octobe r2019 80 ESZ news Edizioni Suvini Zerboni - Fourmonthly Newsletter Imaginative Spans This Autumn sees four world premieres for Alessandro heavy mute, the third, vice versa, a strong and “symphonic” Solbiati. The series starts on October 1 , when the Quartetto attack and the fourth a pulsating and dancing backbone.

i Prometeo will play the Quarto Quartetto for strings, in the Since each movement led in its own way to a melodic t Sala delle Colonne di Ca’ Giustinian in Venice, during the element, in the fifth movement I decided to turn things around a rd i La Biennale, 63 Festival Internazionale di Musica and start with a heterophonic melody that passes like a fil

b Contemporanea, which commissioned the work. The rouge through reminiscences of the previous movements, l composition was presented in the last number of ESZ News. to give the whole a sense of unity, and in homage to the o Still in Venice, on October 23 , in the Sale Apollinee of the incomparable eighth and last Valse noble et sentimentale

S Gran Teatro La Fenice, during the Ex Novo Musica series, the by Ravel, a composer that is always unavoidable and first complete performance of Cinque movimenti for violin and unreachable, but more especially in his writing for the duo o

r cello will be played by soloists of the Ex Novo Ensemble. The violin and cello». Commissioned by the Teatro Comunale di composer tells us: «The composition of Cinque movimenti for Bologna, Sinopia for orchestra will be given its world premiere d violin and cello started in 2018 out of purely personal on October 26 in the Teatro Manzoni, with the Orchestra del n necessity, not linked to any commission, the need for a Teatro Comunale di Bologna conducted by Asher Fisch. a serious synthesis of imagination and form: to “dry out” a clear Solbiati explains: «The title Sinopia tells us almost too clearly s Four premieres but complex narrative and figural path within a series of that the piece “alludes to other”, namely, that it is a broad s and prestigious sections lasting just a few minutes and with a minimal preparatory study for an even larger work with a theatrical e commissions from l instrumentation. There was no overall plan, at the start, and character that I have had in my mind and heart for many Venice and Bologna

A precisely the fact that each movement had been written years. Sinopia is therefore the synthesis (albeit of separately in the course of over a year and for unforeseen considerable length, nearly a quarter of an hour) of a precise and diverse destinations ( Ouverture as written for the Ex Novo and complex narrative path, following its phases and for the 70 th birthday of my friend Claudio Ambrosini, the accentuating, if possible, its energies, exactly as if the second movement for the Ned Ensemble, the third and fourth sketched outline of a “sinopia”, without the softness of colour became a commission from the Pinacoteca di Brera for their and pictorial detail, sometimes speaks with greater force of own celebration last June) made each movement totally the character of the future fresco. As I don’t want Sinopia to independent and quite richly characterized. That is, these are be listened to as a symphonic poem, I won’t reveal what it not short pieces each based on a single idea, but rather five describes; I will limit myself to indicating the path taken by the formal and imaginative spans that are complete and complex, “energies” of the piece, a piece that should result quite free of even though each piece has a centre of interest: the first a any extra-musical reference. It starts with a strong and solemn progressive extension of the register that gradually reveals the gesture, based on isochronic chords on the brass, and identity of the two instruments, the second the global use of a however marked from the outset by a destiny of abyss and continues on page 2 Explosive Thoughts

On September 28 in the Sala delle Colonne di Ca’ own sake the idea of the “new economy” that strangles you Giustinian, the Biennale di Venezia, 63 rd Festival until you are dead, here we are, then, rewriting Macbeth! And Internazionale di Musica Contemporanea, hosted the world especially the witches, we invoke them from the depth of our

o premiere of Dove non si tocca in mare for cello and string personal hell because there is nothing left to do except boldly

d orchestra, commissioned by the Biennale. It was performed face this human sacrifice and only Hecate can give us the

a by Michele Marco Rossi and the Solisti Aquilani directed by strength. Everything must be thrown into the cauldron, even r the composer, who explains: « Dove non si tocca in mare the spurious pieces that can give birth to male children who r expresses the anxiety experienced when we realize we are will go and generate other deliberations, other high streets or o not able to dominate nature, deviate it, manipulate it, manage little frequented nocturnal alleys. “Ugo, let’s run through the

C it. Like when we are in the open sea and can no longer touch text and select the most important parts” – Luigi tells me – the sand beneath our feet. Like when we realize that there is “let’s just make a summary, what more do we want to say that

e l no escape from what happens and confronts us. The piece poor William hasn’t already said?”. But on reading and re-

a consists of one long stretch in which the cello observes and reading also the most obscure parts, those that everyone New orchestral work

u reacts to the different situations, sometimes contrasting the cuts, that is to say, even opening any edition and pointing your at the Biennale and

q orchestral mass, at others allowing itself to be transported by finger on a word by chance, we feel breaths of air, harmonies, a new opera at the

s the current, but always alert to the changes occurring and sudden pangs, sounds of birds that fill the countryside that Comunale di Bologna

a careful of the deformations in space and time that the existed before the crowded city from which we write. A extraordinary natural events can bring about». On October countryside of the soul emerges, then, from the scattered P 10 at the Teatro Comunale di Bologna, the series Bologna pages; the intertwined languages of different translations are Modern will include the world premiere of Macbeth Alone , a literary and alchemical Babel that once again puts you up opera for two sopranos, two baritones and ensemble to a against the wall in front of the unrepeatable unthinkable and libretto by Ugo Giacomazzi and Luigi Di Gangi. It will be on the fragment of a thousand ancient and modern fragments. performed by the soloists Maurizio Leoni, Gabriele Lombardi, You would never have said it, but how you would have loved Valentina Coladonato and Francesca Pacileo, and the to be English at this moment and spit on everything and in the Orchestra del Teatro Comunale di Bologna conducted by the face of all those who have adapted this text in the fashion of composer. The authors of the music and the libretto introduce their own ephemeral time, sewing it vulgarly together: flowery the new work: «Having abandoned of necessity and for our languages, essential, poetic, actorial, Gassman, Quasimodo,

continues on page 2 from page 1 (Alessandro Solbiati: Imaginative Spans) dissolution, since the force becomes violent and collapses into a Chanson d’aube , transcription for flute and guitar of Dawn , was rarefied episode of fragments and silences, in which all sense of performed by Carlotta Raponi and Andrea Dinapoli in the Salotto discourse is lost and everything seems to float on the emptiness. in Prova in Milan. Vivente for ten instruments went on tour with An unexpected luminous spark triggers an isochronic movement, the Divertimento Ensemble, under the baton of the conductors almost a pace, guided by the line of the cor anglais, and selected from the XV Corso di Direzione d’Orchestra for the early traversed by shivers, encounters and episodes that culminate in 20 th century repertoire, on September 12 at the Teatro Comunale three powerful events, each brusquely interrupted at the end. The in Moncalvo, on September 15 at the Tenuta Santa Caterina in third interruption leads into a sublimated and impalpable finale, Grazzano Badoglio and on September 18 at the Teatro Litta in ritual and interior, though not without restless human echoes». Milan. On September 27 Andrea Monarda played the Finally, on November 3 in the Auditorium of Rafelbunyol near “Allegretto”, “Capriccioso” and “Calmo” from the Sei corde di Valencia, during the Rafel Festival, the version of Albatros for Nicolò for guitar in Palazzo Ghizzoni Nasalli in Piacenza, during flute, clarinet and piano will be premiered by the New Made the Festival Incó_ntemporanea. The soprano Laura Catrani and Ensemble. The composer introduces the new work: « Albatros the harpsichord player Claudio Astronio performed Tre haiku for has a long history: it was born as Contrapunctus for flute and female voice and harpsichord on September 29 in the Sala violin, that is as a faithful revisitation, though transfigured in the Pamphili in Rimini, during the Sagra Musicale Malatestiana. registers, of a canon from the Art of Fugue . Then it was joined Sonata (Tiresia e la Pizia) for violin will go on tour with Paolo by a Preludio, an Interludio and a Postludio between the three Ghidoni on October 3 at the Rotonda di San Lorenzo in Mantua, phases of the Canone, like framing Bach’s polyphony with on October 14 in the Spazio Icarus in Reggio Emilia and on comments that were stylistically quite different and wholly “of October 18 in Forte Marghera, Venice, during the Biennale Arte. today” from every point of view, creating a dialogue, or rather a Il n’est pas comme nous! Une fable de tous les temps , “azione counterpoint between two different eras and languages. The scenica” for singing and narrating female voice, violin, viola, cello subsequent addition of a piano that reveals itself little by little, and percussion from El retablo de las maravillas by Miguel de passing from the stringboard to the keyboard, allowed me to Cervantes, can be heard on November 28 at Le Murate, Progetti further “counterpoint the counterpoint” of Bach, through Arte Contemporanea in Florence, during the GIF GAMO imitative fragments, feigned or real polyphonies, International Festival, with the soprano Mathilde Barthélémy and subterraneous quotations of the subject of the Art of the GAMO Ensemble directed by Francesco Gesualdi. Manet for Fugue , and at the same time enrich the personal cello and piano will be played by Relja Lukic and Emanuela intermediate zones. The replacement of the violin with the Piemonti on November 30 at the Festival Trieste Prima and on clarinet on the one hand impedes certain polyphonies, but December 1 in the Auditorium Comunale in Povoletto (Udine). on the other opens up new possibilities in terms of timbre The Variazioni Felix for cello and piano can be heard on and register, both in the Bachian zones and in the December 15 in the Sala Puccini of the Conservatorio “G. Verdi” intermediate ones, giving the whole piece once again a in Milan, with Matteo Ronchini and Emanuela Piemonti. Finally, completely different aspect». Alessandro Solbiati’s music Andrea Monarda has recorded the Cd Alessandro Solbiati. Works can be heard on numerous occasions in these months. On for Guitar for Limen Classic & Contemporary. The programme September 6 Valentina Piovano and Yuko Ito performed features Sonata (2015), Studi (I serie) (1997-99), Tre pezzi the Tre Lieder su George for soprano and piano on lyrics (1987), Le sei corde di Nicolò (2011-13) and I quattro mari by Stefan George, in the Parish Church of Grazzano Badoglio (1994). during the Rondò series in Monferrato. On September 7

from page 1 (Pasquale Corrado: Explosive Thoughts ) Perriera, Lombardo… But how many different bird songs arrive What harm is there if I am in the stalls while he is hung upside- at the same time and shades of perilous or parlous nights, of down and swings, swings, swings like the pendulum of cyclical uncertain or melancholy owls, feeble or dead bats and swallows. time of which he is a slave or lies on his hard tombstone/bed? Nature is always “One” but everyone refers to it and translates it The important thing is to enter into his mind and let us be guided in a different way; the men of the tragedy are always the same by his thoughts that exploded in that instant and pulverized: good or bad, but it as if they had as many different aspects as the “dusty death”. This time we offer you the chance to sing, to say, centuries they have on their shoulders; the doorkeeper seems to recite, to declaim, to whisper as you like, we want you to feel comical in a bizarre, ironic, smutty way, but the double meanings as free as possible to express your pain and remember who you even seem to vanish where a certain Puritanism prevails; the were and who you are. We will place you inside an orchestra Man has the spirit of a medieval hero, he softens himself in where you’ll be able to move as you like, wandering around like a romanticism until reacquiring ferocity in being dry and lean and ghost in your court and talk to the king, your wife, your friend, the the visionary of a time; and the Woman appears crazy in a flautists, to the murderer that you don’t yet know you are and to different way while always being the same, and we are driven the terror you will feel when you discover who you are, to the crazy too. The way we look at you, dear Macbeth who has no audience that will watch the spectacle of your death, pierced by name but only a surname, as if one word was enough to define a ray of sun that is perhaps just a floodlight that is dazzling your you, a sound, a sibilant “th” that becomes a buzz of a fly in one brain. Words and notes will fly like the flocks you watched from of the most successful productions of the last years, the way we your castle and that seemed to offer you sad forebodings. Those look at you – we were saying – is never pure, but always filtered, birds are now inside you, they twitter and caw in your mind, all stratified. You are always there at the centre, turning like an together, they crowd it, forcing you to think, they give you no rest immortal music-box and offering changing parts of yourself. and make the memories come back of the exact moment when How histrionic you are, how you enjoy making fun of us, never you disappeared, but not forever: when you pretended you returning the same, making all attempts vain to portray and fix wouldn’t return and that there would never be a tomorrow. To you forever on a canvas, on a page, on a stage, you change reduce your path to the essence in an atemporal space and clothing, make-up, diction, expression, attitude, time, weapons, condemn you to constantly relive the concert of your life in the language, logo. You are surrounded by hundreds of people and histrionic play of a crazy singer like Maurizio Leoni in a lucid yet you are alone, alone in the world with your thought, a musical struggle and for the composer it is like a game to climb birthmark, a mole neo, a shame, that at first is imperceptible and onto an unknown ride and always and in any case make virtue then expands into stains of blood until filling the bath tub into out of necessity. It’s theatre! It’s theatre! And we still feel lucky which you will immerse yourself. Ambition? Hunger for power? while men die at sea to be able to give voice without feeling Arrogance? Deceit? Regret? The illusion of a love? Of dividing ridiculous, to benefit from a game of an evening and that’s all, your own passion and your own ordeal into two, with one half that even though limited by time, by money, by the public dullness. in the end was nothing for you, because everyone stands alone One day the story of Macbeth was the present, it was for one on the heart of the earth. What we would like to hear now is the evening at least, that of its debut in London in 1605. Now it can voice of your nightmare, the essence that we need to reach to be a museum piece or can in some way enjoy a new present, pay honour to you… Oh, but in fact we are talking of me! I too am suffice it to be humbly servile and put oneself in communication this man who shouts into the wind, sees ghosts in front of him, with the sense that has pushed us up here. He might regard us objects that come to life, cries like a child, bathes himself in with disdain, snobbing us or else accompany us with favour from blood, writes his epitaph on the table where he has banqueted. the dawn of this journey that will be undertaken this evening». 2 Ivan Fedele Orchestral repeat in Barcelona, portrait concert Acoustic Illusions at the Parco della Musica

