June 20218 4 ESZ news Edizioni Suvini Zerboni - Fourmonthly Newsletter Flashes of Sense On June 21 at the Accademia Filarmonica Romana, Fuyu between man and the world. This collection contains haikus Haiku for female voice, bass clarinet, cello and percussion will by various Japanese poets, including Yosa Buson, Nakamura be performed by Accroche Note. The composer explains: Kusatao and the famous Matsuo Bashō. These two e «The Fuyu Haiku (“Haikus of Winter”) follow the collection of collections are the halfway point in a complete cycle of the l Haru Haiku (“Haikus of Spring”) and like these they consist of seasons». After a delay of a year due to the lockdown the e a series of musical aphorisms for the same ensemble (female premiere of Hybrid , Concerto for (hybrid) organ and orchestra, d voice, bass clarinet, cello and percussion), where the will finally take place on June 27 and 29 at the Centre de e percussionist, however, plays different instruments. The Congrès in Angers, with the organist Baptiste-Florian Marle- F aphorism is certainly the most suitable and effective form to Ouvrard and the Orchestre National des Pays de la Loire express the sense of this type of Japanese poetry, where the (ONPL), conducted by Stanislav Kochanovsky. Hybrid joins n three lines of 5, 7 and 5 syllables are able to express a the already numerous pieces for solo instrumentalist and a universe of images, sensations and feelings. The external and orchestra in Ivan Fedele’s catalogue, claiming for itself a v I interior nature of the subject who observes it are the object of significant role. It was written for the inauguration of the Orgue reflection that gives rise to flashes of sense and images Hybride at the Centre de Congrès Jean Monnier d’Angers, on Haiku project and whose paratactic juxtaposition seems to unveil a universal commission of the ONPL and the Festival Printemps des new Concerto for sensibility. I like to define this poetic form as a “minimum” Orgues. Fedele explains: «As the title suggests, Hybrid is a organ mythology in which we perceive individual sentiment as an composition that develops on the basis of heterogeneous eternal, almost immanent representation, of the relation modalities of elaboration: a cross between concertante, solo continues on page 2 Sound of an Interior World A world premiere for Federico Gardella scheduled for July everything, in Schnitzler’s novel, revolves around Else: 31 and August 1 , when Else , opera in one act on a libretto by the same narrative technique, the interior monologue, Cecilia Ligorio from Arthur Schnitzler’s Fräulein Else , will be accompanies us in her mind, in constant search of a point of a staged at the Teatro Poliziano by the Cantiere Internazionale balance which seems to distance itself at every new turning. l l d’Arte in Montepulciano, who commissioned the work. It will In the opera the characters that inhabit the exterior world of e be performed by Maria Eleonora Caminada, Alda Caiello, the protagonist (the mother, the cousin Paul, Cissy Mohr and d Leonardo Cortellazzi, Michele Gianquinto and the Ensemble Dorsday) find their own “double” in her interior universe, made r Risognanze conducted by Tito Ceccherini, with the stage of whispers and cries, of inconfessable and untold hopes and a direction of Cecilia Ligorio, and scenes and costumes by fears: and so the presence of three “voices” takes shape, G Domenico Franchi. The composer explains: «I came across three monstrous and disturbing apparitions from which Else Fräulein Else for the first time many years ago, in Summer. will be unable to free herself. The question of the “voice” o Being younger than the protagonist (and perhaps more therefore assumes a central role (and how couldn’t it be so, in c i inexperienced) I was struck by the “sound” of Schnitzler’s an opera): that voice which is not only song, but also word, r novel: it was, I realise now, that of the interior world of Else, laughter, shout. The story of Else is, in effect, the story of a e which had, in fact, its own sound. I thought no more of it. downfall in which each of the characters is, in their way, an d Other stories awaited a conclusion, other sounds were waiting accomplice. The music outlines this downfall, sculpts this New opera in e to be written. But when (some years later) I came back to chasm: and so the opera closes with a “lament”, a slow Montepulciano F those pages, I understood that the time had come to dedicate farewell to the world that invites us to reflect upon our myself to that sound. And so the idea of this opera, Else , was fragilities, asking us to protect them as one protects a born. But the more I re-read the story, the more I realised that precious good». Hiyoli Togawa’s recently released CD Songs the sound was in reality a multitude of sounds, it