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. In this context, the world ensemble and Tempestate for orchestra and live electronics. Sani premiere of Nicola Sani’s Il cello in una stanza for cello can be comments on the recording: «This new album bears witness to an heard on June 22 in the Chiostro of the Accademia di Belle Arti extraordinary path of exploration of sound undertaken with the in Florence, with Vittorio Ceccanti. This work too was introduced Orchestra di Padova e del Veneto and its conductor Marco Angius. in n° 82 of ESZ News.

from page 1 (Ivan Fedele: Flashes of Sense)

and instrumental music in which the organ takes on different Ensemble Musicatreize directed by Roland Hayrabedian has roles, but all integrated within a single harmonic and consequent rescheduled their tour of “Douze lettres à Élise”, a tribute to the flux. The whole course of the piece revolves around the organ 250 th anniversary of Beethoven’s birth, involving the commission part, which inspires both the diachronic and synchronic of twelve works for an ensemble of from one to twelve voices developments of the orchestra. In the first case, the frenzied accompanied by piano or accordion. Ivan Fedele contributed to melodic spirals are enveloped in reverberant traces or in tight the project with She Walks in Beauty for three female voice and delays by the “tutti” in the guise of virtual “live electronics”. In the piano on a text by George Byron, whose world premiere is second case, the chordal writing of the organ finds in the scheduled for July 3 at La Courroie, Entraigues. Further orchestra a harmonic multiplier of the volumes and timbres based performances will be given on July 4 at the Foyer de l’Opéra de on a particularly fascinating “drone ambient” aesthetics». The WS Marseille during the series Les Matins Sonnants du GMEM, July Variations for piano, commissioned by the Fondazione La Società 14 at the Château de Chambord during the Festival de dei Concerti, will be premiered on July 7 , 8 and 9 in the Sala Chambord, July 16 in Sorrèze, during the Festival Musiques des Verdi of the Milan Conservatory, as the compulsory piece for the Lumières, and finally on July 27 at the Festival Messiaen au Pays final phase of the first edition of the Antonio Mormone de la Meije. On April 27 at the Teatro Petruzzelli in Bari, during International Prize. The composer tells us: «In Love’s Labour’s the series “Aus Italien”, Istantanee musicali di otto compositori Lost , Shakespeare composes a musical theme of six notes, given italiani, Imaginary Depth for cello and chamber orchestra and Est! , to Holofernes. The theme C D G A E F, if repeated a tritone above second concerto for cello and chamber orchestra, were played by or below, produces a perfect dodecaphonic Grundstimmung . This Michele Marco Rossi and the Orchestra of the Teatro Petruzzelli, material, proposed in a new theme in the form of an arpeggio, conducted by Pasquale Corrado. Leading Lines (Fifth Quartet) for immediately followed by the other six notes of the dodecaphonic string quartet and live electronics, commissioned by Grame - series, provides the basis for the twelve WS Variations ». The Centre National de Création Musicale in Lyon, Milano Musica, and collaboration with the “G. Tartini” Conservatory in Trieste will the Association Collectif Tana, was given its Italian premiere launch the project Galileo’s Journey , a multimedia work for during the 30 th Milano Musica Festival on May 19 at the ensemble, three female voices, electronics and visuals, based on Auditorium San Fedele in Milan, with the Quatuor Tana, the the theme of the cosmos and astronomy that investigates its laws Grame music informatics by Simone Conforti and computer music and secrets, with explicit reference to the man who inaugurated design by Alberto Maria Gatti. On May 21 the Suite francese II for the modern era of scientific research. It is imagined how the violin was live-streamed from the Teatro Petruzzelli in Bari, played scientist from Pisa would have been able to scrutinise the sky and by Francesco D’Orazio. On May 31 at the Teatro Verdi in Padua, the solar system through the modern technology of such a during the series Veneto Contemporanea, Mosaïque for violin and powerful instrument as the Horn telescope of the astronomic chamber orchestra was given its Italian premiere by Francesco observatory in Trieste. Fragments of scientific texts, also by D’Orazio and the Orchestra di Padova e del Veneto conducted by Galileo, sung by three female voices intertwine with “sound Pasquale Corrado. On June 21 at the Chiostri di San Domenico images” which systematically explore the “sound” of the orbits of in Reggio Emilia, during the Festival Suono e Arte, Reflets for the planets of the solar system as NASA has recorded them piano, Haru Haiku for soprano, bass clarinet, cello and percussion through highly sophisticated detection systems. The world on Japanese haiku poems, and the Suite francese IV for flute will

premiere is scheduled on August 30 at the Chiesa di San be performed by the ensemble Icarus vs Muzak, the soprano Francesco in Cividale del Friuli during the MittelFest, given by Anna Capiluppi and the flautist Giovanni Mareggini. Finally, students of the “G. Tartini” Conservatory in Trieste directed by Donacis ambra for flute and live electronics can be heard on June Marco Angius, professor of Orchestral Conducting at the 25 in the Petite Salle of the Centre Pompidou, during the Festival Conservatory. The electronics will be realised by the studio of the ManiFeste in the final concert of the Académie ManiFeste, which electronic music class of the same Conservatory, while the visual between June 21 and 24 will give three performances of the element will be conceived by the Australian video-artist Andrew piece, on each occasion with students of the Académie. Quinn. After being cancelled due to last year’s long lockdown, the 2 Alessandro Solbiati Deep Structures