After the premiere last April at the Accademia Nazionale also provides a source of poetic inspiration. It provides di Santa Cecilia, the two final parts of the cycle Lexikon III both the form and the contents. This programme focuses (5. Multiplicity - 6. Consistency ) for orchestra will be on compositions in which mathematics, geometry and performed again in Barcellona, in the Sala 1 Pau Casals abstract-representative inspiration provide, in general, of the Auditori de Barcelona on October 3 , 4 the starting point as well as the centre of interest. Luis de Pablo and 5, with the Orquestra Simfónica de In Arcipelago Möbius and Immagini da Escher Barcelona y Nacional de Catalunya (derived directly from the former work) the three- Corola for four saxophones, conducted by Kazushi Ono. On November 7 dimensionality of the Möbius strip, forerunner of piano and timpani will be at the Teatro Studio Borgna of the Auditorium the optical illusion we find in the works of Escher, played on October 1 by the Parco della Musica, the Festival is the model for a series of acoustic illusions Grupo Sax-Ensemble at the RomaEuropa will host a “Portrait of Ivan explored in each movement of the work. In X- Conservatorio de Getafe Fedele”. In particular, the Parco della Musica tension 2 , on the other hand, the basic concept is (Madrid). On October 5 at Contemporanea Ensemble directed by the opposition of dual entities (pairs of instruments Ca’ Giustinian, in the Sala Tonino Battista will perform Thanatòseros , and groups of instruments, stereophonic delle Colonne, La Biennale scena lirica from the Combattimento di contrasts, alternations of timbres)». Various works di Venezia, 63 rd Festival Tancredi e Clorinda from Torquato Tasso’s by Fedele can be heard in these months. The first Internazionale di Musica Gerusalemme liberata for soprano, tenor and movement of Metal East-Journey , five rituals for Contemporanea, will include ensemble, and Words and Music for two actors and percussionist and “light” electronics ad libitum , was Epístola al transeúnte for ensemble on a text by Samuel Beckett. The instrumental performed on September 5 at the Istituto Superiore di flute, clarinet, violin, viola, ensemble will be joined by the soprano Sabrina Cortese, Studi Musicali “P. Mascagni” in Livorno, during the Livorno cello and piano, played by the tenor Luca Cervoni, and the actors Nicholas Hunt and Music Festival, by Jonathan Faralli; Thrilling Wings for the Plural Ensemble Anthony Souten. In the first case Fedele reflects on the violin was played by David Nunez on September 27 at the directed by Fabián relation between love and death by creating a Conservatorio Plurinacional of La Paz in Bolivia; “...qui Panisello; the same artists dramaturgical space of great tension through the transitis per viam” from Gesualdo da Venosa’s motet O will repeat the piece on construction of dialogues between the two protagonists, vos omnes , in the version for string orchestra, will be given October 10 in the Auditorio the treatment of the voice and a very refined instrumental its world premiere on October 18 at the Muzenzaal in Nacional in Madrid. Sexteto support; instead, in Beckett’s radio play Words and Music , Arnhem, Netherlands, by the Amsterdam Sinfonietta “Nubilus” for flute, clarinet, now brought to stage, the relation between word and conducted by Candida Thompson, with repeat percussion, piano, violin music is explored by the actors in dialogue with the performances on October 25 at the Concertzaal in Tilburg and cello can be heard on ensemble. On December 19 , during another monography and on October 26 at the Muziekgebouw in Amsterdam. October 25 in the Sala Juan dedicated to Fedele at the Amici di Musica/Realtà in Milan, A homage to Ivan Fedele will take place during the season de Mairena of the Espacio the Italian premiere will be given of X-tension 2 for SIAE Classici di Oggi of the New Made Ensemble at the Turina in Seville, with the ensemble, commissioned by the Music Biennale Zagreb, Conservatorio di Musica “L. Campiani” in Mantua on Divertimento Ensemble the Cantus Ensemble and Icarus Ensemble, with the October 23 . The Ensemble Contrechamps will take on directed by Sandro Gorli. support of the Ernst von Siemens Music Foundation. The tour Breath and Break for brass trio and electronic device On October 26 at the Museo concert, featuring the Icarus Ensemble and the Cantus on November 5 at the Studio Ernest-Ansermet in Geneva, de San Isidro in Madrid, the Ensemble, will also include Arcipelago Möbius for clarinet, on November 6 at the Gare du Nord in Basel and on 23 rd Festival Internacional violin, cello and doublebass, and Immagini da Escher for November 22 in Huddersfield during the Huddersfield Andrés Segovia will include ensemble. The concert is a repetition of the project “Ivan Contemporary Music Festival. On November 15 the Fabula for guitar, soloist Fedele: la matematica impossibile”, presented last April at Accademia di Spagna in Rome will host a performance of Luigi Sini. Finally, Capricho the Biennale in Zagreb, which the composer introduces Suite francese V and Imaginary Skylines for flute and harp, da “J.H.” for accordion in the with these words: «Mathematics is not only an “exact with Manuel Zurria, flute, and Lucia Bova, harp. The latter transcription by Iñaki Alberdi science”, the language through which man has deciphered work will be played again on November 23 at the will be played on 15 and interpreted the principles that govern the world. CentQuatre in Paris by the Soloists of the Ensemble December at the Casa de la Mathematics is a form of poetics, it is an “artistic” discipline Intercontemporain Sophie Cherrier and Valeria Kafelnikov. Cultura in Orellana la Vieja that is by no means as rigid as is thought, on the contrary. Finally, Imaginary Islands for flute, bass clarinet and piano (Badajoz) by Đorđe The proof of this can be found in those arts, like music, in will be played on December 19 during the Festival di Vasiljević. which mathematics does not just offer a basic support, but Nuova Consonanza in Rome, by the Ensemble Fractales. Leonardo Marino The Day of Creation Two first performances for Leonardo Marino this Autumn. particularly interested in the idea that at the basis of the On October 5 in the Studio Ernest-Ansermet in Geneva, birth of the world there was music and song. The birth and Double performance of Sul far del giorno for orchestra will be played by growth of a composite song forms the basis of a new work for orchestra the Orchestre de la Haute École de Musique de this work for orchestra, that was written under the Genève conducted by Clement Power. The work influence of these two stories but with a totally will be played again on November 9 at the independent musical dramaturgical structure. The Grange au Lac, in Evian, Haute Savoie, by the retrieval of song and of the predominance of the Orchestre Symphonique Ose! conducted by melodic element and the construction of a sonic Daniel Kawka. The composer explains: « Sul far imaginary linked to dreams and to the paths of Valerio Sannicandro del giorno is a piece for symphony orchestra. human fantasy have characterized my output in Alongside Sul far della notte for oboe and large the last two years. Sul Far del Giorno is, I believe, On November 19 Les ensemble, played in September in Utrecht an important step in the journey within this sonic Trombones de Bâle directed during the Gaudeamus Muziekweek 2019, it world». On December 8 in the Santeria Social by Mike Svoboda will play forms a cycle held together by a common sonic Club in Milan, during the series ContempoRarities Quadranti for four environment. The day referred to in the title is the first ever 4, the world premiere of Dietro la luce II for ensemble will trombones at the Alte day, the day of the creation. The work was, in fact, inspired be performed by the Esecutori di Metallo su Carta. It is a Markthalle in Basel. by two cosmogonic stories by Italo Calvino and J.R.R. new version for a smaller group of the piece written for the Tolkien. The first fascinated me for the apparent simplicity Ensemble Prometeo and presented in Parma during the and lightness with which the writer deals with an idea series Traiettorie 2018. usually represented in epic tones. In Tolkien’s story I was 3 Giorgio Colombo Taccani Four new chamber works in Emilia, Gestual Baggage Lombardy and Trentino

Fo ur world premieres and numerous other performances for Giorgio which only occasionally permits single individualities to emerge». Colombo Taccani this Autumn. On October 30 at the Teatro Comunale in On December 8 in the SpazioTeatro 89 in Milan, the first performance of Modena, the AltreVoci Ensemble will give the world premiere of Clessidra for Vele ai navigli for voice, clarinet, violin and piano on an original text by Pier violin, cello and piano. It is one of the compositions selected for the project Luigi Berdondini will be given by Akiko Kozato, Selene Framarin, Piercarlo SIAE Classici di Oggi and is described here by the composer: « Clessidra Sacco and Luca Schieppati. It is a work that caused particular emotional represents a new chapter in my collaboration with the excellent musicians of involvement during its writing. Colombo Taccani tells us: «Villa Triste in Milan the Ensemble AltreVoci and, together with my recent string quartet Die letzte owes its gloomy name to the fact of having been the site, in the last phase of Gold , marks my return to austerely classical formations, alongside my the Second World War, of the criminal activity of the notorious Koch band, a wanderings through often bizarre instrumental destinations (wanderings group of tormentors and torturers so brutal that they were even arrested by destined in any case to continue in the near future). The trio consisting of the fascists of the Brigata Muti, who were actually themselves a bloody arm violin, cello and piano, maybe more so than the string quartet, has a of the Repubblica di Salò. It is not simple to use the memory of such cruelty historical and gestural baggage that is hard to ignore and, in this sense, I for the basis of a new work, as I was requested to do by Luca Schieppati. preferred to not stress excessively the timbral characteristics, but rather to The key to avoiding the facile yet understandable path of invective and shift my attention more to the linguistic and constructive aspects. A explication of the horrors (for that purpose, suffice it to read the series of eleven notes, unconnected to any form of quotation, is the dreadful testimonies left to us by those who passed through those DNA of the whole work and is used, as is my custom, to generate rooms) and at the same time a pointless pacifying vagueness, was both the overall formal aspects and the harmonic-linear provided by the verses of Pier Luigi Berdondini, who states: components, as well as to help in the concrete determination of the “Anemoni, catrame. Ruggine, rugiada (Anemonies, tar, rust, dew). gesturalities used throughout. It was precisely a formal idea In the sonorities of the contrasts I searched for words of darkness stemming from the manipulation of the basic series that led to my and sparks, trying to move away from the rite of civil poetry. As if it decision to use the six returns of a so-called refrain as milestones were, though out of meter, a love sonnet. Fiori, sorrisi, allori, vele, along the path, progressively increasing in density, in articulation brezza, navigli (Flowers, smiles, laurels, sails, breeze, ships) mark and, at least in my intention, in interest. The descending movement the accents and colours of the lines. They dictate the rhythm to the that distinguishes it is first presented in its stark essentiality by the imagination and the memory. Fragments that depict distance and piano, barely coloured by the very delicate tremolos of the two belonging, aiming towards a timid and arcane opening of music in strings; at every return new figures and new centrifugal drives are the word”. As always in the case of vocal works I avoided here the born, while the harmonic arrangement remains unchanged; the first, capillary structure that usually characterizes my work, letting myself be elementary presentation of the refrain is thus gradually transformed until its dictated by the formal junctions of the text itself. So fundamental references last appearance in an episode that is finally heard in its elaborate and are the words “non piango” (“I don’t cry”) and “semino” (“I sow”), true cells of complex definitive configuration. Around this recurring element, the true meaning around which the emotional path of the work is built. The harmonic- backbone of Clessidra , the other sections take different paths, some being melodic component is reduced to the essential, basically limited to just a destined to return without any significant variations except in their internal group of seven notes and its complement, with a very small number of proportions, others instead burning up their meaning in solitary marginal variants, all derived from the piece Trafiletto in cronaca begun a appearances. The final statement and extenuated ending is the explicit few weeks before». On May 5 the Duo Tubi&Corde formed by Marco Bonetti quotation of the basic series, evoked in the background by the two strings and Guido Boselli played Vocativo in the version for baritone saxophone and playing pianissimo against the virtually frozen chords of the piano, and cello, during the Contemporary Festival in Como, repeating the piece on always in the background – deep down – there remains the homonymous May 24 at the Conservatorio di Novara. On May 27 Unstable Portrait of A.S. novel by Danilo Kiš». On November 14 in Milan, the New Made Ensemble for alto saxophone and piano was played at the Fontys Academy of Music & will premiere Trafiletto in cronaca for clarinet, violin, viola and cello. Colombo Performing Arts in Tilburg (Netherlands) by Bruno Alonso and Martien Maas, Taccani comments: «“A concerto in miniature for clarinet and bonsai string while on July 3 the Duo New Visions played Tre visioni del tempo during the orchestra”, this could be the subtitle for this new work that is made up of a Festival della Valle dell’Orfento in the Sala Consiliare of Caramanico Terme. number of very short instrumental gestures, reappearing with systematic Ocra rossa in the version for flute, cello and piano was played on July 7 irregularity in the narration without any particularly significant during the Festival Time of Music in the Parish Hall of Vitasaari (Finland) by transformations or evolutions. In fact, the aim, and in a certain sense the the instrumentalists of Collettivo_21. The ballet Domus aurea for five hazard, of this composition is this: to try to maintain the discourse and hold instruments and electronics with the choreography of Diego Tortelli and the the interest and variety, by keeping the elements used as well as the dancers of Aterballetto saw its sixteenth production on July 16 at the processes of evolution and proliferation of the elements themselves, Slovene National Theatre Opera and Ballet in Ljubljana (Slovenia), while on to a bare minimum. With these limited resources a climate of gestural August 21 Blind Trust for electric guitar, theorbo and accordion was played aggressivity is generated that almost never diminishes in tension (the during the Panicale Music Festival by the Azione_Improvvisa Ensemble. metronome has no significant variations from stat to finish), a climate On September 2 Leonardo De Marchi performed Rosso fuoco for 10-string in which the materials proposed by the clarinet return with relentless guitar in Padua during the Settimana Chitarristica. On September 7 the duo recurrence to the initial gesture, stubbornly condemned to fall into the low formed by Carlotta Raponi and Andrea Dinapoli played Antilia for piccolo register of the instrument. This is combined with an extremely bare harmonic and guitar at the Salotto in Prova in Milan. On September 15 , at the Casa panorama, this too poor in transformations: these are a few elements della Musica in Trieste, Adele D’Aronzo played I muri bianchi di Endenich for derived from the same starting point successively used also for Vele ai piano during the series Piano City. On September 18 in the Spazio Icarus in navigli , a work for voice and instruments written almost simultaneously. Reggio Emilia the new version for voice, flute, violin and piano of Oya no In the present case the starting idea, mostly corresponding to the notes Uchi was given its first performance by the Icarus Ensemble; the same piece presented by the clarinet in the first two bars, unlike what happens in the was played again on September 19 in Milan in the Ex Chiesa di San vocal work, also determines the overall structural arrangement, suggesting Carpoforo; both concerts were part of the programme of the Associazione junctions, returns and the conclusion of the work». Nessuna piazza è muta Amici di Musica/Realtà. Ali for voice and guitar was performed by Ludmila for saxophone quartet will be premiered on November 20 , during the study Ignatova and Andrea Monarda on September 24 at the Museo del days “Come nasce un’opera” that will take place in the Sala Filarmonica of Novecento in Milan, while Erma for guitar was also played by Monarda on Palazzo Bossi Fedrigotti in Rovereto, organized by the Associazione September 27 at the Palazzo Ghizzoni Nasalli in Piacenza during the Culturale Piazza del Mondo. It will be played by the MP Saxophone Quartet, Festival Incó-ntemporanea and on September 28 by Giovanni Martinelli in consisting of Emanuele Dalmaso, Mattia Grott, Sveva Azzolini and Simone the Chiesa di Santa Lucia del Gonfalone in Rome. On September 29 in the Delcastagné. Colombo Taccani writes: «“No square is silent, no house is Sala Concerti Municipale Panarock in Spilamberto (Modena), Antonella Bini alone, no street is empty, no path is short” (proverb of Bassa Gralesia, 12 th played Brace for doublebass saxophone. Restless White for flute can be century). Auf einer Burg , an enigmatic Lied by Schumann belonging to the heard on October 25 at the Torri dell’Acqua in Budrio, during the Festival collection Liederkreis, is the affective starting point and the matrix of the Bologna Modern, with the soloist of the Ensemble In.Nova Fert. Finally, on entire course of the piece. Strictly excluding any open citation or stylistic November 26 Laura Bersani will play Eyeless Dark for bass flute at the allusion, it is in particular the first four bars of the vocal line that determine Museo del Novecento in Milan. It should also be mentioned that Why Eat the basic rules and materials, in accordance with the usual play of Why Kill for voice and piano on a text by Abraham Smith, performed by symmetries and relations that characterize my way of organizing the Akiko Kozato and Adele D’Aronzo, has been recorded on the anthological compositional path. Within a climate that is changing but often tending Cd Risuonanze 2017 , which includes a selection of works presented during towards a decidedly aggressive gesturality, an almost constant feature is the that edition of the festival and was released last June, care of the grouping together of the four saxophones into a sort of hyper instrument, Associazione Culturale TKE. 4 Nicola Sani Sonic Prospective

