shekeree Which string instruments would you usually find in a symphony orchestra? Violin, Viola, Cello, Double bass Worksheet 3 Multiple Choice Oboe Woodwind Double String Bass Percussion bass drum Cymbals Percussion Bassoon Woodwind Trumpet Brass French Brass Cello Clarinet Woodwind horn String Cor Trombone Brass Saxophone Woodwind Anglais Woodwind Viola String Castanets Percussion Euphonium Brass Snare Tuba Brass Violin String Percussion drum Xylophone Percussion Flute Woodwind Gong Percussion Worksheet 4 Woodwind Family Which of the following instruments are not woodwind instruments. Cross them out. Recorder Flute Oboe Guiro Bassoon Sansa Cor anglais Bagpipes Piccolo Saxophone Lute Harmonica Krummhorn Jew’s harp Clarinet Which woodwinds would you usually find in a symphony orchestra? flute, piccolo, oboe, cor anglais, clarinet, bassoon. Worksheet 5 Word Search n o o s s a b r o v a s r l x s u a l
    [Show full text]
  • The Woodwind Family
    Unit 2 Instruments & Ensembles Episode 1 The Woodwind Family Instrument pitch and performance 1OVERVIEW Instruments are grouped into families depending on how they are made and played. The instruments of the woodwind family were originally made of wood with the sound produced with air or wind, thus resulting in the clever name, woodwind. In observance of National “Take-a-Wood- wind-to-Work” Week, Quaver welcomes a woodwind quintet to the shop. Featuring the primary woodwind instruments, he explores their unique characteristics including range, timbre, pitch, and technique. LESSON OBJECTIVES Students will learn: • The characteristics of the five primary woodwind instruments: pic- colo, flute, oboe, clarinet, and bassoon. • The different ranges, timbres, and sounds of each instrument. • The three techniques used to play woodwind instruments. • The unique and blended timbre, range, and sound of a woodwind quintet. Vocabulary Range Timbre Single reed Double reed Technique* * concepts included in the Teacher Guide, but not in the DVD © Quaver’s Marvelous World of Music • 1-1 Unit 2 Instruments & Ensembles MUSIC STANDARDS IN LESSON 2: Playing instruments* 3: Improvising melodies 6: Listening to, analyzing, and describing music 8: Understanding the relationship between music and the other arts 9: Understanding music in relation to history, style, and culture Complete details at QuaverMusic.com Key Scenes Music What they teach Standard 1 Noting the ranges of woodwind in- Bassoon, piccolo, oboe, flute, and clarinet are introduced 5, 6 struments using the Range-O-Meter and their ranges demonstrated. 3000 2 Three ways to play woodwind The three primary techniques of sound production are 6 instruments presented: blowing across a hole, through a single reed, and through a double reed.
    [Show full text]
  • A Survey of the Literature of the Oboe and English Horn
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1959 A Survey of the Literature of the Oboe and English Horn Virginia Downing Snodgrass Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Curriculum and Instruction Commons, and the Teacher Education and Professional Development Commons Recommended Citation Snodgrass, Virginia Downing, "A Survey of the Literature of the Oboe and English Horn" (1959). All Master's Theses. 232. https://digitalcommons.cwu.edu/etd/232 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A SURVEY OF 1�E LITERATURE OF THE OBOE AND ENGLISH HORN A Thesis Presented to the Graduate Faculty Central Washington College of Education In Partial Fulfillment of the Requirements for the Degree Master of Education by Virginia Downing Snodgrass August 1959 SPECIAL COLLECTION · ---·· 94175 APPROVED FOR THE GRADUATE FACULTY _________________________________ A. Christianson, COMMITTEE CHAIRMAN _________________________________ Ralph Gustafson _________________________________ Wayne S. Hertz TABLE OF CONTENTS CHAPTER PAGE . I. THE PROBLEM • • . 1 The Problem • 1 Statement of the problem . 1 Importance of the study • • . 1 Method books . 2 Solos • . 2 Ensembles . 3 4 Phonograph records . II. THE HISTORY OF THE OBOE AND THE ENGLISH HORN . 5 The Oboe . 5 The English Horn . 9 III. EXPLANATION OF GRADING AND CLASSIFICATIONS 11 IV . METHOD BOOKS AND STUDIES . 15 Oboe . 15 English Horn . 21 . Fingering Charts .
    [Show full text]
  • Wind Chamber Music by Women Composers
    Wind Chamber Music by Women Composers - The Biographies, Compositional Techniques, and Perspectives of Jocelyn Morlock, Elizabeth Raum, Marilyn Shrude, and Augusta Read Thomas Shayna Stahl A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Timothy Salzman, Chair Brad McDavid Steven Morrison Program Authorized to Offer Degree: School of Music © Copyright 2019 Shayna Stahl ii University of Washington Abstract Wind Chamber Music by Women Composers - The Biographies, Compositional Techniques, and Perspectives of Jocelyn Morlock, Elizabeth Raum, Marilyn Shrude, and Augusta Read Thomas Shayna Stahl Chair of the Supervisory Committee: Timothy Salzman, Professor of Wind Ensemble Conducting University of Washington School of Music The purpose of this dissertation is to explore the perspectives of four women composers to address the need for visibility of women composers and their wind chamber music. Interviews with Jocelyn Morlock, Elizabeth Raum, Marilyn Shrude, and Augusta Read Thomas will provide insight into their lives as composers, information about their compositional processes and styles, their wind chamber compositions, and perspectives on what it means to be a composer today. The overall goal is to elevate wind chamber music written by women composers in the world of art music. The themes that emerged from the composer interviews highlight the continued need to research and promote women composers and their wind chamber music. The dissertation addresses concerns such as motherhood and family, perceived barriers faced by women, the #MeToo movement, and bullying in academia. It also presents advice from the individuals interviewed for women composers on work ethic, perseverance, and networking.