nimalia, five short pieces inspired by Dante for female movement, but with the orchestra divided into two separate A The orchestral research voice on a text by Dante is a new work by Alessandro blocks on the stage. Now, in S econda Sinfonia da camera, continues with the Ensemble Solbiati that was broadcast every evening of the week from I wanted to conclude my quest by moving in the opposite Orchestral Contemporain May 24 t o 28 at the start of the Rai Radio3 programme, direction, multiplying the movements up to eight strictly of “Radio3 Suite”. Each day one of the five pieces was the same duration (two minutes) and united in some way broadcast, each devoted to one of the animals in Dante’s by the immobility of the conductor requested in the score Paradiso, performed by Laura Catrani and with a between one movement and the next, building a sort of presentation text by Tiziano Scarpa. The formal kaleidoscope dominated by the dimension composition will be repeated during a long of invention, of the power of the figural Summer concert tour. The main dates are: physiognomy, immediately evident and quite June 12 i n Vicenza, Palazzo Chiericati, different each time. The backbone of these eight during the Settimane Musicali at the Teatro movements is the dedication of each of them to a Olimpico; J une 24 in Imola, at the Emilia different composer, recent or contemporary: Romagna Festival; J uly 7 a nd 8 a t the these are more like actual subtitles than Riccardo Panfili Basilica di San Francesco in Ravenna, during dedications, because I chose eight composers the Ravenna Festival; J uly 10 i n Colico, whose music (and in many cases whose On April 30 at the during the Festival sull’Acqua; J uly 13 a nd friendship) marked my choices, fuelling them with Auditorium Paganini in 14 in Rimini, during the Sagra Malatestiana; stimuli, both conscious and not. In order, the eight Parma, the percussionist July 15 in Castrocaro Terme, during composers are Bruno Mantovani (who will Simone Rubino and the Romagna Musica; J uly 23 at the 46 th conduct the first performance), Bruno Maderna, Filarmonica Arturo Toscanini Cantiere Internazionale d’Arte in Niccolò Castiglioni, Franco Donatoni, Sandro conducted by Maxim Pascal Montepulciano. The work was introduced in the previous Gorli, Gérard Grisey, George Benjamin and György Kurtag: gave the world premiere of number of ESZ News. On J une 19 the web TV it is an act of adhesion that led me to search for an element the Concerto for percussion Divertimento Ensemble Digital Stage will broadcast the of the personality and music of each of them that set my soloist and orchestra, world premiere of I l silenzio e il canto, virtual opera for deepest strings in vibration, generating the same number commissioned by the female singing voice/voices, male speaking voice/voices of highly different musical situations, from the most rarefied Fondazione Arturo and seven instruments/orchestra on texts by Homer, to the most dense, from the calmest to the most restless». Toscanini; on May 29 at the Rilke, Kafka, Pascoli and Tennyson, with the Divertimento On M ay 30 at the Palazzo Ducale in Mantua, during Trame same venue the Filarmonica Ensemble. This work too was introduced in the previous Sonore, Mantua Chamber Music Festival, Emanuela Arturo Toscanini conducted number of ESZ News. A preview performance of S econda Piemonti played the Sonata seconda f or piano. On J une 7 by Michele Spotti gave the Sinfonia da camera f or fifteen players will take place on in the Chiostri of San Domenico in Reggio Emilia, during world premiere of Questo June 20 d uring the residence of the Ensemble Orchestral the Festival Suono e Arte, the ensemble Icarus vs Muzak muro for orchestra, Contemporain at the Festival de La Chaise-Dieu, in the will give a monographic concert devoted to Alessandro commissioned by the Auditorium Cziffra, conducted by Bruno Mantovani, while Solbiati, which will include A lbatros, in the version for flute, Fondazione Arturo the world premiere will be given on S eptember 23, by clarinet and piano, S tudio V from S tudi (Seconda serie) for Toscanini. the same performers, in Saint-Etienne. The composer guitar, Á nthos. Parte seconda for oboe, S ottovoci f or guitar, introduces his new work: «Many strands of my life and and E pos f or oboe (cor anglais) and string trio. On J uly 10 of my compositional path lead to and come together in the 57 th Festival Pontino di Musica in Sermoneta will Seconda Sinfonia da camera, a broad work in eight include the premiere of R uft uns… for soprano saxophone, short movements composed in the spring of 2021 on commissioned by Claude and Odile Delangle for the 50t h commission of the Ensemble Orchestral Contemporain anniversary of the Campus Internazionale di Musica in in Lyon (and its new artistic director, Bruno Mantovani), Latina, played by Claude Delangle himself. On J uly 12 awaiting the confirmation of the much hoped for at the Teatro dei Rozzi in Siena, during the Chigiana Sándor Veress commission from the French Ministry of Culture. The first of International Festival & Summer Academy 2021, the these strands is precisely the relation of collaboration and Accademia Musicale Chigiana will perform I l n’est pas On May 15 at The Byre at friendship with the EOC, born round twenty years ago comme nous! Une fable de tous les temps, stage action Inchyra, in Perth, Scotland, through the deep affection that binds me still today with its for female singing and speaking voice, violin, viola, cello the Scottish Ensemble historical director, Daniel Kawka, and that in 2006 led to the and percussion, from Miguel de Cervantes Saavedra’s played the Quattro danze composition of the S infonia da camera: the large dimension El retablo de las maravillas, with the soprano Mathilde transilvane for string of the Ensemble, today unfortunately uncommon, brings Barthélémy, Antonio Caggiano and students of the orchestra. The work will be about a fascinating borderline between chamber and Accademia Musicale Chigiana. On S eptember 11 t he repeated by the Camerata orchestral writing. The second strand is even more Sinfonia da camera f or fifteen players and the M oments Bern conducted by Patricia “ancient”: in 1998, with S infonia, I began a sort of personal musicaux O p. 94, D 780, transcription for thirteen players Kopatchinskaja on June 27 reflection, a quest in search of the deep (and thus by Alessandro Solbiati from Franz Schubert, will be at the Casino in Bern. On metahistorical) structures of the musical forms of western performed at the Centro Internazionale Orsolina28 in May 21, at the Vigado tradition. In S infonia I accepted the division into four Moncalvo (Asti), and again on S eptember 12 a t the Tenuta Concert Hall in Budapest, movements, certainly not out of academicism or Santa Caterina in Grazzano Badoglio (Asti), during the the Sinfonia n. 1 for neoclassicism, but to investigate their psycho-physiological Rondò series in Monferrato, and on S eptember 13 a t the orchestra was played, in rather than musical roots; in S infonia seconda (2005) I Fabbrica del Vapore in Milan during the series Rondò Idea, Andreas Traub’s critical trimmed down the structure to just two movements in which by the Divertimento Ensemble and the conductors selected edition, by the Ungarische the categories of “fast” and “slow” were contraposed; in from the orchestral conducting course focusing on the Nationalphilharmonie Sinfonia terza (2010) I made a further synthesis that took ensemble repertoire from the early 20 th century to today. conducted by Ádám the contrapositions and dialogues to within a single broad Medveczky.