A world premiere for Nicola Sani on October 22 , when forever one of the most illuminated protagonists of Italian Five world premieres Flute Fatal for bass flute and digital soundtrack will be music organization. But above all I lost a great friend, a for instruments and performed by Gianni Trovalusci at the Central constant supporter of new music, which she helped make electronics Conservatory of Music in Beijing, during the opening a main feature of the Istituzione Universitaria dei Concerti concert of the Festival Musicacoustica Beijing. On in Rome, the IUC, that she had founded with her husband November 16 at the Teatro Arsenale in Milan, during the Oreste in the years immediately following the war. Shortly series Parade Électronique, the same work will be given after her death I wrote a short work for solo piano, a its Italian premiere by the same artist, with Walter Widmung , titled A Lina Bucci Fortuna , based Prati as sound engineer. The composer explains: mainly on the transparent resonances of unison «Flute Fatal derives from my previous experience harmonics and the slow glissandos generated in with a work for bassoon and electronics ( Fatales the stringboard. My friendship with Lina reinforced Fagott Solo ), realized by Paolo Carlini, which is my great affection for her daughter Francesca, the referred to in the title. The territories of sonic same age as me, who I had known ever since I research are further expanded and dilated in was a child, because Lina and Oreste where dear Giovanni Verrando the dimension of the bass flute. Thanks to the friends of my parents, from Ferrara, and together emission techniques developed by Gianni had founded the coordination of the University The flutist Sonia Formenti Trovalusci and the assimilation of the bass flute concert institutions, the first network of worthy played First Born Unicorn in the electronic elaborations realized with Alvise initiatives dedicated to the diffusion of classical for amplified flute on June 7 Vidolin at the CSC in Padua, it was possible to music among young people, in an Italy left drained in Florence during the series explore the realms of vocality, the sense of limit, elements and destroyed by the Second World War. With Francesca Musica a Villa Romana of tension, dialogue, contrast and suspension. Flute Fatal I began an extraordinary relation of artistic and intellectual “Contrasti 2019”. Fifth Born is built on the basis of sounds distributed and de- collaboration when she took over the reins of the IUC Unicorn for cello and composed in space, making the composition a unique following Lina’s death. Unfortunately, last year a tragic and electronics was performed experience also from the perspective of acoustics and inscrutable destiny took Francesca away from her family, on July 7 at the IIC in Tokyo perception. Flute Fatal is also deeply immersed in our affection and the whole community forever. Following by the cellist Francesco metropolitan sonorities, sounds that inhabit, that become the course of that passage of testimony and of Dillon. Finally, Giovanni a filter of reality. We perceive all their liquidity, their experiences between Lina and Francesca, today I thought Verrando will hold the third materiality, their roughness. The material is transformed by back to my dedication to Lina and along that path and edition of the course the flux of sound, which assumes an almost monumental logical thread I am projecting it in a new work through live “Musica da camera con la aspect. A divided sound that is transformed into possible electronics into the open infinity of Rilkian thought, nuova liuteria” at the shapes, it becomes human, language, breath, sonic dedicating it to the memory of Francesca, a fraternal Conservatorio della perspective, a field of listening possibilities that make each friend, also in the passion for German poetry that we Svizzera Italiana in Lugano performance always... fatal». The first performance of always shared». I binari del tempo for flute and electronics in the academic year 2019- Turning Page for guitar will be given on November 26 in was played on August 10 in the Chiesa di Sant’Agostino 20. Palazzo Chigi Saracini, Siena, by Giovanni Puddu, during in Anghiari (Arezzo) during the Festival “Alla battaglia!”, the Chigimola Musica 2019. On December 4 at the Museo with Gianni Trovalusci and Lorenzo Ballerini, who repeated del Novecento in Milan, the world premiere of a new work the work on August 12 in Piazza Doni in Corciano for clarinet, violin, cello and accordion will be given by the (Perugia), during the Corciano Festival; it will be played New Made Ensemble. On December 16 another new again by Giovanni Mareggini, soloist of the Icarus work for three bass flutes and live electronics can be Ensemble, on October 9 at the Spazio Icarus in Reggio Giovanni Bertelli heard in Zagreb, during a concert celebrating the 18 Emilia and on October 17 in the Ex Chiesa di San years of the Cantus Ensemble, who will perform the work Carpoforo in Milan, during the series of the Amici di Bar/bar for pianist’s hands together with Roberto Fabbriciani and Alvise Vidolin on live Musica/Realtà. On October 5 in the Sala del Buonumore can be heard on October 11 electronics and as sound engineer. On December 20 in of the Conservatorio “L. Cherubini” in Florence, the Amici at the Musée de la the Auditorium Pollini in Padua, during the concert della Musica will present Raw for violin, played by Collection Lambert in celebrating the 40 th anniversary of the Centro di Sonologia Ferdinando Trematore. Seascape X for eight Avignon during the Festival Computazionale of the University of Padua (CSC) and the doublebasses can be heard on October 28 at the Oratorio ¡Viva Villa!, soloist Daniele 10 th anniversary of the SaMPL of the Conservatorio San Filippo Neri in Bologna during Bologna Modern, with Fasani. “C. Pollini” in Padua, Aldo Orvieto and Alvise Vidolin will the Ensemble Ludus Gravis directed by Daniele Roccato. premiere Atmend nach seligem Lauf, auf nichts zu, Finally, on December 13 at the Mattatoio di Testaccio, ins Freie... A Francesca Fortuna... for piano and live Rome, the Festival di Nuova Consonanza will include electronics. The composer introduces his new work: Dialoghi migranti for alto flute, with Gianni Trovalusci. «In 2005, with the passing of Lina Bucci Fortuna, we lost Sara Caneva Vision and Perception

On November 16 in the Palazzina Liberty Dario Fo e a sound source is certainly influenced by the absence of Franca Rame in Milan, during the opening concert of the visual stimuli, as is the sensation of time that has passed. New “ecological” work series Sound of Wander, Night Is Night, No The piece alternates between moments of presented by the Mdi Matter How Long for ensemble will be counterpoint and improvised sections, translated Ensemble premiered by the Mdi Ensemble. The composer into an experience of listening, and of performance, tells us: «Man’s relation with the environment is amplified by the absence of vision. It also proposes a central issue in these years and acoustic a reflection on the environmental impact of the pollution is no exception. In the city, due to the performance: the six musicians, surrounding the massive use of cars, building work, exhibitions audience, use biodegradable instruments and and loudspeakers at excessive volume in objects made from natural materials, as well as tourist areas or shops, as well as the height of their bodies». From September 11 to 15 Sara buildings, it is often impossible to hear sounds Caneva was in residence at the Oasi San Felice that come from afar. Night Is Night, No Matter Allianz/WWF in Marina di Grosseto; she has also How Long takes place in a condition that affects all the been granted funding from the Kone Foundation for a two senses: total darkness. The perception of the distance of month residence in Finland at the end of 2020. 5 Carmine Emanuele Cella New experimental works at Milano Musica and the Centre Pompidou New Paradigm of Listening

On October 9 and 10 at the Pirelli HangarBicocca, the space becomes the principal actor and the listeners are Festival di Milano Musica will include the world premiere immersed within a single global instrument played collectively of Kore for six percussionists around the audience, by the musicians». On December 13 in the Grande Salle of commissioned by Les Percussions de Strasbourg, who will the Centre Pompidou in Paris, the world premiere will be perform the work with the composer on live electronics. Cella given of Atlas for three composers/players in different cities. introduces his new work: «The idea at the base of Kore is to The performance will involve the three composers: Carmine create a new listening space in which the electronics and the Emanuele Cella, from Paris, Dimitris Kammarotos, from physical instruments are intimately integrated. For many Athens, and Valerio Tricoli, from Karlsruhe, with Marina Gioti, years electronic music has been often planned following video artist/film maker. Atlas , a sonic map of Europe a paradigm of global listening: it is transmitted through conceived by the composer, mathematician and researcher loudspeakers placed around the audience while the Carmine Emanuele Cella, is a collective work in every musicians, with their instruments, stay on the stage. respect. The sonic material is collected in three different The electronic sounds are therefore perceived as global, places, in Paris, Karlsruhe and Athens, so as to create a immersive acoustic phenomena, clearly detached from the subjective sonic map. Cella is joined by two other composers local phenomena on the stage. To remediate this separation, and video artist to exploit these geolocalized resources and the most common solution is to annul the local phenomena: blend them with electronics. This process leads to a for example, the performers are amplified and projected into performance in real time, distributed simultaneously among the global space of the electronics. The cancellation of the these three cities. The authors explain: «With Atlas we want Giorgio Gaslini local phenomena, however, generates a sort of schizophonic to make three cities enter one room: we want to listen to experience in the audience, where the sounds no longer distinct places in different moments or all the places in the Koralfandango for bassoon have a corresponding source. Is it possible to create a new same moment. We want to create a sonic map of Europe that and piano was played on paradigm of listening that respects the global immersive can serve as basic material for a collective composition. The September 7 at the Museo properties of the electronics and at the same time maintains uniqueness of the project comes from the fact that the sound di Storia Naturale del the localization of the instruments on the stage? In other material is collected by the public, who are therefore at the Mediterraneo in Livorno words, is it possible to effectively integrate the listening centre of a participative experience. Music and sound do not during the Livorno Music space? I believe it is possible thanks to the notion of exist without a place, without time. It is important, then, to Festival, with Paolo Carlini inversion: the electronics is transmitted by the physical rediscover the idea of musica hic et nun c: a music that can and Daniel Rivera. Sei instruments (instead of by loudspeakers), but the instruments be performed only in the place in which it was conceived. interludi for female voice are placed around the audience. This is technically possible Inside a real context, provided by the sound of the cities, the and guitar was performed using special devices that vibrate on specific frequencies and listeners become an integral part of the composition and on September 24, in its transmit these vibrations to the resonating parts of the experience a form of belonging art. The conceptual path of world premiere, by Ludmila instruments (piezoelectric actuators), made purposely for this the performance should represent an evolution from a Ignatova and Andrea work. Kore , then, is a piece for six percussionists that use soundscape to music composed to create a polyphony of Monarda at the Museo del augmented instruments spread around the audience. The sounds collected by the public over the months before the Novecento in Milan for main characteristic of these new instruments, called Xulons, performance. This will be realized by a collective of NoMus and the Società del is the possibility to completely change the sound and the composers able to compose the complex polyphony of Quartetto. Beyond the River interaction with the player depending on the gesture made. sounds in real time, blending them with pure electronic for flute and ten instruments The work takes its inspiration from the masterpiece by sounds to create a unique augmented experience. Each can be heard on December Xenakis Persephassa and aims to extend the possibilities composer will react to the stimuli received from the 16 in Zagreb during the found in my previous work Inside Out , performed by the colleagues in other cities, so as to create an imaginary new concert celebrating the 18 th Percussions de Strasbourg in 2017. Also in Persephassa the space. We create an omniscient acoustic composition in anniversary of the Cantus six percussionists were arranged around the audience. The which the public can enjoy the experience of being in different Ensemble, who will play the treatment of space as a musical parameter is one of the most places at the same time, or at different times but in the same piece under the baton of important concerns of the work of Xenakis. In the same way, place: a ubiquitous form of listening and a transtemporal Berislav Šipuš, with Roberto Kore tries to define a new paradigm of listening in which the experience». Fabbriciani on flute. Martino Traversa Regenerating the Discourse New work for Klangforum Wien and Arditti Quartet A world premiere for Martino Traversa on September 15 in Quartetto n. 3 for strings. Traversa tells us: «On October 24, Essen, when The Lost Horizon for trumpet and ensemble 2015, after a magnificent concert of the Quartetto Arditti at was played by Anders Nyqvist and the Klangforum Wien the Teatro Farnese for the Traiettorie season, during the conducted by Sylvain Cambreling, in the Salzlager of the customary dinner of “tortelli d’erbetta” with the ever present Welterbe Zollverein, during the Ruhrtriennale. The Greco di Tufo, Irvine Arditti, after a long pause of silence that composition, already given its Italian premiere by the same promised no good, said to me in a resolute tone: “Ten years artists on September 27 at the Teatro Farnese in Parma have passed since you wrote the Quartetto n. 2 , what are during the series Traiettorie, is introduced by the composer you waiting for to write the third?”. Irvine’s stern glance, that with these words: «Compared to my more recent slowly brightened into a somewhat amused smile, had placed compositions over the last years, whose common me in difficulty. Just the thought of tackling the new quartet denominator could be said to be a sort of “utopic post- made me shiver to the point that I hurriedly cut the structuralism” (Gaetano Mercadante), this piece goes in conversation short, saying that I didn’t have time. That same search of a possible “third way”, a different conception of evening, while walking home, I realized perfectly that Irvine music that stems from my re-approaching the past, in had hit the mark! Two years later, while sorting through some particular through a re-reading of the works of the great papers, I came across an old postcard that Irvine had sent French composers of the 20 th century, with the intention of me in the distant 2003. We had known each other for twenty- regenerating the musical discourse, also through the re- five years. I then understood that the moment had arrived to invention of syntactic mechanisms that better respond to the write a new quartet and to dedicate it to a dear friend». The linguistic complexity of contemporary music, free from any label Kairos has released the monographic Cd Martino conditioning of a lexicon and gesturality that is now (alas) all Traversa. Hommage (0015054KAI), featuring Hae-sun Kang, too abused, but equally distant from solutions both simplistic Livia Rado, Ciro Longobardi, the Ensemble Prometeo and and poor in content. All this in the wake of the great Marco Angius. The disc contains Quasi una sonata ... for European musical and cultural tradition. The Lost Horizon is violin and piano, Red 2 for concertante violin and ensemble, dedicated to Anders Nyqvist and Klangforum Wien». Still at Oiseaux tristes for solo piano, Trois poèmes de Stéphane the Teatro Farnese, and still in the context of Traiettorie, on Mallarmé for soprano, clarinet, cello and piano, and Di altri October 16 the Arditti Quartet will give the world premiere of cieli for soprano and six instruments. 6 Caterina Di Cecca The poetry of Rilke inspires a new work Memory and Creation for orchestra