    [Show full text]
  • To Heckelphone / Bass Oboe Repertoire
    ADDENDUM- Revised 2020 HECKELPHONE & BASS OBOE REPERTOIRE Heckelphone: Aho, Kalevi h-o Symphony #17 (2019) Barenz, Martin h-k Sonatine fur Heckelphon und Klavier Beatty, Stephen h-s 175 Articulations for Heckelphone h-c 245 Duet for Cello and Heckelphone (2013) h-c 246 Duet for Viola and Heckelphone h-c 283 Quartet for oboes, clarinet, Heckelphone, bassoon h-c 299 Trio for Heckelphone, Oboe, Harp h-c 300 Trio for Heckelphone, Clarinet, Harp h-c 301 Trio for Cor Anglais, Heckelphone, & Cello h-c 302 Duet for Flute and Heckelphone (2014) h-c 303 Trio for Flute, Heckelphone, & Harp h-c 886 Heckelphone Concerto Heckelphone, Harpsichord, Violin, Viola, Cello h-c 888 Heckelphone Concerto #2 (2017) h-s 1044 Heckelphone Solo h-s 1048 Heckelphone Solo #2 h-s 1053 Heckelphone Solo #3 h-c 1056 Duet for Heckelphone & Oboe d'amore (2018) h-c Duet for Bassetthorn & Heckelphone (2019) h-c 1610 Heckelphone Sonata (2018) h-c 1628 Heckelphone Sonata (2018) h-c 1628 Heckelphone Sonata (2018) Bernert, Helmut h-o Rhapsodie for tenor & orchestra (1921) (Anton Bohm Verlag, Augsburg) ms Bertelson, Jan h-o Symphony in D Minor, Opus 45 (2009) (“Tabula Rasa”) Blaske, Lee h-c Time Piece piano, strings, Heckelphone h-c Time Piece II piano, strings, Heckelphone Blitzstein, Marc h-o Romantic Piece for Orchestra (1930) 3 fl, 2 ob, Heckelphone, 2 cl, bscl, 2 bsn, cbn, 4 hrn, 3 trp, 3 trb, 3 timp, perc, pno, strings KWF (Kurt Weil Foundation) Bruckman, Kyle h-c Technological Music, Volume 1 (2015) Burleigh, Cecil h-cb Two Sketches from the Orient Opus 55 (1926/1928) (arranged by N.
    [Show full text]
  • Historical Études for Oboe: 17Th-20Th Centuries Linwood William Zoller IV Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 Historical études for oboe: 17th-20th centuries Linwood William Zoller IV Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zoller IV, Linwood William, "Historical études for oboe: 17th-20th centuries" (2011). LSU Doctoral Dissertations. 4038. https://digitalcommons.lsu.edu/gradschool_dissertations/4038 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. HISTORICAL ÉTUDES FOR OBOE: 17th−20th CENTURIES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music & Dramatic Arts by Linwood William Zoller IV B.M., University of Georgia, 2005 M.M., University of Georgia, 2007 December, 2011 ACKNOWLEDGEMENTS I would like to thank my former advisor, James Ryon, for his generosity, and my current committee for their assistance and helpful suggestions in completing this project. Additional thanks are due to Charles-David Lehrer, Peter Hedrick, and Gilles Silvestrini for their words
    [Show full text]
  • Onteverdi Oboe Festival 2013 Fri-Sat 10-11.05.2013 Conservatorio “Monteverdi” Konservatorium BOLZANO-BOZEN (ITALY) WELCOME to the MONTEVERDI OBOE FESTIVAL 2013
    ONTEVERDI OBOE FESTIVAL 2013 FRI-Sat 10-11.05.2013 Conservatorio “Monteverdi” Konservatorium BOLZANO-BOZEN (ITALY) WELCOME TO THE MONTEVERDI OBOE FESTIVAL 2013 To organize this festival, dedicated to one single instrument, the oboe, it was necessary to choose a clear perspective and very precise priorities. Such a festival has hardly to be seen in Italy, but it is quite common in other European countries. The presence of five extraordinary musicians, who have accepted the invitation to play in the four concerts during the 10th and 11th of May 2013, allows the unique opportunity to simultaneously listen to the different sensitivities of the artists involved and to perceive the concepts that lay at the heart of the construction of the instruments. In fact, the manufacturers of the oboes which we will be listening to during the concerts will be present at the same time. All five artists will participate in each of the four concerts consisting of different programmes: music for Oboe Solo, for Oboe and Piano, for Oboe and Cembalo and finally, for Oboe and String Orchestra. The exhibition of oboes by four manufacturers provides a short history of the oboe itself and of the technological developments in its construction during the last decades. During the Festival it will be possible to meet all of the protagonists: the music composed for the oboe, the performing artists and the instrument manufacturers. Sergio Coletti (President of the Administrative Board of the “Monteverdi” Conservatory) Felix Resch (Dean of the “Monteverdi” Conservatory and Director of the Festival) Arnaldo de Felice (Professor of Oboe at the “Monteverdi” Conservatory and Coordinator of the Festival) 2 The concerts FRI · VEN · FR 10.05.2013 h.
    [Show full text]