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.

3 Michele dall’Ongaro The Refound Work

On June 4 at the Palazzo della Ragione in Padua, during perhaps hid an unconscious desire to change the piece, Monographic concert with the series Veneto Contemporanea, the Orchestra di Padova “rewriting” it at least with that precise element of suggestion two premieres in Padua e del Veneto conducted by Marco Angius will give a that was prohibited in my youth. In any case, today we hear monographic concert devoted to Michele dall’Ongaro, which it for the first time: I’ll bring a box and then we’ll decide will include the world premiere of Voynich for eleven strings, whether one of you should spare me some space in a the first complete performance of Tre Canzoni siciliane for cellar». Instead, regarding the Tre Canzoni siciliane , an cello and string orchestra (soloist Francesco Dillon), orchestration and enlargement of the Due Canzoni siciliane Festschrift for fourteen instruments, and Checkpoint for (“A la vitalòra” and “Carnascialata dei pulcinelli”) for cello chamber orchestra. The composer introduces Voynich as and piano composed in 2017 for Luigi Piovano and Antonio follows: «In 1985 I wrote (with a certain effort that I still Pappano, to which a third piece is now added, “Ninna nanna remember today) this piece for eleven strings with the pi u picciriddu”, the composer tells us: «My mother’s side of intention of entering it for I don’t know which composition my family is from Palermo and my childhood is pervaded by competition. Unfortunately I didn’t manage to finish it before memories of the melodies collected by Favara sung by my the deadline, also due to the fact that, without a computer grandmother accompanied at the piano by her husband, and without money to pay a copyist, I had to try to write it as the composer Giuseppe Savagnone, in front of the Sicilian best I could (with such a complex score full of staves, rulers musicians who frequented the family: from Franco Ferrara and set-squares, propelling pencil 0.5 mm, strictly 2B) to be to Barbara Giuranna, from Ottavio Ziino to Franco Mannino. able to obtain, if necessary, the orchestral material by These old memories are merged with more recent ones tearing “scraps” from the score, as was usual at the time regarding my dear friends and outstanding composers like through lack of means. In addition, after moving home, I lost Francesco Pennisi and Aldo Clementi, with whom I had the the original and, having made no copies, for 36 years I left it privilege of studying. Thus the temptation to reread some alone (without too much damage, they assure me, of these melodies. In the background, of course, another considering the path of history, including that of music). experience, that of Berio’s Folk Songs that also started a Several moves later, the restructuring of a cellar brought to “genre” to which many have adhered. And here I stop, too Francisco Guerrero light some old boxes, bringing the score back to the author. many words for three little pieces that are basically very The original title ( Canti preliminar i ) didn’t convince me at all, private, through which I try to share the inevitably bitter- On July 3 at the Shozan-An but I had chosen it to go with another absolutely prehistoric sweet pleasure of memory and nostalgia». On May 18 , Hall in Ashiya (Japan), work, for soprano and ensemble, titled Canti indulgenti , with in a concert live-streamed from the Teatro Petruzzelli in Hiroaki Ooi will play Op. 1 an evident, even though lateral, reference to Nono’s Canto Bari, for the series “Aus Italien”, Istantanee musicali di otto Manual for piano. sospeso . However, the chance retrieval of the score made compositori italiani, the pianist Emanuele Arciuli and the me think of the so-called manuscript Voynich , that is, the Orchestra del Teatro Petruzzelli conducted by Marco Angius one of an illustrated codex presumably from the 15 th century, played Checkpoint for chamber orchestra, La primavera for written in a mysterious writing that, till today, no one has piano and string orchestra and Il trionfo del tempo e del been able to decipher (a wonderful story, you can also find disinganno for piano and orchestra. On May 21 , again in a a facsimile on-line or in the bookstore published in a fine concert live-streamed from the Teatro Petruzzelli, La musica anastatic copy). At this point I changed the title, the only di E.Z. for violin was played by Francesco D’Orazio. On change I made in 2021. The temptation was too great. June 13 Berceuse per Rebecca for cello and piano will be But not only this: the original title was meant to be colder played in a concert live-streamed from the Auditorium and more abstract, so as not to influence (as was the Celesti in Desenzano during the XIII Festival of the NED usage at the time) the listening with literary or descriptive Ensemble “Music light, la leggerezza nella musica d’oggi”, suggestions, concentrating instead on the structures and played by the soloists of the NED Ensemble Afra and language, let’s say. So I think that wanting to change the title Andrea Mannucci.

Aureliano Cattaneo Work Within a Work

A world premiere for Aureliano Cattaneo on May 29 in groups (A: soprano and flute; B: soprano and alto New work at the Philarmonie Paris. In the Salle des Concerts of the Philarmonie, at the trombone; C: string trio, piano and percussion; D: string in Paris for the Ensemble Cité de la Musique, La nuit sombre for two sopranos and trio, harp and percussion) arranged at the sides of the wind Intercontemporain instruments in space, on a text taken from Jan Potocki’s ensemble and located up in the two galleries. The whole Manuscrit trouvé à Saragosse , was performed by the work, lasting little over twenty minutes, is a labyrinthine sopranos Peyee Chen and Rinnat Moriah, and the game, of references, mirrors, reflections, oppositions to Ensemble Intercontemporain, who commissioned the Mozart’s work, moreover without ever quoting the Gran piece, directed by Matthias Pintscher. The performance Partita but in constant dialogue with the work of Mozart and took place in the context of a diptych of concerts titled of Potocki». On May 6 , again in the Salle des Concerts of “Grand Soir Prométhée”, in which Cattaneo’s work was the Philarmonie de Paris, at the Cité de la musique, combined with one of the masterpieces from Mozart’s later Aureliano Cattaneo’s Deserti for ensemble was video- output, the Gran Partita , a piece much loved by Pierre streamed on the site of the Philharmonie de Paris Live, Boulez, who conducted and recorded it with the Ensemble with the Ensemble Intercontemporain again directed by Intercontemporain in 2008. Cattaneo explains: «At the Matthias Pintscher. The same work was played again on suggestion of Matthias Pintscher, the five movements May 23 at the Mozart-Saal of the Wiener Konzerthaus, by that make up this new work are played in-between the the Klangforum Wien directed by Bas Wiegers. Visibile for movements of the Gran Partita , very precisely with attacks piccolo was played on May 15 at the Palau de les Arts in and separations. This idea of a work within a work is then Valencia during the Festival Ensems, by the soloist Paco multiplied by the use of a text made up of extracts from Jan Varoch. Weg for soprano and cello will be given its Italian Potocki’s Manuscrit trouvé à Saragosse , a novel, that is, premiere on June 21 at the Fabbrica del Vapore in Milan, with a labyrinthine structure of stories inside other stories. during the Rondò 2021 series, in the final concert of the The instrumentation of my piece is the contrary of that of Call for Young Performers, the annual singing course held the Gran Partita : the instruments are divided into four by the soprano Alda Caiello.