On October 24 at the Teatro Verdi in Pisa, and on expressive and communicative possibilities; about the October 25 at the Teatro Verdi in Florence, the Concerti progressive development of each element, seen as a della Normale will include the first performances of In character that experiences endogenous and exogenous cerchi concentrici for trumpet and orchestra, commissioned modifications over the course of time. The solo instrument with the support of SIAE Classici di Oggi, with inside the orchestra is without doubt the best the soloist Donato De Sena, the Orchestra della combination that allows all these issues to be dealt Franco Donatoni Toscana and the Orchestra Giovanile Italiana with adequately and so being able to dedicate conducted by Daniele Rustioni. The composer myself to this has represented a crucial moment in On September 25 in the explains: «This work for trumpet and orchestra my life as a composer. The choice of the trumpet Chur Theatre, Switzerland, allowed me to delve more deeply into the comes from my personal affection for this brass Etwas ruhiger im Ausdruck themes that have been at the centre of my instrument, which has a vast but not enormous or for flute, clarinet, violin, cello research over the last years, namely, memory overwhelming repertoire like the other winds. This and piano was played by as a historical past; memory as a recollection guarantees the possibility to write without being the Ensemble ö!, and was within the same piece of what happened before; tied to its history and to take into account the most repeated on September 27 the relation between “one and all” as a process recent developments, such as the collaboration at the Ackermannshof in in determining the identity of the single; the relation with electronics. Starting from these notions and the Basel. Puppenspiel 2 for between “one and all” as the relation of the subject with the procedures of the latter to elaborate these concepts and flute and orchestra will be world of the other individualities. The reflections on these timbres through the orchestra has opened fertile and played on October 19 at the themes may seem to be of a theoretical and generic stimulating scenarios on which I set my work, which takes Teatro Massimo in Palermo nature, but in reality they have a very concrete significance its starting point for its title and form from the following during the Festival Nuove and are determinant for the final musical product. In fact, in poem by Rilke : “I live my life in widening circles / That Musiche, by Roberto my pieces, the interest is concentrated on the language, reach out across the world. / I may not ever complete the Fabbriciani and the which doesn’t foresee either the emulation or the rejection last one, / But I give myself to it. / I circle around God, that Orchestra Sinfonica of the past but a constant and always active re-elaboration primordial tower, / I have been circling for thousands of Siciliana conducted by of what the classics were able to transmit; about formal years, / And I still don’t know: am I a falcon / a storm, or a Fabio Maestri. structure, whose primary meaning in my view is to help to great song”». On October 26 in Turin, during the series fix in the mind of the listener the musical material Musiche in Mostra, the Italian premiere of Senza ristoro proposed; about the attention to the potentials of the single d’ombra for cello and piano will be given by Luca Colardo instruments, with any ever vigilant gaze turned to the and Sandra Conte. extended techniques in terms of the implementation of their Filippo Perocco Unplanned Encounters New work at the Biennale On September 28 at the Teatro alle Tese dell’Arsenale in The composer explains: «The work is a joint commission di Venezia for the Ensemble Venice, La Biennale, 63 rd Festival Internazionale di Musica in 2017 from the Ravenna Festival and the Associazione L’Arsenale Contemporanea, hosted the world premiere of Come foglia Scarlatti in Naples. The memories of certain songs reside opaca for soprano, sax, accordion, prepared piano, electric in our minds. Whether imaginary or (maybe) real, it’s not guitar, doublebass, synth and resonators, commissioned clear to me. Little matters seeing that these occasional by La Biennale di Venezia. It was played by the Ensemble encounters lead me to the writing of a series of L’Arsenale directed by the composer, who writes this about miniatures (in fact, a work that is still in progress). The his new work: «Even when you are following a pre- miniature/debris becomes the “place” for the re-flowering established path, unplanned encounters may happen. of the eroded image of these songs which, like rubble, try These may turn out to be fortunate coincidences that, to free themselves from the mesh, sometimes thick and if taken up, could alter the perspective of a piece. saturated, of the instrumental texture». On November 8 It happened this time too. After Eugene Ostashevsky’s The in the Teatro Comunale di Monfalcone, the Ensemble Feeling Sonnets , in which a knowingly imperfect English is L’Arsenale will premiere Nosferatu for soprano, accordion, emphasized, a series of chance readings of various sax, electric guitar, piano, synth and electronics, with a authors always leads me to the concept of the deformed repeat performance on November 26 at the Teatro and sometimes contradictory use of the word or, more “Antonio Salieri” in Legnago. Perocco introduces the work: generally, of any means of expression. Everything is seen «Written on commission of the Teatro Comunale di Treviso as a faded object. The third and fifth sonnet, from which I as music for the showing of Murnau’s Nosferatu . The took some extracts, speak of the hands, but this is only music doesn’t comment, doesn’t describe, but draws from one of the possible readings. A sort of illusion. They seem the dreams that the characters experience, impotent and Mehdi Khayami to ask “How can emotions be expressed in a language that at times comical, becoming an imaginary representation isn’t yours?” Any fragile and ambiguous attempt holds of who is watching, who is playing and who is listening. Occhi senza sguardo for within itself an original strength. The composition allows The elements and the fragments (of music), sometimes flute, tar and violin will be itself to be guided by this uncertainty. A “not saying” borrowed from popular music, are repeated without being given its world premiere through my usual obsessions: debris, the dirge, precarity. imprisoned in the typical function of a Leitmotiv . They are by the Yarava Ensemble Against the line of the word, always poised between instead conceived as vehicle of a sensation felt, an (Pegah Taslimi, flute, question and answer, the voice sings gently and nestles emotion elicited, of a persistent dream, with the purpose Golnaz Khalili, tar, and Asal inside a slow and halting mechanism, using simple, of experiencing a listening where memory perseveres. Karimi, violin) on October 6 primitive and redundant gestures. The instrumentation Nosferatu like a long and dreamlike journey». On in Panketal (Berlin), during is that of the Ensemble L’Arsenale, characterized by the November 14 in Dresden it will be possible to hear Randspiele, Neue Musik in atypical mixture of conventional instruments and their Perocco’s Detriti for ensemble – Detrito in acquagranda , der St. Annen Kirche possible extensions, a zone in which I have set part of my Detrito in acquapietra and Detrito in acquatorbida –, played Zepernick, XXVII. work for some time now». On September 15 in the Church by the Ensemble Courage. It consists of a series of works Randfestspiele 2019. of All Nations in Melbourne, Canzona detta “L’imaginaria” written on various occasions between 2014 and 2015, for piccolo, saxophone and prepared piano was played by based on the image of the contemplation of any sort of the Astra Soloists: Rebecca Lane, piccolo, Justin Kenealy, object/debris immersed in water. Finally, a new piece for saxophone, and Joy Lee, piano, directed by John ensemble, co-commissioned by the ATEM ensemble, is McCaughey. On October 28 in the Oratorio San Filippo scheduled to be played on November 18 in Timisoara, Neri in Bologna, during Bologna Modern, Ludus Gravis Romania. will play Dai canti immaginari for eight doublebasses. 7 Andrea Mannucci Debut of two new Sonic Metaphors operas The revised version of Ritournelle for string trio can be heard, in its world breaks, causing the leaves and branches to fall to the ground. After being cut, premiere, on October 28 at the Auditorium Montemezzi in Verona with the the trunk regenerates some small green shoots that yearn to receive the Tiro Quodlibet, and again on November 3 in Milan during the Milano warmth of the sun. The music follows precisely the various passages (from the Classica season. The composer comments: «During the day dedicated to growth of the tree to its decline, and the hope to regenerate a plant from the contemporary music organized by the Conservatorio di Verona, Ritournelle remains of the cut-down trunk) through a careful and measured use of in the revised version will be played by the Trio Quodlibet, to whom it is assonances with the text. At the start the piano part is less evident, more dedicated. Written as a tribute to the great composer Claudio Monteverdi, compressed, and aims to blend the melody of the word with the sound of the Ritournelle is based on a fragment of music attributed to him. The work is instrument. The piano doesn’t distance itself from the realms of the vocal part organized in eleven variations and spans more than four centuries of music or propose a different direction, thus raising doubts, but delicately enwraps the history through stylized variations, amalgamating, in a multicoloured texture, voice and extensively amplifies its lines. The piece concludes with an intense bands of sound à la Ligeti, strict counterpoints in imitation, and passionate arpeggio that underlines the end of the musical games à la Satie, quotations from film and popular composition». The last new piece in this intense autumn will be music». The Festival Nuovi Spazi Musicali will include the premiered on November 20 in the Sala Bianca of the Teatro Sociale debut performance of Il gatto (nel serraglio), allegoria di una in Como, with a repeat performance on November 28 in the Sala convivenza , “operina” in one act in four scenes on a text by Luis Maffeiana of the Teatro Filarmonico in Verona. It is the new version Gabriel Santiago, for narrator, two singers and ensemble. The of Moro , tragic opera in one act in eleven scenes on a text by Marco new work will be premiered on October 8 in the Foyer of the Ongaro, a co-production of the Associazione Kairòs in Verona and Teatro “V. Basso” in Ascoli Piceno, with Pamela Olivieri, narrator, the New Made Ensemble. The cast will be Dario Giorgelè (Moro), Annalisa di Ciccio, soprano, Stefano Stella, bass, Luca Paoletti, baritone, Carlotta Bellotto (Cassandra), soprano, Enrico Frigo alto saxophone, Riccardo Sanna, accordion, Luca Ventura, (L’Angelo), tenor, Nadina Calistru (Corifea), soprano, Piero Facci percussion, Gabriele Boccio, cello and Sabrina Gentili, piano, (Voice of the People), bass, with the stage direction of Filippo Tonon directed by Mannucci himself, who tells us: « Il gatto (nel and the New Made Ensemble directed by Alessandro Calcagnile. serraglio) is an “opera semiseria”, amusing and violent, tragic Mannucci tells us: «40 years have passed since that dramatic day: it and comic. The story is a metaphor of relationships today, of was March 16, 1978, and had just turned 18, I was a young convenience cohabitations, of hit and run relations, and of opportunism that musician, gaunt and absent. I lived for sounds, notes, contemporary music, I conditions the sentimental ties. It is the tale of a Lui (He, a stray cat) and a cared little or nothing for politics, for social dramas. That morning I was at the Lei (She, a woman) in perennial search of affection. Their casual meeting market with my mother, and suddenly there were people shouting, the stall- momentarily resolves their existential problems, Lui moves into Lei’s home for holders closed their shutters, policemen moved people along... From that day board and lodging, Lei welcomes Lui as she has someone to look after and my life changed, I drew close to politics, I joined a youth movement, I started love. But here the intimate side of each character emerges: Lui wants to make to become aware of society, I felt the need to become actively involved. The a fresh start and slip away from her as soon as possible, Lei decides to hold tragic opera is set in a symbolic space during the days of Aldo Moro’s on to him and drain his feline energy. This is what happens: at the end of a imprisonment. From the ambush in Via Fani to the death of the President, the furious argument in which Lui tries desperately to escape, Lei castrates him plot tells of the inner suffering of a man of power whose power was taken from with a symbolic “snap” using a pair of enormous scissors. In this last scene him, who had committed himself to building civil coexistence and was everything seems to be settled, Lui, with his nature mollified, is forced into a deprived of his freedom. The inner suffering of someone who becomes aware new sleepy and powerless life, Lei is content with her doll, but suddenly things of the inescapability of one’s own destiny, the destiny that we all share: death. take an opposite turn: Lui is unexpectedly thrown out onto the street after Lei In the course of this journey, the image of the political man is transfigured into receives a phone call which offers her a long journey of pleasure and new a spiritual dimension that transcends not only the opposing sides of the public loves». The librettist Luis Gabriel Santiago comments: «Although the title issue, but also the different confessional conceptions, reaching at its seems to suggest a naive association with Mozart’s masterpiece, this libretto culmination the universality that links Christ to Socrates, and the most has nothing to do with the adventures of Belmonte and Costanza in the palace important classical values to those of Christianity. The Angelo and Cassandra, of Selim. It is, instead, an allegory of cohabitation, of the compromise that the only characters that speak with Moro in his cramped prison, represent this governs the life of a couple or, if you like, of the price that one too often pays, duality and this substantial identity. Death is not only a question of politics or in the civil world, for liberty and self-love. To speak of this topic I chose the religious confession, death concerns us all and we all face its presence, in the relation between a human and a pet animal, in this case, between a woman end, with greater or lesser dignity. In tragedy, whether classical or modern, and a cat. For reasons of the script, both the woman and the cat, Lei and Lui, there is no place for polemics. It is here that the figure of Moro becomes a are strongly characterized in order to create the characters of an opera lirica; symbolic model, an emblem of the human passage from the bodily prison to they are the “Adam and Eve” of the story, the defects of both partners are the infinite freedom of being. An unsent letter and Moro’s last letter appear, amplified by parody, without any bad intentions. In trying to speak about a poetically paraphrased, in two different scenes in the text, which in general is relation in which castration and affection become the dominant themes, I the lyrical expression of a human reflection on immanence and transcendence wasn’t able to find a more suitable image than Lei who falls in love with a which has always inspired and attracted art. Not a descent into hell, but a lovely pussy cat that she meets on the street, takes home, cuddles and spoils. journey towards high, which sees Love, just as the President’s last letter But as soon as Lui looks out of the window and thinks nostalgically of his states, as the only truly important element. Written in 2010 on commission of freedom, of the wish to run and play, of the other she-cats he sees walking the Atelier Appel d’Airs, it was first staged on February 10, 2011 in the Église freely on the rooftops, that is say of that spirit of wandering hidden in all of our Reformée des Batignolles under the direction of Andrea Battistoni. The opera consciences, at that point, he is “castrated”, imprisoned, deprived of his vital is now being revived to mark the fortieth anniversary of Moro’s death in a new instinct. The broader, and less obvious, reflection is left to the Narrator, who version resulting from my collaboration with the singers of Paola Fornasari’s interrupts the plot with quotations from sociological theories and compares Kairòs, accompanied by the New Made Ensemble from Milan, directed by human relations to the commercial impulse to purchase material goods for Alessandro Calcagnile. In this work I applied the “art of compromise”, also in which one expects the inevitable contractual formula “satisfied or refunded”. analogy and adhesion with the historical compromise. In Moro the musical And so the portrait of a couple assumes a larger scope and manages to compromise takes place through the use of techniques and materials coming capture the actual proportion of the phenomenon. At this point the narration from the musical avant-garde, as well as turning to gestures and characters pauses to consider that, instead of looking for human beings, we are often from the past in order to express, in an immediately comprehensible way, searching for consumer goods, and we are used to expecting a fruit with a psychic situations for which the languages of the avant-garde have not perfect skin, no longer looking at the substance, which we mistake for defects provided an adequate vocabulary. The eleven scenes that make up the that once upon a time were the characteristic and unrepeatable traits of each tragedy Moro trace a psychic and emotive parabola that starts with violent and individual. The destiny of the cat does not therefore want to evoke a sentiment heated tones in an attempt to contrast and rebut an inevitable and already of facile and masculistic remorse for the loss of virility, but a concern more marked destiny and, gradually, moves towards the acceptance of the human linked to our times, the progressive incapacity to accept the differences, the passage from the bodily prison to the freedom of being. The music accepts divergences, the intimate features of our similars». From October 25 to 27 this path and turns back on itself accordingly. Musically speaking, the singing L’albero di Elsa for voice and piano from Elsa Respighi’s Cinquant’anni di vita is the true protagonist of this drama through four characters – Moro, nella musica , poetic re-elaboration by Marina Popadić, will be given its world Cassandra, the Angelo, Corifeo and the chorus – who do not act as premiere at Palazzo Verità-Poeta in Verona as compulsory piece for the V autonomous subjects but are exclusively the mirror of the conscience of the Concorso Internazionale di Canto “Elsa Respighi”. The composer explains: main character». Andrea Mannucci’s Auguri per il proprio compleanno for «The text – a free poetic adaptation by Marina Popadić of a part of the guitar, was played by Andrea Monarda on September 24 at the Museo del introduction to Elsa Respighi’s Cinquant’anni di vita nella musica – is a Novecento in Milan, for NoMus and the Società del Quartetto, and on heartfelt and intense invitation to read, through an evocative metaphor linked September 27 at Palazzo Ghizzoni Nasalli in Piacenza during the Festival to the image of a tree, which after reaching its maximum splendour suddenly Incó_ntemporanea. 