was a of Solitude (Super Audio CD BIS 2533 SACD) includes polyphony: the (external) sound of the outer world, the Consolation for viola, written purposely for the recording (internal) sound of the protagonist and, finally, the sound of project. The composer introduces the new work: « Consolation the Carnaval (which witnesses the unfolding of a destiny that was born during a pandemic. It was born in a moment in is individual, but that regards each one of us). Schumann’s which, closed in our own homes, humanity observed Carnaval , in fact: in Schnitzler’s novel it appears only in the something without being able to understand it. In that moment last pages, but what “voice” should I attribute to it in the I thought again of how often I have taken refuge in music, a opera? The presence of this music, of this sound among place where I can shelter. And so this music – which is, in a sounds, imposes itself right from the start, like an “iceberg”, certain sense, music of “resistance” (faint, but not fragile) – like an unpredictable element against which the human was born with a purpose (but without a plan). I tried to imagine vicissitude of the protagonist will inevitably break up. And then a form able to bear the weight of the time that crosses it, the instruments. I asked myself what role they could play in an music able to “age”, while we too age while listening to it: it is opera inhabited by presences (some real, others surreal). The a question of coming to terms with our own past (imagined, instrumental sound, the place of abstraction (in this theatre of feared, desired), thinking back to the music that has passed the dark) represents time that passes, seemingly indifferent to before us, to look for new answers to old questions. And so a narration made of voices and words. But it is not a question, Consolation , born during a pandemic, consists of just two here, of chronological time: the indifference is only apparent – “characters”: a bourdon and a melody, an element that seems in a certain sense feared, desired – because time bends (as in infinite (but is static) and one that exhibits its own contingency a convex mirror), the sound is transformed, while on the stage (but, in some way, is absolutely necessary)». the characters show signs of this time that traverses them. But Nicola Sani Monographic CD with the Orchestra di Sculptures of Time Padova e del Veneto On the occasion of the performance of Nicola Sani’s new work A continuous research through a series of my works for orchestra Al folle volo for orchestra, the Orchestra di Padova e del Veneto projected beyond all limits of instrumental sound. The orchestra presented the CD dedicated to the composer from Ferrara unveils sculptures of time crossed by sound and and published by Stradivarius, in collaboration with the opens the doors of the acoustic space towards laboratory SaMPL and the “C. Pollini” Conservatory in unprecedented multidimensional horizons of a Padua in the context of “Veneto Contemporanea - new ecology. The live electronics, the digital Un’esposizione di suoni e linguaggi”, the Festival of the elaborations and Alvise Vidolin’s sound direction Orchestra di Padova e del Veneto aimed at promoting the become the instrument of transformation of our musical expressions of the present of some of the most perception, obliging us to rethink the forms and important composers and musicians from Italy and the local spaces of listening». As mentioned above, the territory. The monographic CD Tempestate (STR 37186), a recording was presented on the occasion of the new step in Nicola Sani’s long and personal path of premiere of the new version of Al folle volo for research, unites for the first time five works orchestra, on May 11 at the Teatro Verdi in Padua, performed by the Orchestra di Padova e del Veneto during the season Veneto Contemporanea, with the conducted by Marco Angius, with Alvise Vidolin on Orchestra di Padova e del Veneto conducted by Marco live electronics. Some of the pieces, composed Angius. This new work was introduced in the previous between 2012 and 2019, were performed in 2019 number of ESZ News. The project “New Life - Isolamento at the Sala dei Giganti in Padua during the cycle e musica ai tempi del lockdown” (“New Life - Isolation “Lezioni di Suono” and introduced live by the and music in the times of lockdown”) promoted by the composer himself. In particular, the CD contains ContempoartEnsemble for the Estate Fiorentina, will Seascapes IX “Münster” for orchestra, Deux, le include two concerts of pieces for soloists on this theme contraire de “un” for orchestral ensemble, Light Red over Black commissioned to various composers, a new scheduling of events for string orchestra and electronics, Gimme Scelsi for orchestral originally planned for last Autumn.