4 Luis de Pablo Pontino Party

To mark the 90 th birthday of Luis de Pablo and the 50 th equivocal: ironical? teasing? endearing? In the case of anniversary of the Fondazione Campus Internazionale an elderly person, it is often applied to someone who, Tribute to the Spanish di Musica in Latina, a tribute to Luis de Pablo had been growing old, still wishes to conserve traces of youth. Maestro for a double organised for 2020, which will now instead take place I sincerely hope that my Fantasía , even though anniversary this Summer during the Incontri Internazionali di Musica “ochentona”, doesn’t show any wrinkles». Then, on July Contemporanea of the 57 th Festival Pontino di Musica, a 24 , the first complete performance will be given of the series of which the Spanish Maestro is the honourary Valses nobles et sentimentales , a version for string President. In particular, four works are scheduled. On quintet made by Luis de Pablo after Maurice Ravel, with July 9 at the Castello Caetani, Pentimento for flute, the Quartetto Guadagnini (Fabrizio Zoffoli and Cristina clarinet, piano, violin, viola and cello, and Fantasía Papini, violins, Matteo Rocchi, viola, and Alessandra ochentona for flute, clarinet, piano, violin, viola and cello, Cefaliello, cello) and Alessandro Belli, double bass, both in their Italian premiere, will be played by the Syntax while on July 31 Francesco D’Orazio will give the world Ensemble directed by Pasquale Corrado. This is how the premiere of Fantasia interrotta for solo viola. Whereas composer describes Pentimento : «Completed on April 26, the latter is a short and intense solo piece, unheard until 2013, the work is an exercise (giving this word its noblest now, composed in 1994 to celebrate the 90 th birthday of meaning) in contrast and subtlety. Made up of very Goffredo Petrassi, the transcription of the waltzes that different fragments that range from the “inaudible” to the Ravel composed, inspired by Schubert, «with a writing violent, the form could seem kaleidoscopic, or rather much more limpid than the virtuosity of Gaspard de la “contradictory”, with some elements of self-irony. It is nuit , which crystallizes the harmonies and sharpens the dedicated to the Plural Ensemble, to its director Fabián profile of the music», as Ravel himself once said, dates Panisello and my friend José Luis Turina, who suggested to the commission received in 2015 from Antonio Moral, me the title». He describes the second piece as follows: director of the Centro Nacional de Difusión Musical «Fantasía ochentona is a commission from the Grupo (CNDM) in Madrid. A passionate enthusiast of the music Enigma, to whom it is dedicated. The title calls for an of Ravel, Luis de Pablo chose six waltzes (the first five explanation. In Spanish, a language rich in diminutives and the last of the series), making the transcription and augmentatives, the endings “-ón” (masculine) and between April and September of that year. The first “-ona” (feminine) are very common and contradictory partial performance of the series was given by the Sonor augmentatives. When applied to age they indicate the Ensemble directed by Luis Aguirre, on April 11, 2016, at years of a person of advanced age. For example, the Auditorio 400 of the Museo Nacional Centro de Arte “sesenta”, “setenta”, “ochenta” etc., become “sesentón Reina Sofía. Not totally satisfied with that interpretation, (-ona)”, “setentón (-ona)”, “ochentón (-ona)” etc. If the de Pablo went on to transcribe also the two missing subject is a (musical) fantasia, the result will be “fantasía numbers (VI and VII), hoping that the cycle completed ochentona”. In the case in question the “ochentón” is me, in this way would one day receive a more careful an eighty-five-year-old, and so my fantasia is performance, which the 57 th Festival Pontino aims to “ochentona”. As I said, these endings are rather give him as a gift for his 90 th birthday. Caterina Di Cecca Epigraphic Language In the context of the series “Aus Italien”, Istantanee embracing point of view has been maintained and a musicali di otto compositori italiani, the world premiere of similar allusive approach, so that the sense – suggested Two new works for the La terra e la morte for mixed choir and seven instruments but not imposed – can be reconstructed in each of our Fondazione Petruzzelli and on texts by Cesare Pavese will be streamed on June 19 imaginations based on our own experience and the Ensemble Ars Nova from the Teatro Petruzzelli in Bari. The work was sensitivity». On August 4 at the Oppidum de Bibracte commissioned by the Fondazione Petruzzelli and will be in Saint-Léger-sous-Beuvray (Autun, Saône-et-Loire), performed by the Choir and instrumentalists of the during the Festival Le Vent sur l’Arbre, the Ensemble Ars Orchestra del Teatro Petruzzelli, conducted by Fabrizio Nova will give the first performance of Il varco che tu ti Cassi. Caterina Di Cecca explains: «The title La terra e la apristi for wind quintet. The composer tells us: «The title morte is taken from the homonymous collection of nine of the piece is taken from a line in Italian of Todes- poems by Cesare Pavese, written in 1945 in Rome, and Erfahrung , a poem written in 1907 by Rainer Maria Rilke. published two years later. Some of the themes covered in In this work death is described as an unknowable event this anthology reappeared in the group of poems Verrà la and not verifiable in first person. Despite recognising this, morte e avrà i tuoi occhi , the culmination and fulfilment of the poet nevertheless senses that it has an inseparable the writer’s poetics. The choir starts by singing the lines of relation with life itself and is an interior space always the first poem ( Terra rossa terra nera ), which becomes a present in human existence. This can only be truly sort of declaration of intent. Here the earth is presented in understood when you lose a person dear to you. This an apparently contradictory way. On the one hand it takes event interrupts our acting in the everyday world and puts on the semblance of the maternal figure: it is defined rich, us in contact more deeply with the actual sense of events. very sweet, bearer of new and “young, like a fruit that is Through the non-presence of whoever has left us and memory and season”. On the other it is bleak, harsh, through the breach the person has opened by going “ancient through blood gathered in the eyes”, dark, away, the other part of nature is attained, where the green “crusher of seasons and of dreams”, “basin of the is real green, the sun real sun, the woods real. And at last brassier”. Far from a Manichean dualism, Pavese lets “we act out our life unthinking of the applause”. In my both perspectives coexist without taking a position or piece, after an introduction where it was absent, the oboe leaning towards one or the other. The female figure opens up a breach between the other winds. At first flute, contains within it all the above mentioned images, clarinet, bassoon and horn follow it, but then each goes contraposed only superficially. The woman – “so back to reciting “phrases suspended with effort and mysterious and wild” – is the rock, the darkness, the uttered with fear, and some gestures”, conforming to silence. But she is also the sea, the vine, the voices of the the others. The shadow of the oboe, though, remains earth. The language chosen to express himself is bare pianissimo in its highest register and will no longer and essential, full of negations, at times epigraphic. abandon the other four, which will return in the finale to The interlocutor and the message are subtended and emulate in a revisited way the episode in which it was the ungraspable, since the ultimate goal is evocation and protagonist. This work is written in memory of Andrea never description. In the musical setting the same all- Ceraso». 5 Ivan Vandor Infinite Line