8 Henri Pousseur In Basel a symposium, Festival in Memoriam workshops and concerts From November 28 to 30 in Basel, to commemorate Peuvion, Felix Renggli and students of the Hochschule für the tenth anniversary of the composer’s death, the Paul Musik FHNW; Scambi for magnetic tape, in the version by Sacher Stiftung and the Hochschule für Musik FHNW will John Dack; and Stèle à la mémoire de Pierre Froidebise host a symposium, workshops and a series of concerts for clarinet, soloist Jean-Pierre Peuvion. The symposium titled “Arbeiten mit Pousseur”. The event will open with in Basel coincides with the release of a Cd featuring workshops, on November 28 and 29 , on Éclipticare ou les Pousseur’s works for flute recorded by Roberto Périples constellés and Zeus joueur de flûtes , with Roberto Fabbriciani ( Works for Flute , Mode Records mode 318). Fabbriciani, Jean-Pierre Peuvion, who both The disc includes: Litanie du miel matinal for worked with Pousseur, and Felix Renggli flute, Éclipticare ou les Périples constellés in the (FHNW). On November 29 the preparations versions for three flutes and for three bass flutes, will begin for the performances of Scambi for Flexions I for flute, Scambi for magnetic magnetic tape, with Cedric Spindler, John tape, Vers l’Île du Mont Pourpre for flute, Dack and the students of Audiodesign, Litanie du miel vesperal for bass flute, and Quintette à la memoire d’Anton Webern for Henri Pousseur/Roberto Fabbriciani’s clarinet, bass clarinet, piano, violin and cello, Zeus joueur de flûtes, célébrant les dix under the guidance of Toni Kernjak and Jean- octannies d’Orphée étoilé (Michel Butor) Pierre Peuvion, and Naturel for solo horn, with for flute, magnetic tape and live Claire Linquist and Jean-Pierre Peuvion. On electronics. On September 29 at Palazzo November 30 two sessions and a round table Ghizzoni Nasalli in Piacenza, during the will take place in the Klaus Linder-Saal: the first session, Festival Incó_ntemporanea, Vue sur les jardins presided by Angela Ida De Benedictis (Paul Sacher interdits for four saxophones was played by the Stiftung), will offer a reflection by Pascal Decroupet BDSM Sax Quartet. Henri Pousseur’s fundamental (University of Nice) and Pierre Bartholomée on the theme text on teaching, Méthodicare , no longer available “Pousseur in the context of his time. An overview of his on the book market, can now be consulted life and works with films (featuring Berio and other on-line and downloaded free of charge at composers)”; in the second session titled “Pousseur and www.henripousseur.net. The tenth anniversary electronic music” John Dack and Volker Böhm will of the composer’s death is also marked by the compare different versions of Scambi . In the round table, publication, by Harmattan, of Dominique Salini’s moderated by Michael Kunkel, Gabriele Bonomo, Angela study Webern, Fourier et Butor selon Pousseur. Un voyage Ida De Benedictis, Pascal Decroupet, Roberto Fabbriciani en utopie . The work proposes utopia as the key to reading and Jean-Pierre Peuvion, the theme will be: “How was it to Pousseur’s poetics, a viewpoint that allows the author to work with Pousseur? Questions on the reception and examine the recurrence of the models of Webern and diffusion of his music”. The event closes with a double Fourier in the composer’s work. The research is based Roberto Fabbriciani concert, on November 30 , made up of two parts, the first on the author’s own first-hand experience dating back to in the Grosser Saal, the second, devoted to electronics, 1987, when Pousseur was in Corsica as guest of the local Cantus for flute and in the Klaus Linder-Saal. The programme includes university. Salini broadens her discussion to include Michel ensemble will be given Pousseur’s Naturel , soloist Claire Linquist; Quintette à la Butor, in terms of the affinity between the conception of its world premiere on memoire d’Anton Webern , with students of the Hochschule politics and that of artistic creation. The themes of freedom December 16 in Zagreb in für Musik directed by Toni Kernjak; Éclipticare, ou les and oppression, as well as the personal re-reading of the the concert celebrating the Périples constellés for one, two or three instruments history of music immediately after the Second World War, 18 th anniversary of the surrounded by at least one consort each ( in memoriam are tackled with an innovative approach that unites Cantus Ensemble, who will Iannis Xenakis), with Roberto Fabbriciani, Jean-Pierre- musicology and anthropology. play the piece under the baton of Berislav Šipuš, with Bruno Maderna the composer on flute. Towards the Centenary The celebrations begin Some of the music seasons have already begun that will a cadenza for soloists (violin, clarinet, bass clarinet, horn), for one of the giants of arrange their programs to join in with the celebrations for played by the violinist Patricia Kopatchinskaja and the the mid-2 0 th century the centenary of Maderna’s birth, celebrations that will of WDR Sinfonieorchester conducted by Michael Wendeberg. course culminate in the year of the anniversary, 2020. The season “900presente” of the Conservatorio della Following his studies with Gian Francesco Malipiero and Svizzera Italiana will include on December 15 in Lugano, Hermann Scherchen, Maderna left his at the Auditorio Stelio Molo of the RSI, mark right from his first participation in the Rondeaux by Adam de la Halle in Maderna’s Darmstadt Ferienkurse in 1949, as one of orchestration for chamber orchestra. The the main protagonists of the musical scene edition, edited by Michele Chiappini, was Andrea Manzoli in the second half of the 20 th century. prepared in collaboration with the Paul Sacher Founder in 1955 of the Studio di Fonologia Stiftung. It will be played by the Ensemble 900 On September 28 at Ca’ Musicale della Rai in Milan, composer but directed by Francesco Bossaglia. The Giustinian, in the Sala delle also orchestral conductor, sophisticated composition is in six movements, the last Colonne, La Biennale di rd and skilled transcriber of ancient music, three of which also include a voice: Li dous Venezia, 63 Festival characterized by the mental frame of a regars de ma dame , Amours et ma dame Internazionale di Musica tireless experimenter, devoid of dogmatisms, Maderna aussi , Or est Bayars en la pasture, hure! , A jointes mains Contemporanea, hosted the assumed a central role in the renewal of music in Europe vous proi , Je muir, je muir d’amourete , and Fines world premiere of Post fata in the years immediately following the Second World War, amouretes ai et bel ami joli . The same concert will also resurgo for piano and making a determinant contribution to the definition of the include Composizione n. 2 for orchestra, while on January strings, commissioned language of new music. ESZ have for years been engaged 19 Per Caterina for violin and piano will be performed in by the Biennale, in a in promoting the figure of the composer, whose role still the same Auditorium. Serenata n. 2 for eleven instruments performance by Ciro awaits to be fully recognized alongside colleagues like can be heard on October 18 at the Großer Saal of the Longobardi and members of Nono and Berio. On October 5 at the Funkhaus MAB, in Basel, with the Ensemble Diagonal directed by the Solisti Aquilani directed Wallrafplatz in Cologne, the series Musik der Zeit of the Jürg Henneberger, while Carlo Lazari, soloist of the Ex by Pasquale Corrado. WDR Köln will feature Musica su due dimensioni for flute Novo Ensemble, will play Widmung for violin on November and magnetic tape, with Michael Faust, and on January 16 in the Sale Apollinee of the Gran Teatro La Fenice in 11 , at the same venue, Stele per Diotima for orchestra with Venice during the series Ex Novo Musica. 9 Simone Cardini The Inside and the Elsewhere On September 7 and 8 at the Fondation Royaumont in transcendence and rescendence . A line that is not Series of new works and Asnières-sur-Oise, for the Académie Voix Nouvelles, Di necessarily a limit, a threshold, but can be and create numerous performances in un lucore farinoso for doublebass was given its world depth; to cross that thickness, that distance and that Italy, France and in Beijing premiere by Florentin Ginot. The composer writes: interiority necessary to enter into wild territories of «Whatever the condition, distance, action or direction, reaction, disorder, pulsion». On October 26 in Beijing, each cell or fragment as subject, as possibility, or as during the festival Musicacoustica Bejing, Amber desire, inevitably has a substantial, reified, real, tactile Sapwood for alto flute and live electronics will be played nature. When we imagine a distance, we think of by Gianni Trovalusci. Cardini writes: «Sapwood is, in wanting to reach a given place before it trees and shrubs, the fresh, ductile and imperfect occurs to us that we have to walk two or wood characterized by the vitality of the xylematic ten kilometers: this is the relation with time cells, located between the external bark and the that I am seeking in my piece. I want to internal woody body, the heartwood. Just as the investigate the prospect of a “dispensatory sapwood slowly transforms into heartwood and time” in which momentary diffractions can assumes the functions of support and protection of distort each cell or scrap: a material that the pith, so the embryos of motives and gestures Gian Francesco Malipiero returns influenced and transfigured, never follow one another to evolve and intertwine until the same as itself. I believe that the assuming structural functions. The piece is an On November 21 in the identification of a heterogeneity can be attempt to regain the performer’s trust by Auditorium Pollini in Padua, placed in a unity that sees all of us involved overcoming the diamesic variation represented by the Concerto for cello and reciprocally: each sentiment is a link and the writing of a score through the union linked to orchestra will be played by each link rehabilitates a plurality». The concerts at the the situational dynamics and the fundamentally Silvia Chiesa and the the Académie Voix Nouvelles will also include Vicino è monological circumstances required by the codification Orchestra di Padova e del dentro, altrove for three sopranos, performed by of a written text». Still this Autumn, the Festival di Nuova Veneto conducted by Mathilde Barthélemy, Louise Leterme and Esther- Consonanza will include a performance of Rift, Flicker of Roland Böer. Elisabeth Rispens. The composer tells us: «Seven Blue Clay for guitar, in Rome, with Gian Marco Ciampa. tableaux, one for each verse by Oscar Wilde: an The composer comments: «The piece opens with an aggressive fragmentation and a violent rhythmic explosive, rough, bitter, brutal gesture which will return propagation are turned into a sudden lack, doubt, fear, several times, like a bell-chime each time marking the disenchantment, cowardice, almost an emptying. start of a new situation. From this break, this rift, ever A lyricism that loses itself and finds itself again in a greater evidence emerges of a melodic cell that, momentary synchronicity, foreshadows a spasmodic moulded and transfigured like clay, becomes the and obsessive research that afterwards is hindered by adhesive glue of the various sections». During the same Riccardo Malipiero remorse, guilt and need in an insistent and deafening festival the Duo Essentia (Alice Cortegiani, clarinet, and buzz. A new search for ourselves, an internal island Samuele Telari, bayan) will play Exaptation for clarinet Ludmila Ignatova, Andrea from which we observe a transfigured fragmentation, and bayan. The composer explains: «The logic of Monarda and Antonella Bini that remains an open question. We can lose or find natural selection acts in redundant and cooptable performed Due ballate for ourselves again within us, but we can try to understand situations: some characters that constitute the individual voice and guitar on poems ourselves only through comparison with the other, in a are not the result of choices, but can be considered by Giacomo Noventa and dialectic of constant relationship about what is indeed exaptations, that is micro-structures that have ended by Rainer Maria Rilke, the Aria next to us: the inside and the elsewhere». On assuming functions other than what they could have first variata su La follia for guitar, and Liebespiel for flute and November 6 at the Santeria Toscana in Milan, the been thought to have had. The piece lives, with its guitar on September 24 at Milano Musica Festival will include the world premiere rhapsodic trend, in a sort of constant dialectic negation the Museo del Novecento in of L’inaccessibile ombelico dei bordi for two voices, of a vectorial structuring, teleologically speaking, in an Milan for NoMus and the percussion and HN steel sheets, performed by the attempt to penetrate and, at times, sink into the Società del Quartetto. The sopranos Patricia Fodor and Irina Ghivièr. Cardini ascertainment of a laceration in the perspective of Aria variata su La follia was describes his new work: «HN steel sheets form a mirror causality, taking this as the final outcome and not played again by Monarda that duplicates, reflects (itself and outside) and similarly as a main principle. There are no clear moments of on September 27 at the obliges reflection in a tension growing from a silence development and evolution of the thematic material: Palazzo Ghizzoni Nasalli in that takes on body, and from a “shouted” gesturality . lyrical moments contrast the virtuosity of an unexpected Piacenza during the Festival Inspired by some extracts from texts by Artaud, it is and lively amnesia, to be discovered and already Incó_ntemporanea. The an entity that is already no longer a shout, but not yet cancelled. The effort is, in fact, to overcome the Konzertstück for cello will be a discourse, in which repetition is almost impossible. denotation and connotation of the single moments, played by Silvia Chiesa on In this necessary and irreconcilable relation between obliging a necessarily deictic listening, ambiguously November 12 in the Sala rationality and instinct, the accomplished thought is hesitant and undecided between comprehension and Fontana of the Museo del almost lost in the act of expressing in a whisper, in appropriation; the meeting between these two Novecento in Milan. speech, or in singing and finds in the movements of the instruments, closely linked to the contraction and flexion other a denial of this expected peremptority , from which of breath, allows the perception of only impetus, shift, hidden and unexpected possibilities emerge». A new drift». Randagio, tra suggestioni e l’ineffabile for piano work for ensemble will be premiered on November 30 was played by Silvia Giliberto on September 27 in at the Young Composers Forum in Mons. It will be Cordoba, during the 10 th FIP Guadalquivir. Finally, performed by the Ensemble Musique Nouvelles Exaptation (III) for bayan will be played by Samuele conducted by Jean-Paul Dessy. Cardini explains: Telari on December 5 and 6 at the International «I want to explore that borderline that links, in a Accordion Competition in Arrasate/Mondragón (Basque reciprocal convertibility, the irrational and rational, Country). knowing and recognizing, devotion and distancing,