The world premiere of Impromptu miniature for solo cello and perceived as immutable, but are instead plastic, ductile, Three premieres will be given on June 30 in the Chiostro of the Accademia di in continuous expansion or contraction. Not only this, they and a tribute at the Belle Arti in Florence, by Vittorio Ceccanti, in the context of are constantly changeable and vary according to the Festival Pontino the project “New Life - Isolamento e musica ai tempi del genre. A certain apparent structural fixity had previously lockdown” promoted by the ContempoartEnsemble for the distinguished much of Vandor’s music during its evolution, Estate Fiorentina and shared between two concerts of solo a factor often mistakenly associated with a wish to pieces commissioned to various composers: a project assimilate oriental practices – the composer carried out originally planned for last Autumn and now rescheduled. ethnomusicological studies decisive for our knowledge of Marco Quagliarini, a former pupil of the recently deceased Tibetan music – which lead to the introjection of emotion. In composer, comments: « Impromptu miniature is a short his last works, Vandor instead shows that he has undertaken composition for solo cello that Vandor wrote recalling the the difficult path that combines the reduction of material, a solo part of his Concerto for cello and orchestra of 1991, practice that can easily be traced back to Beethoven, and one of his most outstanding concertante works. As often the need to make that material disintegrate in order to happens, the composer reduces the material he is working render it elusive, unpredictable, in constant change also with in proportion to the dimensions of the piece. The through its own redundancy (this too a principle used by melodic line is a sort of continuous flux, mostly in conjunct Beethoven). It is precisely in this approach that one can motion, which like a blot, gradually expands to all the recognise the core of his stylistic craft and the culminating registers until completing all the chromatic scale already in point of maturation of his language». Concerning Meditativo , the first bars. Besides, this line rests on a note at certain Quagliarini tells us: « Meditativo is a short piece for clarinet, points, almost like catching its breath, like a suspension until violin and cello written to commemorate the passing of starting over again. One is seduced, in fact, by this infinite Paolo Donati. As often happens in his chamber works, line, a sort of drift of the listening that, like the song of the Vandor removes the idiomatic sense of the writing of the sirens for Ulysses, we cannot resist». On July 10 at the individual instruments, highlighting the overall structure by Castello Caetani in Sermoneta, the 57 th Festival Pontino di means of a dense counterpoint between the parts. A way of Musica, Incontri Internazionali di Musica Contemporanea, conceiving music that certainly refers back to Bach; and it will present a tribute to Ivan Vandor, during which the world is no mere chance, in fact, that the three parts proceed in Giorgio Gaslini premieres of Meditativo for clarinet, violin and cello and canon. As a whole, the composition presents a sequence of Quartetto con clarinetto for clarinet, violin, cello and piano, three identical structures of five notes. Two of these, which Miranda Mannucci and will be given by Clara Riccucci, clarinet, Duccio Ceccanti, exploit the clarinet and violin, undergo a transposition in the Sara Capone, soloists of violin, Vittorio Ceccanti, cello, and Matteo Fossi, piano. second part of the piece. The third pentachord, that of the the NED Ensemble, will Quagliarini writes: «The Quartetto con clarinetto well cello, remains unvaried in both parts, thus making it a pivot play the Sonata per violino exemplifies, in its stylistic profile, the maturity of expression for the other two transpositions. Limiting the field of action e pianoforte “Quasi una attained by Ivan Vandor in his last creative period. It is remains a characteristic of the poetics of Vandor’s music. fantasia” on June 20 at perhaps the piece in which the composer’s capacity to A certain staticity allows the music to implode, the energy to the Auditorium Celesti in juxtapose different structures within very clear intervallic coagulate within an empty centre, without direction. A vision Desenzano during the parameters reaches one of its highest points. The constant that is well suited to a piece intended as a commemorative XIII Festival of the NED transformation of the material balanced by the need for unity elegy». On May 8 , in a concert live-streamed from the Ensemble “Music light, la – which is achieved here through the interval of a third Scuola Popolare di Musica di Testaccio in Rome, leggerezza nella musica shared by nearly all the structures – is the feature that more Schwebende Sterne for soprano, flute, piano and cello d’oggi”. than any others characterizes the expressive physiognomy on verses by Goethe, was performed by Keiko Morikawa, of Vandor’s musical language and the dynamics of his voice, Giuseppe Pelura, flute, Luca Peverini, cello, and progressive renewal. This dynamic is at the same time Orietta Caianiello, piano, directed by Stefano Cardi. simple and complex: the musical structures are never seen Giovanni Verrando Timbral Ideas

On July 6 at the Teatro Elfo Puccini in Milan, the Milano pieces for solo instrument composed between 2001 and Important repeat performance Musica Festival will host the first repeat performance of 2020: in detail, First Born Unicorn (Remind Me What We’re at Milano Musica and project Instrumental Freak Show - A Manifesto on Diversity for Fighting for) for amplified flute, Secondo Born Unicorn of the Mdi Ensemble voice, six players and electronics, commissioned (Remind Me What We’re Fighting for) for piano, by the Ensemble Interface with the support of Third Born Unicorn (Remind Me What We’re the Ernst von Siemens Musikstiftung, with Giulia Fighting for) for electric violin and electronics, Zaniboni, voice, the Ensemble Interface, Angelo Fourth Born Unicorn (Rounded Version) for viola Linzalata on set and light design, Michele d’amore, Fifth Born Unicorn for transformed and Innocente and the composer himself on video, dismantled cello and electronics, Sixth Born Paolo Brandi as sound director and Andrea Unicorn for electric guitar and electronics, Tremolada, instrument maker. On May 3 in the and finally the new Seventh Born Unicorn , Aula magna of the Dipartimento di Musicologia e commissioned by the Mdi ensemble. The Beni Culturali in Cremona, and on May 4 in the composer comments: «Instruments are means Auditorium of the Mantua Conservatory, the for an end. To reach my purpose, my musical University of Pavia and the Conservatorio “L. objective, I need a personalization of the means. Campiani” of Mantua held a seminar on the Studies on the proprieties of sound have music of Giovanni Verrando in the context of “Musica del increasingly shifted my attention from the sound of the XXI secolo”. This Autumn, at the BASE in Milan, the instruments to sound tout court , moving the musical complete performance of the “Unicorn” cycle will be given instruments from the dominion of ends to that of means. by the soloists of the Mdi Ensemble, which will include the In other words, I tend to express my musical imagination first performance of Seventh Born Unicorn for amplified not only in the choice of form, of algorithms, of organization bass clarinet, filtering half-clarinet in B flat and electronics. of the material, but also in the choice/elaboration of the The monographic concert, titled “Newborn unicorn, remind instruments, so as to realize to the fullest possible extent me what we’re fighting for”, features the cycle of seven my timbral ideas».