The new general catalogue of Suvini Zerboni is available on line. All the works we published are listed on the website: www.esz.it A powerful, complete and efficient search engine will allow artistic directors, musicians, ensembles, orchestras and music lovers to view our catalogue and search works by instrument, setting, title or author. Our website also gives access to useful information such as composers biographies, program notes, calendar of concerts and world premieres. 10 Maurizio Azzan Three new works in Latent Memory Venice and Florence

On October 3 at the Teatro alle Tese of the Arsenale in On November 30 the Festival di Tempo Reale in Florence Venice, La Biennale, 63 rd Festival Internazionale di Musica will include the first perfomance of Extended I for bass Contemporanea, will host the world premiere of Dove tutto flute, doublebass Paetzold flute, harp and live electronics, è stato preso II for harp and electronics, commissioned by given by the group that commissioned the work, Airborne La Biennale di Venezia. It will be played by Emanuela Extended. Azzan explains: « Extended is a series of works Battigelli and the CIMM - Centro di Informatica Musicale e in which the form and the materials of pre-existing pieces Multimediale of the Biennale di Venezia. The composer for soloists are subjected to various types of extension – of comments on his new work: «Every musical instrument is material, of temporality, of space, of sonic evolution – in the museum of its own past and present uses, the latent order to observe how these changes deform the originals memory of the hands that touched it, across its surface until also taking them far away from the main route. and edges. Setting an instrument in vibration implies There, where any banal attempt at transcription would bringing these reminiscences back to life, along with be pointless given the specificity of the materials used, the whole baggage of meanings they carry with them, the grafting of extraneous elements brings about quotations of quotations of quotations... From this point of destabilizations and adaptations that require different view, with its over a thousand-year-old transcultural history, times and spaces to find new forms of equilibrium, the harp is perhaps the instrument that more than any precisely as happens in a living organism. From negligible other is a place “where everything has been taken”. If efflorescences to complex ramifications that deform the however the hands alone have difficulty in opening a way territory making it unrecognizable, the phenomena among the myriad of voices that inhabit it, with the aid of generated by these induced mutations unveil previously Carlo Ciceri objects that like prostheses mediate the action of the unexplored aspects of the initial sonic material and exploit harpist on the body of the instrument, other roads can their potentials. The events thus take on other meanings The Icarus Ensemble will perhaps be tried. Here I have tried the path of saturation, and new perspectives, while the form becomes the space play Ins Wasser for voice searching for a way to make all this set of memories in which to observe the way this music-organism adapts and ensemble on October implode, memories that encrust the sound and consume it. to the prostheses that have been imposed on it. Form as 30 at the Spazio Icarus in Perhaps not surprisingly, the strange presences that arise (de/re)construction of the form itself. Extended I , written Reggio Emilia and on from this operation sometimes end by sounding similar to for the ensemble Airborne Extended, re-elaborates and October 31 at the Ex Chiesa certain interferences that you meet in those cracks amplifies the materials and form of Dove tutto è stato preso di San Carpoforo in Milan between the different transmissions of a not well-tuned II for harp and electronics through the intrusion of a bass during the series Amici di radio, unsettling acoustic non-places that, like this harp flute and a doublebass Paetzold flute, unexpected Musica/Realtà. constantly caught up in its own distortions full of memory, othernesses that make it necessary to radically reconsider speak to us of distance, of absence». Still in Venice, on the limits of the territory-sound in which we move and their November 9 and 10 at the Teatro Malibran, Breaking evolution over time». This Autumn offers numerous Walls Down for orchestra, commissioned by Nuova Musica occasions to hear Maurizio Azzan’s music: Concetto alla Fenice, will be premiered by the Orchestra del Teatro di aura for amplified doublebass Paetzold flute on La Fenice conducted by Marco Angius. The composer September 21 at the Schloss Wartin in Casekow comments: «Walls are elements, more or less unobtrusive, (Germany), during the Musikfestival Tiefschoen, and on Kazuo Fukushima that silently delimit our existences. Marking a borderline October 16 at the Teatro Massimo in Palermo, during the between a here and a there, an inside and an outside, Festival Nuove Musiche, soloist Antonio Politano; Each Requiem for flute solo was is perhaps one of the most ancient ways that man has Mirror Infects Itself for violin and live electronics on performed on September 20 devised to put things in order in his own vision, not only November 17 at the Reaktor in Vienna during the series at the Museo Novecento in th with language. The wall, in fact, marks out a difference Wien Modern, with the violinist of the Platypus Ensemble, Florence during the 11 and the need to stress it. It serves to separate us from the Sophia Goidinger-Koch; Tutte le estensioni dell’aura for edition of Firenze Suona other, to protect us, and this function often inevitably ends saxophone, percussion and electro-acoustic device on Contemporanea, soloist by highlighting the true reason for its existence: the October 16 at the Istituto Italiano di Cultura in Brussels Roberto Fabbriciani. fear that the other might mix with us, cancelling our and on November 8 in Savona during the Festival On September 29 in individuality. Cyclically every civilization has felt the need Internazionale di Musica, with the Duo Dubois; finally, Spilamberto (Modena), for walls and, not by chance, this need has always made Dove tutto è stato preso (Innerspace II) for piano on in the Sala Concerti itself felt in moments of weakness, often coinciding with October 22 in Olomouc (Czech Republic), during Music Municipale Panarock the first signs of a slow but relentless decline which has Olomouc 2019, 11 th International Festival of Contemporary during the Festival Music clumsily tried to be remediated through isolation. It is Music, and on November 30 at the Grazer Konservatorium Multiverse, Ekagra for flute precisely in such contexts, though, that the curious in Graz, played by the soloist of the Schallfeld Ensemble, in G and piano was played phenomenon is created of walls that, as soon as they Maria Flavia Cerrato. Last July Maurizio Azzan was in by Antonella Bini and are built, seem to invite the subversive act of already residence at the Fondazione Spinola Banna per l’Arte to Gabriele Rota. demolishing them, just to be able to re-appropriate the work with the Eutopia Ensemble on In limine for violin, liberty to choose one’s own destiny by clearing the horizon cello and piano, in preparation for the performance on from suffocating barriers. This work, destined by a curious November 27 at the Teatro della Tosse in Genoa, during coincidence to be performed for the first time exactly thirty the Festival Le Strade del Suono; the work will be repeated years after the fall of the Berlin wall, speaks of this and on December 17 at the Fondazione Isabella Scelsi in other walls, of their fall and the need to break them down». Rome, with the Ensemble Fractales. Niccolò Castiglioni Revival of previously unpublished piano New Youthful Works and chamber pieces The publication proceeds of the unpublished youthful Gymel for flute and piano (1960) – the only work already works of Niccolò Castiglioni, promoted by ESZ in published at the time –, Partita for piano 4 hands (1953) collaboration with the Istituto per la Musica of the and Sonatina for flute and piano (1952). Finally, on Fondazione Giorgio Cini in Venice. In the context of this December 15 at the BASE in Milan, during the series project, on October 29 in the Auditorium “C. Pollini” Aldo Sound of Wander, the Mdi Ensemble and the Ensemble Orvieto will play two works for piano originally performed m2c of the Conservatorio di Milano, with Livia Rado, voice, by the composer himself: Piccola suite in Sol (1952) and and directed by Beat Furrer, will play Cinque liriche su Cinque innodie (1953). On November 7 in the Sale poesie infantili (1953) for voice and six instruments, Apollinee of the Gran Teatro La Fenice, the soloists of Ex Quattro liriche di García Lorca (1954) for voice and piano, Novo Ensemble will perform the Sonata for violin (1953), and Granulation (1967) for two flutes and two clarinets. 11 Daniela Terranova New chamber works follow unexplored sonic paths Expansive and Mobile Form A w orld premiere for Daniela Terranova on October 11 combine his various artistic activities with research of at the Italian Academy of Columbia University, New York, a scientific nature in the most varied fields of human when Francesco Dillon and Emanuele Torquati will give knowledge. Among the many machines designed by the first performance of Variazioni sul bianco for cello Leonardo, particularly well known are those for flying and piano. The composer explains: « Variazioni sul machines, the result of his studies on the resistance of bianco was commissioned by the duo Dillon-Torquati for the air, the motion of the winds and the formation of a cycle of concerts dedicated to Ludwig van Beethoven’s vortexes, which led him to an intuition extraordinary for Marco Quagliarini complete Sonatas and Variations for cello and piano, his time: he understood, in fact, that air is a fluid, with with the intention of investigating the link that still today the capacity to contract and to sustain a body, increasing Couples for flute, clarinet, allows composition to take subterranean nourishment its density. And from the investigation of this fluid and violin and cello can be and fertile inspiration from the great tradition of its movement, which alternates between heard on November 28 in the past. On accepting the invitation, my wish rarefaction and contraction, giving rise to an Brussels, with the Hopper was, from the outset, to pay homage to the infinite world of sounds, came the idea of Ensemble. exemplarity of the composer while avoiding increasing and multiplying the potentials of the any operations of reading or reworking, bass clarinet to transform it into a “machine of remaining faithful to an intimate necessity the air”. The intention is to create a “pneumatic” to capture and act on the present. I therefore structure: a restless sonic organism from which decided to explore the very concept of we hear breaths and gasps, transparencies Vittorio Montalti variation, giving form and body to a sonic and roughnesses, in a changing texture that image that reflected the features belonging alternates between evanescent and thin On October 3 at the Teatro to our contemporaneity, without recuperating sounds and concrete volumes. The electronic Comunale di Bologna, the compositional models of the past. In line with presence becomes a double of the physical festival Bologna Modern will this choice, the “variations” are not then to be seen presence of the performer, increasing the live sound include Untitled for as modifications, more or less profound, of an original produced by the instrument and projecting it into space, orchestra, played by the idea, since they themselves are an integral part of a creating a circular play of mirrors in which all identity Orchestra del Teatro compositional process that pervades the sonic material becomes blurred». Daniela Terranova participated in the Comunale conducted by at a microformal and timbral level, delineating athematic Festival Musica Nova promoted by the Conservatorio “A. Yoichi Sugiyama. arabesques and a weaving an expansive and mobile Buzzolla” in Adria with masterclasses and performances. form. The result is a multiple and changing texture, that On September 9 and 10 she held a seminar and a proceeds through successive ramifications: an infinite composition masterclass titled “Gestualità sonora di modification of the identical, which is repeated within una materia silente”, which included performances of the folds of the material, generating creases and twists A Landscape in My Hands for piano, with Anna D’Errico, out of which emerge everything and absence through and Still Life with Roses for ensemble, with the fragments, emersions and voids. An unstable Ensemble degli Allievi of the Conservatorio di Adria. Bruno Zanolini monochrome oriented towards white, a colour that is a Breathing Rust and Clouds for flute was played on metaphor for expectancy and silence, “a silence that is September 13 at the Museo Vostell in Malpartida de On October 23 at the not static, but pregnant with possibilities, it is a young Caceres, Estremadura, during the XXI Ciclo de Música Conservatorio Statale di nothing or, more precisely, a nothing before its beginning, Contemporánea, with Alessandra Rombolà. On October Musica “G. Rossini” in its birth” (Kandinsky)». Another world premiere will take 3 in the Teatro alle Tese at the Arsenale in Venice, the Pesaro, the Trio place on November 13 at the Conservatorio Statale di Biennale, 63 rd Festival Internazionale di Musica Auroraensemble will give Musica “Giuseppe Tartini” in Trieste, where Chiara Contemporanea, will include Wood-Metal-Strings for the world premiere of Percivati will play Let Me Breath for bass clarinet and live harp, played by Emanuela Battigelli. Still Life with Roses Iron(ica)-men(te) for flute, electronics. The composer tells us: «I wrote this new can be heard on October 6 in the Sala Carlos Chávez of guitar and piano, in a work for bass clarinet and live electronics as a tribute the Centro Cultural Universitario in Mexico City during concert sponsored by the to the genius of Leonardo da Vinci, 500 years after his the Festival Vértice, with the Taller Sonoro. Finally, on Società Italiana di Musica death. Through codes, writings and draft sketches made December 18 in the Berio-Saal of the Konzerthaus in Contemporanea. throughout his life we recognize the freshness and Vienna, Di natura sottile for ensemble will be played by voracity of a speculative mind that allowed him to the Ensemble Interface. Gilberto Bosco New chamber work inspired by an ostinato of Purcell Music on Music On December 3 in the Spazio Icarus in Reggio Emilia, the piece is broken up a little, the original in three two is the Icarus Ensemble will give the world premiere of interrupted five times (five!) by bars in three four, and Remember Me for accordion, flute, oboe, clarinet in B stops five times (five!) on quarter-note pauses. Five. If all flat and bassoon. Gilberto Bosco explains: «Music on this captures something of Purcell’s extraordinary piece, music, this has for some time now been one of the paths it will, as always, be up to the audience to decide: that I love to follow, with Kagel and Berio holding my poised, I hope, between emotion and memory». The hand. This time Purcell and the extraordinary lament that same artists will repeat the work on December 5 in the accompanies the end of Dido in Dido and Aeneas forms Ex Chiesa di San Carpoforo in Milan, during the series of the basis of the work. Purcell uses an ostinato (in the Amici di Musica/Realtà. On September 15 in the Casa version I followed it lasts 55 bars), an ostinato that della Musica in Trieste, during the festival Piano City, unusually for the time is made up of five bars: so the Ostinato for piano was played by Adele D’Aronzo. number 5 pervades the score. But in reality it is the notes On October 23 at the Conservatorio Statale di Musica of the ancient original that pervade, surround themselves “G. Rossini” in Pesaro, the Società Italiana Musica with their multiples, fold, multiply, refract and sometimes Contemporanea will host Con impeto trattenuto for flute, disappear, drowned within themselves. And the five guitar and piano, with the Trio Auroraensemble. On instruments (five, I told you so...) often recall the original October 25 , during the Festival Bologna Modern, the or fracture it in shouts and echoes. And the accordion soloists of the Ensemble In.Nova Fert will play C’est la reinvents itself almost like an impressionist instrument, clarté vibrante… for flute and piano, at the Torri with its colours and vibrations alongside the notes. And dell’Acqua in Budrio. 12 Malika Kishino Living Sounds An Italian premiere for Malika Kishino this Autumn. On recorded by Shiniti Uéno & Phonix Réflexion for ALM October 3 at the Teatro alle Tese of the Arsenale in Venice, Records (ALCD-7240). On September 20 at the Museo during La Biennale, 63 rd Festival Internazionale di Musica Novecento in Florence, during the 11 th edition of Firenze Italian premiere at the Contemporanea, Emanuela Battigelli and the CIMM, Suona Contemporanea, Roberto Fabbriciani played Biennale, Cd recordings Centro di Informatica Musicale e Multimediale della Monochromer Garten VIII for alto flute. Qualia for bass koto and repeat performances Biennale di Venezia, will play Éclosion for harp and and 10-channel electronic system was played on the same 9-channel electronic system. The composer day, September 20 , by Miyama McQueen-Tokita, explains: «My work with acoustics and bass koto, and the Thin Edge New Music Collective, electro-acoustics has allowed me to electronics, at 918 Bathurst in Toronto during the appreciate more deeply that sounds are living Ongaku Festival. …kaum einen Hauch… from things. In this piece I wanted to express their Wandrers Nachtlied by J.W. Goethe and F. Schubert birth and vitality, like those of a lotus flower for ten players was played by the Studio Musikfabrik that blooms in the mud. It sinks its roots and directed by Peter Veale, in Cologne on September in so doing absorbs the actual mud. After a 27 at the Institute of Japanese Culture and will be long period in the sludge it develops on the repeated by the same group on October 5 at the surface of the water. I tried to translate into Alter Feuerwache. On October 6 at the Plein sounds my sensations and joy of life, a Theater in Amsterdam, during the series Nieuwe gradual process that ends with the act of Noten Amsterdam, Naki-Ryu (Flutter Echo) for oboe blossoming. This piece was realized at Ircam will be played by Peter Veale. The percussionist during the Composition and computer music course Takeshi Kubota will play Lebensfunke for bass drum and 2004/05. For this reason I dedicated the work to Yosihisa electronics on October 17 at the Municipal Center of Arts Taïra, my first teacher, who passed away in Paris in March and Culture in Toyonaka, and on November 2 in the 2005». This Autumn, Sange for six percussionists can be Concert Hall of Nagoya, again in Japan, during the series heard on October 27 at the Kunitachi College of Music, in Denki Bunka Kaikan. Halo for two clarinets can be heard Tachikawa, Tokyo, played by the Percussion Ensemble of on October 25 at the Église Sainte Aurélie in Strasbourg, the College, and on November 14 at the Théâtre de with Thomas Monod and Adam Starkie. Finally, on January Hautepierre in Strasbourg, with Les Percussions des 8 in the Werner-Otto-Saal of the Konzerthaus in Berlin, Strasbourg. At the same time the piece will appear on two Aqua vitae for two pianos, two water percussions and live different Cds, on the album Rain featuring Les Percussions electronics, will be performed by the Ensemble Berlin de Strasbourg (Outhere PDS119), and on Music for PianoPercussion. Percussion Ensemble by Japanese Composers , an album Javier Torres Maldonado Present Civilizations The accordionist Vincent Lhermet has recorded for the Bellas Artes, on October 20; and finally Essen, Folkwang A new work inspired by label Tempus Clasico a Cd titled Cantares Mexicanos, Universität der Künste, on November 30. On June 1 at the Aztec civilization at “Mexican contemporary music and Aztec poetry in the La Casa del Suono in Parma, the series Labirinti Sonori the centre of a recording Nahuatl language”, which includes Torres Maldonado’s included Hacia el umbral del aire for bayan and electronics, and a tour Lacrymosa I for accordion or for any keyboard-aerophone with the accordionist Ander Telleria. The piece will be instrument. The Cd, which also features the narrating repeated on October 19 by Federico Conte, accordion, voices of Astrid Hadad and Christian Rojas, came out on and Lorenzo Donadei, sound engineer, in the Auditorium of September 10 to mark the UNESCO International Year of Trento Conservatory during a day dedicated to electronic Indigenous Languages. The composer talks about the music and new technologies. The event is part of the project: «500 years after the conquest of Mexico by Hernán Festival Mondi Sonori. On November 26 in the Auditorium Cortes in 1519, pre-Columbian civilizations still appear very of Parma Conservatory, Primer libro del canto alado for present in today’s Mexico and in the imagination of its piccolo, flute, flute in G and bass flute will be performed contemporary composers. Cantares Mexicanos is a during the concert “Maderna eclectic” curated by Leonardo collection of poems in the Náhuatl language transcribed by Bartali and Carla Rebora. The piece will be played by the the Spaniards in the Latin alphabet in the sixteenth century. flautist Jessica Gabriele and the Ensemble Suono These texts, formerly accompanied by drums, give us a Condiviso of the Conservatorio “A. Boito”, with Lorenzo glimpse of the complex thought of the Aztecs. The program Donadel as sound engineer. Figuralmusik I for flute, lets us hear one of these “songs”, in Nahuatl and in its clarinet, violin, cello and piano will be played by the Plural translation into Spanish, written for the sovereign warrior Ensemble directed by Fabián Panisello, on October 14 and poet of Texcoco, Nezahualcoyotl. This poem in five in the Espacio Turina in Seville, during the Festival parts lets us travel, at the moment of the Conquest, into the Encuentros Sonoros, on November 10 in the Auditorio de Mexico of the Aztecs, which anticipates its future loss, and Zaragoza during the Festival de Ensembles, and finally on that of the Spaniards, associating lyricism and violence, November 17 at the Teatre Municipal Xesc Forteza in Francesco Pennisi two characteristics that are found in contemporary Mexican Palma de Mallorca, for PHONA, Cicle de Noves Musiques creation as well as in the sonic identity of the accordion». de Mallorca. On October 6 in the Sala Carlos Chávez of Mould for keyboard The composition is at the centre of a long tour by Lhermet, the Centro Cultural Universitario in Mexico City, Alejandro instruments and percussion starting from Nîmes on March 16 and continuing in Paris, Tuñon and Maria del Carmen Coronado, soloists of Taller can be heard on October 19 Auditorium UNESCO, on June 4; Latina, Conservatorio Sonoro, will play Interstizi for violin and cello, during the at the Teatro Massimo in “O. Respighi”, during the Festival Le Forme del Suono, Festival Vértice. The Ensemble Kuraia, with the soloist Palermo during the Festival on September 25; Paris, Institut Culturel du Mexique, on Sergio Barranco, will perform Desde el instante, three Nuove Musiche, with October 3; Guanajuato (Mexico), Templo de la Compaña, pieces for clarinet in B flat, in various concerts: on members of the Orchestra during the Festival Internacional Cervantino, on October November 3 at the Centro Cultural La Cárcel in Segovia, Sinfonica Siciliana 12; Irapuato (Mexico), Teatro de la Ciudad, during the during the XXVI Jornadas de Música Contemporánea; on conducted by Fabio Maestri. Festival Internacional Cervantino, on October 13; Orizaba November 17 in the Sala Luis Galves of the Auditorio de (Mexico), during the Festival Internacional Cervantino, Zaragoza during the X Jornadas de Música October 16; Mexico City, Auditorio Blas Galindo, Centro Contemporánea Española; and finally on November 29 in Nacional de las Artes, on October 17; Tlaxcala (Mexico), the Espacio Turina in Seville, during the Festival Teatro Xicohtencatl, again for the Festival Internacional Encuentros Sonoros. Cervantino on October 18; Mexico City, Sala M. Ponce de 13 Luigi Manfrin New work for the Rondò season in Milan Form and Memory A w orld premiere for Luigi Manfrin at the start of 2020: fluctuations of a global intervention of the ensemble on January 23 at the Teatro Litta in Milan, the Rondò tending to drift, a figuration of the soloist that is resolute season will include the first performance of and vehement may emerge; in this way a dissipation Dissipations… Be(com)ing Memory for oboe and provides the conditions for a relaunching of the piece ensemble, with Luca Avanzi and the Divertimento towards further formations. There are, in Dissipations , Ensemble directed by Mauro Bonifacio. Manfrin tells us: phases of uncertainty in which the oboe becomes «From a formal point of view, the composition is based confused with the group, sharing its evolutions, and on the equivalence between the idea of generation and phases in which the oboe dominates the scene alone the idea of dissipation. The generation concerns the with virtuoso gestures, underlined by the interventions of formal conception of the piece in terms of the formation some instruments of the ensemble, which emphasize its in course or in development. Formation is part of a characteristics, sometimes duetting with the soloist. The process of a formal path that unfolds over time, made up title of the piece, though, also alludes to a second basic of some basic elements that are recognizable and yet in aspect, inseparable from the formative process of the constant variation. However, the path should not be work. The whole formative/generative complex of seen in a linear and homogeneous sense, but as a Dissipations is in fact bivalent. By this I am referring to a multifarious and heterogeneous course with critical broader area of the listening, placing the work between phases of great formal instability. The genesis of the the “audible” external dimension and the “not audible” form in Dissipations is therefore to do with irregular internal dimension. The external is the sonic matter that changes; for example, a small sudden fluctuation can, is structured starting from the primary elements of which Camillo Togni in the context of a formally chaotic phase, unleash lines it is made up as such; the internal is the live tension of of evolution that will rapidly re-organize the overall the piece, produced by the sensibilization of the insonic On November 13 at La morphogenetic field, marking the start of a more stable forces, in other words the essential content of the Casa della Musica in and ordered phase. It is precisely this inhomogeneous external form. All this is linked to memory. In what Parma, during the series and variable nature of the formative process that acts as sense? I’m thinking of a function immanent to the Traiettorie, Per Maila for a trait d’union between generation and dissipation, on relational texture of the material and formative processes flute and piano will be account of which structured, but not previously pre- of the composition. Memory is the operative virtuality of played by the students of established, configurations may arise from chaotic the generative dissipation, it is the active condition of the the Conservatorio di Parma, phases far from stable conditions of equilibrium. In overall space/time morphology of the work in its Jessica Gabriele and Gledis Dissipations the relation between chaos and morphology expansions and contractions, attractions and repulsions, Giudzj. is expressed through the relation between the oboe in the game of full and empty, the fluxes and the soloist and the ensemble. This relation should not be counter-fluxes, orientations and disorientations at interpreted in a classical sense; it is instead part of the different speeds. But memory is also the field of formative plan of the piece, namely that of productive imaginative/expressive evocations that bring the exchanges of materials, gestures and signs that feed acoustic material to life. By this I am alluding to the the open and differentiated dynamic of the circular concluding part of the work, built on Maderna’s cantabile relation between the dissipating processes and the use of the oboe, my personal tribute to the great configurations they trigger. For example, in the terminal composer in the centenary of his birth». Alessandro Rolla A new title continues the series “Concerti e Sinfonie (1780-1840)” The Violin Sings Fresh off the press is the new edition of Alessandro Concerto in A major BI 521 is in three movements: Rolla’s Concerto for violin and orchestra in A major BI Allegro, Cavatina and Rondò. The opening Allegro in 521, edited by Damiano Berreto and published as the 2 nd sonata form opens with a tutti composed in a similar