6 Pasquale Corrado Interior Conversation The Ensemble Intercontemporain directed by Bastien gradually and almost imperceptibly to create new forms, Stil, will give the French premiere of D’estasi for large new objects. In this section there is a clear reference to Orchestral work inspired by ensemble. The performance will take place on June 11 at St John the Evangelist in the background, recognizable Raffaello for the Ensemble the Philharmonie in Paris, in the Salle des Concerts of the from the book at his feet with an eagle on it. A long Intercontemporain Cité de la Musique, during Ircam’s Festival ManiFeste. crescendo, like waves breaking on the rocks, increasing The composer explains: «The piece was in volume, ever heavier and unstable define the inspired by observing the painting L’estasi di fourth zone. Like a river that collects and drags Santa Cecilia by Raffaello. The work of art mud until it becomes too dense and full, and dates from 1514 and shows St Cecilia at the has to release it. The gaze of St John centre of a sacred conversation, surrounded intersects with the eyes of St Augustine. The by four saints and musical instruments. The fifth area is full of stutterings that slowly and characteristic that most struck me is the with great difficulty try to regain the high centrality of St Cecilia: surrounded by four register. Melodic sequences that stammer saints (St Paul, St John, St Augustine and through airy pizzicatos, exasperated rhythmic Mary Magdalene, each one related to celestial pointillisms, polyrhythmic pulsations: Mary growth and ecstasy), Cecilia is the only one Magdalene, finally, who holds in her hand the able to hear the heavenly music played above ampulla of ointments and stares at the them by the angels. The painting thus spectator. The last area is the most “lyrical” symbolizes the human passions in contrast with zone of the work: a forest of mixed phonemes, of rustling the divine cult. The basic idea of my piece stems strings and breaths enshroud the construction of a from this same duality between earth and heaven. melody reverberated by several instruments. Echoes of Francesco Ciurlo I divided the structure of the piece into six zones, one for an ancient melody, like drops of water that cyclically drop each figure in the painting, plus one that symbolizes the into a lake. The presence of Christ. L’estasi di Santa At the end of August the figure of Christ (not shown in the painting but implicitly Cecilia is an extremely innovative work: it removes the Festival Neue Ho(e)rizonte present in the soul of Cecilia and represented by an traditional image of the divinity by making the “ecstasy” in in Trombacher Hof, angelic choir). The first zone is characterized by beats. itself the main theme of the scene. Christ, in this sense, is Rheinland Pfalz, will hold A dark, dense, fat sound, constantly repeated and implicitly contained in the soul of the saint. In 1965 the art a portrait concert of surrounded by shining bands of light. The first object historian Anna Maria Brizio wrote “The divinity appears in Francesco Ciurlo, feeds on energy triggered by small or large delays that the eyes, it is in the heart of St Cecilia, just as music does which will include are always different from one another, but are generated not play materially in her ear, but only in her soul”». On Verzweigungsmuster for two by a common spark. This zone of the piece is May 19 the world premiere of Dialoghi di rinascita for Paetzold flutes and a new characterized by the same object described and seen mixed choir and electronics, commissioned by the work that the composer is from different perspectives through a sort of cubist vision. Fondazione Petruzzelli, was video-streamed from the writing for the ensemble In the same way, St Cecilia, even though she is at the Teatro Petruzzelli in Bari during the event “Aus Italien”, Caladrius. Ciurlo won 2 nd centre of the conversation, emerges from the painting Istantanee musicali di otto compositori italiani, with the prize in the Stuttgarter as a unique figure giving sense to the whole scene. The chorus of the Teatro Petruzzelli directed by Fabrizio Kompositionspreis with his second musical area features gentle spirals of different Cassi. This work was described in the previous number Abstraction to the Point of colours that slowly involve more and more instruments of ESZ News. On May 31 at the Teatro Verdi in Padua, for oboe and ensemble. and gradually extend over the entire register. The dualism during the series Veneto Contemporanea, the violinist The piece is scheduled to emerges between high and low register, light and dark, Francesco D’Orazio and the Orchestra di Padova e del be played at the Festival crescendo and diminuendo. This zone represents the Veneto conducted by the composer gave the world Eclat in Stuttgart in meditative attitude of St Paul with his back to the premiere of Un lampo attraverso , concerto for violin, February 2022. spectator and his head turned to show its profile. orchestra and electronics, commissioned by the same The third zone is rhythmic, excessively rhythmic. institution with the support of SIAE Classici di Oggi. This It is characterized by the recurrence of small objects work too was introduced in the previous number of ESZ that give rise to large or very large objects. The character News. is almost always the same, but everything changes Filippo Perocco Profile of a Song On May 11 at the Teatro Verdi in Padua, during the movement: Tha_Hehe. A childish but triumphant song. series Veneto Contemporanea, the Orchestra di Padova Improvised and superficial, while thinking of something e del Veneto conducted by Marco Angius gave the world else. Third movement: the song of the workings of a Orchestral premiere at premiere of Come canto, voce for orchestra. mechanical organ. The rods and levers. Veneto Contemporanea The composer introduces his new work: Cautious and percussive. Fourth movement: «A place exists in which the blurred profile two chants intertwine like a squiggle. Again of a song emerges from the stratification childlike, spontaneous. They view each other of events. Those of today and those of closely, but those playing them, like those recollections, of memory. Songs heard, listening, are lost in their own thoughts». songs hidden, songs imagined. Songs that On May 25 Esili canti d’attesa for cello was can be intuitively seen or heard inside other played by Michele Marco Rossi at the Santeria songs. There is playing and there is singing, Toscana in Milan during the 30 th Milano Musica but the paradox lies in the almost-wishing-to Festival. On June 12 at the Casa Cava in contrast each idea. Voices and instrument Matera, during the Festival MA/IN Matera are mixed up; the one seems the other. Intermedia, the ensemble L’Arsenale directed Playing as singing and singing as playing. by Filippo Perocco will give the world premiere This is how I imagine the opaque colour of this work. of Eric Maestri’s E i tifoni i maremoti and a performance First movement: play like a mechanical organ with of Perocco’s own Nosferatu for soprano, sax, accordion, the stops half pulled, breathless. An uninterrupted electric guitar, prepared piano and electronics, mechanism, led by the piano, while the other instruments soundtrack for the homonymous silent film by Friedrich draw almost ephemeral, precarious profiles. Second Wilhelm Murnau. 7 Maurizio Azzan Exitless Circularity On May 19 the Theater am Lend in Graz hosted the world electronics that was finding it hard to progress and the start Dramatic project in premiere of Ariadne , monodrama-installation for voice, five of a piece for orchestra born in the midst of countless Graz and Ircam spatialized instruments and live electronics on a libretto by personal difficulties, I was offered the chance to make use Daniele Bellomi. The work was commissioned by the of a studio where I would have a space all to myself for a Schallfeld Ensemble with the support of the Siemens couple of weeks. As soon as I arrived, my attention was Musikstiftung in co-production with Ircam-Centre Pompidou, caught by a grand piano in extremely bad condition and and was performed by Anna Piroli, the Schallfeld abandoned in corner, a remnant of over one hundred years Ensemble, Etienne Démoulin and Davide Gagliardi on live spent between many different hands after surviving world electronics, and with Ircam electronics. The work will be wars and then finally being brutally daubed with the most repeated on June 17 at the Théâtre de Gennevilliers in improbable colours by the previous eccentric owner. Paris during the Festival ManiFeste of Ircam. The composer All this suggested it was unusable, and yet its uneven and tells us: « Ariadne is a multiple story of abandonments, inordinately resonant sound seemed to bear the weight of absences. A common point shared by the numerous its existence and open up disturbing acoustic spaces, at versions of the myth is the island of Naxos, which receives once familiar and alienating. Needless to say, in a few days’ and imprisons her in its exitless circularity marked by sea time, that devastated instrument ended by catalyzing all my and sky. Here, there exists nothing other than a condition energy, leading me to write impulsively a piece unusual for of suspended time and space characterised by pain and me but necessary. With the passing of months and the start suffering that none of the divine presences in the vicinity is of the pandemic, that work left half written continued now willing to alleviate. Everything starts with the shapeless and then to find its way onto other music stands and other mass of sound of the audience that gradually fills the pianos, each time acquiring new elements that gradually space between the five musicians and the augmented transformed it into distorted rereading of itself for the sake instruments, placed at the edge of the stage, and the of a tiring search for identity. Each modification tended, in central stage where Ariadne lies. The noise takes shape, it fact, to blur the borders and to distance the so particular is both sea and air, expanding or reducing the space in the acoustic image that had inspired the writing, until the work, span of three movements broken by dark parentheses – a by now totally transfigured, began to become an impossible sort of suspension in the suspension – which fracture the pursuit of an event lost in memory. Form as the space of temporal consequentiality to concentrate on the becoming reminiscence that deteriorates as it blossoms». On May 8 Aldo Clementi aware, the defragmentation and reconstruction of a the violinist Annette Fritz played Each Mirror Infects Itself truth/identity able to overcome all other narrations. With the for violin and live electronics, live-streamed from Innsbruck The Ensemble Prometeo aid of the text by Daniele Bellomi, this monodrama takes on during the [nɔiz] Elektrorauschen. On May 13 the flautist conducted by Marco Angius the form of an immersive installation in which the traditional Eric Lamb played Passacaglia from Heinrich Ignaz Franz will premiere Von Himmel borders between audience and performance are cancelled von Biber’s Rosenkranzsonaten in the elaboration for flute hoch for keyboard or four to push towards a new collective dimension of musical by Maurizio Azzan, live-streamed during the Flute Center instruments in the version theatre, in which each participant becomes an essential of New York Salon Series. On June 8 during the concert for piano, violin, bass component of this search for form and meaning within the marking Maurizio Azzan’s end of residence at the Istituto clarinet and cello on sound and the physicality of the bodies that generate it. Italiano di Cultura in Paris, Of Other Spaces for five June 11 at the Centro di Unstable polyphonies of mental, physical, acoustic spatialized instruments will be played by the Mdi Ensemble. Produzione Musicale spaces». Maurizio Azzan will be composer in residence at Between June 11 and 13 Azzan will be guest composer at “A. Toscanini” in Parma the FFF Fortissimissimo Firenze Festival of the Amici della the Festival MA/IN Materia Intermedia, during which Aria(e) , during the series Traiettorie Musica di Firenze, in the course of which, on September three studies on the aura, will be performed by Eleonora 2021, XXXI Rassegna 14 , In limine for violin, cello and piano will be performed Claps and Fabio Macchia at the Casa Cava Auditorium in Internazionale di Musica by the Trio Chagall, and on September 16 the first Matera. On July 9 Dove tutto è stato preso (Innerspace III) Moderna e Contemporanea. performance will be given of Time Changes the Memory for piano, will be played by Neil Nanyi Qiang at the Park of Things for piano, played by Axel Trolese. The composer Square Theater in St. Paul (Minnesota) during the Twin explains: «There are works which involuntarily end up by Cities Music Festival. As winner of the Impuls International assuming the form of strange travel diaries that accompany Composition Competition, Maurizio Azzan obtained the us in time and become transformed alongside us. Time commission for a new work for large ensemble for the Changes the Memory of Things is one of these. In May opening concert of the Festival Impuls Graz 2023, with 2019 I was in Vienna and, between writing a piece for Klangforum Wien. Eric Maestri Imaginary Reading On June 12 , after the forced cancellation of last year, over and through the words, giving rise to sounds as if New work at the Festival the world premiere of E i tifoni i maremoti for soprano, these images were running through the imagination of a Matera Intermedia saxophone and electronics will be given in reader. This piece is an imaginary reading, inside Matera, during the Festival MA/IN Matera the mind of a reader who is attentive but at the Intermedia, with the soprano Livia Rado and the same time distracted. The voice is there, but not Ensemble L’Arsenale. The composer explains: present. The true voice, there, before us all, is «E i tifoni i maremoti is at the end of a cycle of singing. The instruments build a mobile network, poems by Camillo Pennati, it is a constant flow in constant evolution. The electronics draw shapes in which the words emerge as they wish, in that are abstract and at the same time concrete. random order, in the wrong place. The rhythm The music delves into the different senses of the breaks up. The word becomes colour, sound, at poetry, repeats them, arising from the abstract the same time detached and attached from/to images evoked. It turns back on us: it is a sort its sense. The piece continues in this way. The of spiral on a text that defines possible paths to reading of the poetry is the framework – as follow, traces that seem to promise a final meaning always, considered provisional – of the sounds that continues to be denied». Intermezzo for piano that surround it. The poetry speaks of nature and of what, and electronics will be played on September 12 at the according to nature, are the human artifices, of their Goethe Institut in Bologna, with the pianist Franco finitude, their similitude with everything. Here, in this sense, Venturini, soloist of the Ensemble FontanaMix, and the the music evokes these spaces, it is conceived as a flux composer on electronics. 8 Simone Cardini Amniotic Aura