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A Rolla still today remains virtually unknown to the majority. violin repeats the two themes an octave higher, CONCERTO PER VIOLINO E ORCHESTRA The Concerto in A major for violin and orchestra BI 521, interspersed with some variations and bravura passages. IN LA MAGGIORE BI 521 Edizione critica a cura di Damiano Barreto presented here for the first time in a critical edition, is a The solo violin is clearly the protagonist and prime example of the formal and expressive apex predominates throughout the whole movement; the reached by the 18 th century classical concerto in Italy. orchestra, which in the solo sections is reduced to just At the current state of research there are 24 Concertos the strings, acts as a simple accompaniment. The for violin and orchestra by Rolla, whose precise dating second movement is undoubtedly the most characteristic EDIZIONI SUVINI ZERBONI - MILANO is never simple. The three-movement structure of the of the work since, as Rolla himself states on the first concertos (fast-slow-fast) has its roots in the formulas page of the autograph of the movement, it is a “Cavattina “theorized” in Milan by Giovanni Battista Sammartini and presa dall’opera intittolata La Giulietta ”. The composer in Padua by Giuseppe Tartini. As was customary for moves completely away from the previous tradition of the violin concertos, Rolla prefers a major key. Differing from concerto and re-elaborates a piece taken from an opera Tartini and in total contrast with the violin concertos of his that he conducted in Parma during the carnival of 1802. contemporary Mozart, Rolla extends the use of major Rolla demonstrates how, through his skill and expertise, keys also to the slow movements. The scoring for the he was able to imitate the singing of a soprano with the winds, though, is the same as adopted by Mozart: just a violin. The whole movement is indeed nothing other than pair of oboes and a pair of horns. Moreover, in line with a long aria for the soloist accompanied by the orchestra: his contemporaries Viotti and Mozart, the violin soloist the alternation between tutti and solo , formally still joins in the tutti , when not otherwise specified. The present, becomes superfluous. As in all of Rolla’s instrumentation is conceived so as to highlight the solo rondòs, the last movement opens with a theme that then violin part as much as possible with respect to the rest of becomes a refrain, presented in three episodes and a the orchestra, which is quite bare and with the violas and Coda». wind tacet for long stretches of the solo sections. The 14 Saverio Mercadante New critical edition in anticipation of the Symphony in the Italian Style 150 th anniversary

ESZ have undertaken important publishing initiatives Portuguese theatres between 1827 and 1831, and as to participate in the celebrations, in 2020, for the 150 th choirmaster of the Duomo di Novara (1833-1839), in 1840 anniversary of the death of Saverio Mercadante. Fresh he became director of the Music Conservatory in Naples, off the press is the new edition of the Sinfonia in C minor, as well as director of some theatres in the same city. edited by Mario Carbotta, part of the series “Concerti e It is precisely in the field of instrumental music, rather Sinfonie (1780-1840)” published in collaboration with than in opera, that Mercadante offers his most original the Società Italiana di Musicologia. The work brought contribution, dedicating himself to writing genres not often to the attention of performers and concert approached by his contemporaries. Of particular

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a non theatrical symphony, the opera overture v SINFONIA IN DO MINORE soloists (Concertos for flute and orchestra and a Edizione critica a cura di Mario Carbotta could represent the source of structures and S Concertoni for various instruments and orchestra) Giorgio Federico Ghedini procedures. In general, a free form was and chamber groups (Quartets for flute and adopted, with juxtaposed sections, in order strings, for strings alone, for wind alone). He On October 26 at the Teatro to attract the attention of the public to the adopted a modern approach to instrumental Comunale di Bologna, the

instrumental repertoire, perceived in Italy at the EDIZIONI SUVINI ZERBONI – MILANO writing, enriching the contents and structure of Ars Trio di Roma and the time as having no particular aesthetic value. symphonic forms in his own autonomous fashion, Orchestra del Teatro The renewal of orchestras and teaching also making reference to the past, and including Comunale conducted by programs initiated in Naples from 1806 helped to increase a clear element of virtuosity. The rediscovery of this specific Asher Fisch will perform the interest in instrumental music, further helped by the sector of his output through critical editions is fundamental Concerto dell’albatro for inclusion of music from beyond the Alps in concert in reassessing and placing in the right light the role of the violin, cello, piano, narrator programs. Against this background, Mercadante dedicated composer, and at the same time reconsidering the and orchestra. himself to writing both chamber works and concertos. importance and substance of Italian instrumental In 1814 the 19-year-old composer, a pupil of the Real production in the heart of the 19 th century. ESZ has for Collegio di Musica under Giovanni Furno and Giacomo some years turned its attention to the work of Mercadante, Tritto, was now performing the task of “soloist and completing the publication of the six Concerti for flute and orchestral conductor” in the public concerts of the pupils. orchestra and of an unpublished and unknown piece titled The works written in that year are collected in an exercise Introduzione, Largo, Tema con variazioni , again for flute book which provides precious information on his method and orchestra, preparing the score of the Sinfonia Garibaldi of composing. Among these, the Sinfonia in C minor, in dedicated to Italy, published to mark the 150 th anniversary particular, consists of a single movement divided into four of the Unification of Italy, and working, in collaboration with sections – Largo, Allegro vivace. Fuga, Largo, Allegro the Società Italiana di Musicologia, on a series focusing on vivace – in which the composer moves autonomously with instrumental music between 1780 and 1840 that includes respect to the formal coordinates of Viennese classicism, Mercadante’s six Sinfonie and the Concerti for violin, for more in line with the forms, techniques and models of the oboe and for several instruments. Among the most recent so-called “Neapolitan orchestral school”. The curator of the publications are the complete Quartetti for flute and strings project, Maria Teresa Dellaborra, outlines the figure of the that Mercadante wrote between 1813 and 1819. The first composer and the current initiatives: «Mercadante’s output volume, containing the famous Quartet in E minor op. 53, was vast, including operatic, instrumental (orchestral and will be issued by the end of 2019; the series will continue chamber) and vocal music that was performed throughout in 2020 for the celebration of the 150 th anniversary of the Europe. After working as artistic director of Spanish and composer’s death». Giovanni Battista Martini Three new scores enrich the portrait of the For Many Instruments celebrated Maestro Th ree new steps have been taken in the multi-annual marked by the editors as (Allegro) , taking into account the project, started in 2006, to rediscover and valorize the similarities in writing with the first movements of other instrumental work and intermezzos of instrumental works by Martini. On the same basis, the Padre Giovanni Battista Martini, a second movement, again in ordinary time, is proposed reference figure for Italian and European as (Andante) , while the third, in 3/8, is another (Allegro) . composers for much of the 18 th century The Concerto for violino obbligato dates from later: 1757, (including Mozart), preserved in the exactly twenty years after the Sinfonia . It is the only archives of the Museo Internazionale e concerto for soloist by Martini specifically destined, right Biblioteca della Musica in Bologna and from the title, for the violin. Two of its three movements till now unpublished. In the context of have no precise indications. The first, in ordinary time, the critical edition published by ESZ, is proposed as (Allegro) , as is the third, in 2/4. Instead, another three volumes in the series are at the centre of the work there is an now available, containing respectively Andante in 6/8. Lastly, the Concerto for the Sinfonia a quattro con violini e harpsichord obbligato is not datable at trombe (HH.30 n. 3) in C major for two the present state of research. It is the trumpets, strings and basso continuo, only concerto for harpsichord in all of the Concerto con violino obbligato (HH.27 n. 13) in F Martini’s instrumental output where the major for violin obbligato, strings and basso continuo, strings are joined by wind instruments, and the Concerto con cembalo obbligato (HH.32 n. 11) more precisely a pair of horns. The in F major for harpsichord obbligato, two horns, strings Concerto has four movements, of which and basso continuo. All three editions are edited by only the last has any specific marking. Federico Ferri and Daniele Proni. The first work dates The editors have proposed an opening from 1737, as indicated incontrovertibly on the first folio Allegro in ordinary time, an Andante in of the composition, next to the initials of the composer’s 2/4, a second Allegro in 3/8, followed by name. The Sinfonia has three movements without any the concluding Balletto spiritoso in 2/4. specific indications. The first, in ordinary time, has been 15 Aureliano Cattaneo

Donatienne Michel-Dansac and Fabrice Bihan performed Ensemble will take Trio III (macchina a suonare) for string Weg for soprano and cello on September 28 at the Inouïes and electronics on tour with them on October 25 to the in Arras during the series Musique Nouvelle en Liberté. Still Atelier Klang und Raum in Uetikon am See, on October 26 on September 28 , Anna Clare Hauf and Krassimir Sterev to the Kantonsschule Wettingen, on October 27 to the performed Dialoghi for soprano and accordion at the Kunstraum Walcheturm in Zurich and on October 28 to Austriackie Forum Kultury in Warsaw; a replay is scheduled the Gare du Nord in Basel. Finally, Tele for accordion and on October 4 at the Galerie Raumimpuls in Waidhofen an piano can be heard on November 30 at the Salle de der Ybbs (Austria). On September 29 at the Göteborgs Musique de Chambre of the Philharmonie Luxembourg, Konserthus, the ensembles Gageego! and Norrbotten NEO during the Festival Rainy Days, with Anne-Maria Hölscher played Giano, Repainted for two ensembles. The Mondrian and Florian Hölscher. Stefano Gervasoni

Recercar cromaticho post il credo for string quartet was September 11 at the Conservatorio di Musica “A. Buzzolla” played by the Mdi Ensemble on September 1 in Milan in Adria during the Festival Musica Nova. On October 2 for “Palazzo Marino in Musica”. The version for string in the Oratorio di San Filippo Neri, during the Bologna orchestra of the same piece will be given its world premiere Festival, Clamour , third string quartet, will be played by the on October 18 at the Muzenzaal in Arnhem, with the Quartetto Guadagnini. Finally, on January 15 in Milan, the Amsterdam Sinfonietta directed by Candida Thompson, Rondò 2020 season will include Prato prima presente for and will be played again on October 25 at the Concertzaal ensemble, Nube obbediente , in the concertante version for in Tilburg and on October 26 at the Muziekgebouw in trombone, percussion and ensemble, and Gramigna for Amsterdam. Odoi II for two soprano saxophones was cimbalom and ensemble, all played by the Divertimento played by Alberto Cavallaro and Andrea Carrozzo on Ensemble directed by Sandro Gorli. Federico Gardella

Th e Icarus Ensemble played Architetture del canto e del Festival and on December 10 at the Conservatorio di silenzio for ensemble on September 18 at the Spazio Avellino, with the soloist Mario Caroli. The piece will also Icarus in Reggio Emilia and on September 19 in the be played on November 7 at the Istituto Italiano di Cultura Ex Chiesa di San Carpoforo in Milan for the Amici di in Oslo, with Federica Lotti, and on November 26 at the Musica/Realtà. On October 30 at the Teatro Manzoni Museo del Novecento in Milan, for NoMus and the Società in Bologna, the series Bologna Modern will include a del Quartetto, with Laura Bersani. Finally, on November 23 performance of Kyklos for orchestra, played by the at the Teatro Palladium in Rome, during the Festival di Orchestra of the Comunale di Bologna conducted by Marco Nuova Consonanza, Grammatica dell’istante for orchestra Angius. Cinque cori notturni sotto la costa for alto flute can will be played by the Orchestra Sinfonica Abruzzese be heard on November 4 in Bucharest during the Meridian conducted by Marco Moresco. Jean-Luc Hervé

The sound installation Biotope , commissioned by the when calm is restored. (Re)Transmission for eight voices, Ircam-Centre Pompidou, will be set up again from ten musicians and mp3 readers will be performed on September 27 to February 23 at the Musée Zadkine November 5 at Le Quartz, Scène Nationale de Brest, in Paris during the exhibition Le rêveur de la forêt . The by the Ensemble Sillages. Rêve de vol I for clarinet and composer invites visitors to enter a place transformed by viola can be heard on January 25 at the Studio of the the sonic environment. Concealed in the exhibition space, Philarmonie in Paris, with soloists of the Ensemble small “sonic animals” react to the presence of humans, Intercontemporain and the Musiciens de l’Orchestre de become agitated or fall silent, and start singing again only Paris. Christophe Bertrand

The Choeur de Femmes de l’Opéra-Théâtre de Metz Presbyterian Church in New York played by the Ecce conducted by Nathalie Marmeuse will perform Iôa for 8- Ensemble directed by John Aylward. Finally, on December voice female choir on October 12 at the Centre Pompidou- 11 in the Konzertsaal, students of the Hochschule für Musik Metz, and again the following day, October 13 . La chute und Tanz in Cologne will play Satka for flute, clarinet, violin, du rouge for clarinet, cello, vibraphone and piano can be cello, piano and percussion, directed by Paulo Álvares. heard on November 1 at the Good Shepherd-Faith Michele dall’Ongaro

On October 16 in the Auditorium Ennio Morricone of the orchestration and extension of the Due canzoni siciliane Università di Roma Tor Vergata, for the Associazione Roma (“A la vitalòra” and “Carnescialata dei pulcinelli”) for cello Sinfonietta, the world premiere of Tre canzoni siciliane for and piano composed in 2017 for Luigi Piovano and Antonio cello and strings will be given by the Orchestra Roma Pappano. The same concert will include Bach Haus , Sinfonietta conducted by Gabriele Bonolis. It is the intermezzo in one act on a libretto by Vincenzo De Vivo.

16 Ennio Morricone

Andrea Monarda will play the Quattro pezzi for guitar on Studio in the version for doublebass and strings played by September 24 at the Museo del Novecento in Milan for Massimo Ceccarelli and the Orchestra Roma Sinfonietta NoMus and the Società del Quartetto, and again on conducted by Gabriele Bonolis. The second work is a September 27 at Palazzo Ghizzoni Nasalli in Piacenza concertante version of Studio for doublebass, which is during the Festival Incó_ntemporanea. On October 16 at now joined by a string group. Grido for soprano, string the Auditorium Ennio Morricone of the Università di Roma orchestra and magnetic tape ad libitum was performed on Tor Vergata, for the Associazione Roma Sinfonietta, it will September 14 at the Museo MAGI ’900 in Pieve di Cento be possible to hear Se questo è un uomo for soprano, (Bologna) by the Ensemble Pentarte directed by Stefano narrator, solo violin and strings on a text by Primo Levi, Cucci. The same concert also included a performance of with the Roma Sinfonietta, and the world premiere of Se questo è un uomo . Aldo Clementi

A lessandra Ammara and Roberto Prosseda played di Arcevia for 13 players can be heard on October 19 at Madrigale 2 for two pianos on September 7 at the the Teatro Massimo in Palermo during the Festival Nuove Grünewaldsalen of the Konserthuset in Stockholm Musiche, with the Orchestra Sinfonica Siciliana conducted during the series “Pianorama”. The Fantasia su roBErto by Fabio Maestri. Scherzo for flute, clarinet, violin and viola FABbriCiAni for flute and tape was played on September will be played on October 23 in the Sale Apollinee of the 20 at the Museo Novecento in Florence during the 11 th Gran Teatro La Fenice, during the series Ex Novo Musica, edition of Firenze Suona Contemporanea, soloist Roberto by the Ex Novo Ensemble. L’orologio di Arcevia for 13 Fabbriciani. Andrea Monarda played Otto Variazioni for players can be heard again on October 25 at the Silk guitar on September 24 at the Museo del Novecento in Street Theatre of the Guildhall School of Music and Drama Milan for the series NoMus and the Società del Quartetto, in London, with the UBU Ensemble directed by Simon and on September 27 in Palazzo Ghizzoni Nasalli in Wills. Piacenza for the Festival Incó_ntemporanea. L’orologio Luigi Dallapiccola

Th e Goethe Lieder for female voice and three clarinets Novacchia, piano Anna Esposito, the Sonatina Canonica can be heard on October 6 in a concert dedicated to for piano on Nicolò Paganini’s Capricci, pianist Anna Dallapiccola in the Sala del Buonumore of the Esposito, and Tartiniana seconda in the sonata version for Conservatorio di Musica “L. Cherubini” in Florence, violin and piano, with Damiano Isola and Pantesilena Jaho. with Maila Fulignati, voice, Francesco Darmarin, Fabio Parole di San Paolo for mezzo-soprano or boy’s voice and Barristelli and Iacopo Carosella, clarinets. The same some instruments, from the “Prima lettera ai Corinzi”, will concert will include Quaderno musicale di Annalibera for be performed on October 25 at the Silk Street Theatre of piano, soloist Anna Farkas, Rencesvals for voice and piano the Guildhall School of Music and Drama in London by the from the Chanson de Roland, baritone Gianandrea UBU Ensemble directed by Simon Wills. Goffredo Petrassi

On September 27 at Palazzo Ghizzoni Nasalli in Silverstein. The Concerto for flute and orchestra will be Piacenza, during the Festival Incó_ntemporanea, Andrea played on November 8 and 9 at the Politeama Garibaldi in Monarda played Nunc for guitar. Elogio per un’ombra for Palermo, by Arcadio Baracchi and the Orchestra Sinfonica violin can be heard on October 17 at the Teatro Massimo Siciliana conducted by Tito Ceccherini. The Trio for violin, in Palermo, during the Festival Nuove Musiche, and on viola and cello will be played by the Mdi Ensemble on October 22 during the series Bologna Modern, in the December 8 at the Società Aquilana dei Concerti “B. Foyer Rossini of the Teatro Comunale, with Elicia Barattelli”. Sándor Veress

On September 11 at the Prinzregententheater in Munich, on October 2 at the Opera City Concert Hall in Tokyo. On the Concerto for clarinet and orchestra was played by the October 11 at Wooddale Church in Saint Paul (Minnesota), Münchener Rundfunkorchester conducted by Valentin the Saint Paul Chamber Orchestra conducted by Tabea Uryupin. On September 13 in the Salle Paderewski in Zimmermann will play the Quattro danze transilvane for Lausanne the Quatuor Sine Nomine and the Orchestre string orchestra, and again on October 12 at the Ordway de l’Haute École de Musique de Lausanne (HEMU), Concert Hall of the same city. The same popular conducted by Heinz Holliger, played Concerto for string piece will be taken on tour to Switzerland by the quartet and orchestra. Threnos (In memoriam Béla Jugendsinfonieorchester Graubünden conducted by Bartók) for orchestra will be performed by the Tokyo City Christian Barenius, on October 11 in Brigels, on 12 in Philharmonic Orchestra, again conducted by Heinz Holiger, Salouf and 13 in Chur. Carlo Prosperi

A series of concerts in homage to Carlo Prosperi has pieces. On November 30 at the Teatrodante Carlo Monni been organized in collaboration with various institutions in in Campi Bisenzio (Florence), the same soloist, joined by Florence: GAMO, Gabinetto Vieusseaux and Lyceum. On Omar Cecchi, marimba, and the orchestra La Filharmonie November 4 at the Lyceum the pianist Ilaria Baldaccini will conducted by Nima Keshavarzi, will play the Concerto play Sonatina profana , Intervalli , Fantasia and other new “dell’arcobaleno” for piano, marimba and strings. 17 FFFPFiiiirrrrismrsts etWs etWos retlWdcou PrzeliWodorfno iPr ramseloasdrnofcluoe rts Permledarn fcoPes remr a OCTOBER Pasquale Corrado Alessandro Solbiati MACBETH ALONE CINQUE MOVIMENTI Alessandro Solbiati Opera for two sopranos, two baritones for violin and cello QUARTO QUARTETTO and ensemble Venice, Ex Novo Musica, Sale Apollinee del for strings Libretto by Ugo Giacomazzi and Luigi Gran Teatro La Fenice, October 23 (Commission by La Biennale di Venezia) Di Gangi Ex Novo Ensemble Venice, La Biennale, 63. Festival Internazionale Bologna, Bologna Modern, Teatro Comunale, di Musica Contemporanea, Ca’ Giustinian, October 10 Bruno Zanolini Sala delle Colonne, October 1 Maurizio Leoni (Macbeth), baritone IRON(ICA)-MEN(TE) Quartetto Prometeo Gabriele Lombardi, baritone for flute, guitar and piano Valentina Coladonato, soprano Pesaro, Società Italiana di Musica Maurizio Azzan Francesca Pacileo, soprano Contemporanea, Conservatorio Statale di DOV ETUTTOÈSTATOPRE SO II Orchestra de Teatro Comunale di Bologna Musica “G. Rossini”, October 23 for harp and electronics conductor: Pasquale Corrado Trio Auroraensemble (Commission by La Biennale di Venezia) Venice, La Biennale, 63. Festival Internazionale Daniela Terranova Caterina Di Cecca di Musica Contemporanea, Arsenale, Teatro alle VARIAZIONI SUL BIANCO IN CERCHI CONCENTRICI Tese, October 3 for cello and piano for trumpet and orchestra Emanuela Battigelli, harp New York, Columbia University, The Italian (Commission by Orchestra della Toscana with CIMM - Centro di Informatica Musicale e Academy, October 11 the support of SIAE Classici di Oggi) Multimediale della Biennale di Venezia, Francesco Dillon, cello Pisa, I Concerti della Normale, Teatro Verdi, electronics Emanuele Torquati, piano October 24 Donato De Sena, trumpet Leonardo Marino Martino Traversa Orchestra della Toscana SUL FAR DEL GIORNO QUARTETTO N. 3 Orchestra Giovanile Italiana for orchestra for strings conductor: Daniele Rustioni Genève, Studio Ernest Ansermet, October 5 Parma, Traiettorie, Teatro Farnese, October 16 Orchestre de la Haute École de Musique de Arditti Quartet Andrea Mannucci Genève L’ALBERO DI ELSA conductor: Clement Power Ennio Morricone for voice and piano from a text by Elsa STUDIO Respighi, poetic re-elaboration by Marina Mehdi Khayami Version for doublebass and strings Popadić OCCHI SENZA SGUARDO Rome, Associazione Roma Sinfonietta, Verona, Concorso Internazionale “Elsa for flute, tar and violin Università di Roma Tor Vergata, Auditorium Respighi”, Palazzo Verità-Poeta, October 25-27 Panketal (Berlin), Randfestspiele, Neue Musik Ennio Morricone, October 16 in der St. Annen Kirche Zepernick, October 6 Massimo Ceccarelli, doublebass Alessandro Solbiati Yarava Ensemble Orchestra Roma Sinfonietta SINOPIA conductor: Gabriele Bonolis for orchestra Andrea Mannucci (Commission by Teatro Comunale di Bologna) IL GATTO (nel serraglio), allegoria di una Michele dall’Ongaro Bologna, Teatro Manzoni, October 26 convivenza TRE CANZONI SICILIANE Orchestra del Teatro Comunale di Bologna Operina in one act in four scenes on a text for cello and string orchestra conductor: Asher Fisch by Luis Gabriel Santiago for narrator, two Roma, Associazione Roma Sinfonietta, singers and ensemble Università di Roma Tor Vergata, Auditorium Nicola Sani Ascoli Piceno, Festival Nuovi Spazi Musicali, Ennio Morricone, October 16 FLUTE FATAL Foyer del Teatro V. Basso, October 8 Orchestra Roma Sinfonietta for bass flute and digital soundtrack Pamela Olivieri, narrator conductor: Gabriele Bonolis Beijing (China), Festival Musicacoustica, Annalisa di Ciccio, soprano Central Conservatory of Music, October 26 Stefano Stella, bass Ivan Fedele Gianni Trovalusci, bass flute Ensemble in residence of Festival Nuovi “... QU I TR ANSI TIS PER VIAM ” Spazi Musicali Version for string orchestra from Gesualdo Andrea Mannucci conductor: Andrea Mannucci da Veno sa’s motet “O vos omne s” RITOURNELLE Arnhem, Musis, Muzenzaal, October 18 Version for string trio Carmine Emanuele Cella Amsterdam Sinfonietta Verona, Auditorium Montemezzi, October 28 KORE conductor: Candida Thompson Trio Quodlibet for six percussionists around the audience and live electronics Stefano Gervasoni Giorgio Colombo Taccani Milan, Festival di Milano Musica, Pirelli RECERC AR CR OM ATICHO POS TILCRE DO CLESSIDRA HangarBicocca, October 9 Version for string orchestra for violin, cello and piano Les Percussions de Strasbourg Arnhem, Musis, Muzenzaal, October 18 (Commission by AltreVoci Ensemble with the Carmine Emanuele Cella, live electronics Amsterdam Sinfonietta support of SIAE Classici di Oggi) conductor: Candida Thompson Modena, Teatro Comunale, October 30 AltreVoci Ensemble

Constantly updated, at the website ESZ news EdiZioni Suvini ZErboni www.esz.it you will find the complete performance list of our composers r a FFFPFiiiirrrrismrsts etWs etWos retlWdcou PrzeliWodorfno iPr ramseloasdrnofcluoe rts Permledarn fcoPes rem NOVEMBER Giorgio Colombo Taccani Leonardo Marino NESSUNA PIAZZA È MUTA DIETRO LA LUCE II Alessandro Solbiati for saxophone quartet for ensemble ALBATROS Rovereto, Palazzo Bossi Fedrigotti, Sala Milan, ContempoRarities 4, Santeria Social Version for flute, clarinet and piano Filarmonica, November 20 Club, December 8 Rafelbunyol (Valencia), Rafel Festival, Auditori MP Saxophone Quartet Esecutori di Metallo su Carta Rafelbunyol, November 3 New Made Ensemble Nicola Sani Giorgio Colombo Taccani TURNING PAGE VELE AI NAVIGLI Simone Cardini for guitar for voice, clarinet, violin and piano L’INACCESSIBILE OMBELICO DEI BORDI Siena, Palazzo Chigi Saracini, Chigimola on a text by Pier Luigi Berdondini for two voices, percussion, HN steel sheets Musica, November 26 Milan, SpazioTeatro 89, December 8 Milan, Festival di Milano Musica, Santeria Giovanni Puddu, guitar Akiko Kozato, soprano Toscana, November 6 Selene Framarin, clarinet Patricia Fodor and Irina Ghivièr, voices Maurizio Azzan Piercarlo Sacco, violin EXTENDED I Luca Schieppati, piano Maurizio Azzan for bass flute, doublebass Paetzold flute, BREAKING WALLS DOWN harp and live electronics Nicola Sani for orchestra Firenze, Festival di Tempo Reale, New Work (Commission by “Nuova Musica alla Fenice”) November 30 for three bass flutes and live electronics Venice, Teatro Malibran, November 9 Airborne Extended Zagreb, Lauba, December 16 Orchestra del Teatro La Fenice Roberto Fabbriciani, flauto basso conductor: Marco Angius Simone Cardini Solisti di Cantus Ensemble E TOCCARE SPAZI IRIDESCENTI Alvise Vidolin, live electronics Giorgio Colombo Taccani for ensemble TRAFILETTO IN CRONACA Mons, [’tactus] Young Composers Forum, Roberto Fabbriciani for clarinet, violin, viola and cello November 30 CANTUS Milan, Milano Première, Museo del Novecento, Ensemble Musique Nouvelles for flute and ensemble November 13 conductor: Jean-Paul Dessy Zagreb, Lauba, December 16 New Made Ensemble Roberto Fabbriciani, flute Cantus Ensemble Daniela Terranova DECEMBER conductor: Berislav Šipuš LET ME BREATH for bass clarinet and live electronics Nicola Sani Trieste, Conservatorio Statale di Musica Gilberto Bosco ATMEnd nACH SELiGEM LAuF, AuF “Giuseppe Tartini”, November 13 REMEMBER ME niCHTS Zu, inS FrEiE ... A FRANCESCA Chiara Percivati, bass clarinet for accordion, flute, oboe, clarinet FORTUNA... and bassoon for piano and live electronics Sara Caneva Reggio Emilia, Spazio Icarus, December 3 Padova, SaMPL, Auditorium Pollini, NIGHT IS NIGHT, NO MATTER HOW LONG Icarus Ensemble December 20 for ensemble Aldo Orvieto, piano Milan, Sound of Wander, Palazzina Liberty Nicola Sani Alvise Vidolin, live electronics Dario Fo e Franca Rame, November 16 New Work Mdi Ensemble for clarinet, violin, cello and accordion Milan, Milano Première, Museo del JANUARY Andrea Mannucci Novecento, December 4 MORO New Made Ensemble Luigi Manfrin Tragic opera in one act in 11 scenes DISSIPATIONS… BE(COM)ING MEMORY on a text by Marco Ongaro Luca Antignani for oboe and ensemble (Premiere of the new version) New Work Milan, Rondò, Teatro Litta, January 23 Como, Teatro Sociale, Sala Bianca, for ensemble Luca Avanzi, oboe November 20 Milan, Milano Première, Museo del Divertimento Ensemble Dario Giorgelè (Moro), baritone Novecento, December 4 conductor: Mauro Bonifacio Carlotta Bellotto (Cassandra), soprano New Made Ensemble Enrico Frigo (L’Angelo), tenor Nadina Calistru (Corifea), soprano Piero Facci (Voce del Popolo), bass Stage direction: Filippo Tonon New Made Ensemble conductor: Andrea Mannucci

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