World premiere for Simone Cardini during the Rondò le savoir, et je mourrai sans le vouloir. / […] Nuages… je 2021 series, on A pril 19 r ecording at the Teatro Litta and m’interroge et m’ignore moi-même”. It is a piece in which I Six new works in Milan, on A pril 23 l ive-streamed on the web TV Divertimento have pushed very virtuosically the complicity of the duo in L’Aquila, Tours, Paris Ensemble Digital Stage: D ialoghi I for two sopranos and this approach almost at the limits of the dichotomous, and Darmstadt ensemble on a text freely based on Cesare Pavese’s which finds its reconciliation only at the conclusion: Dialoghi con Leucò, with the sopranos Valeria Matrosova gestures and figures are always in transformation and are and Valentina Piovano, and the Divertimento Ensemble underlined by a theatrical dimension on account of which I directed by Viktoriia Vitrenko. In the words of the would almost say that it is a piece of “instrumental theatre”, composer: «The amniotic aura of the dialogue suspends although the voice simply moves on the stage in a relation and recreates axes and dimensions of a realty in which of closeness and distancing that is different each time». the dialectic tension highlights the need for relation and Linee di erranza f or ensemble will be given its world intersubjectivity to reach a reciprocal interpretation. The premiere on J une 26 i n the final concert of the Prize of intimate and introspective confrontation that we witness composition of the “G. Verdi” Conservatory in Milan by is not that between Sappho (the mortal) and Britomartis the Mdi Ensemble. The composer tells us: «The piece (the nymph), but that between two positions of an interior traverses (and is traversed by) radically opposing and conflict that unfolds in a single vocal line that comprises dichotomous situations that resolve into a question, or acting, whispering, shouting and singing. The ensemble maybe a search, that remains as undefined: the (especially the oboe and cor anglais) underline the transformations of the material help to refine and display inexpressible (or the unsaid) giving shape to the most gestures and figures in a constantly different light, but the strictly psychological dimension of the voices on stage. initial idea seems to constantly deviate and does not admit In this way I wanted to emphasize the dimension, for me a univocal answer». In A ugust a new work for electric revealing, of some extracts from “Schiuma d’onda”, in guitar, C hresthai nostou, will be premiered by Umberto Di which the opening to intuition occurs with the explosive Nucci at the Internationales Musikinstitut Darmstadt (IMD), force of the sudden epiphany that escapes all logic. The during the Darmstädter Ferienkurse. In the words of the experience of this work will remain private for each of us, composer, «it is a piece in which the electric guitar is perhaps it will be alienating and even at times narcissistic explored without shirking from its relation with the collective (like the crazy period we are living through): I hope, imaginary and with rock». Finally, on S eptember 29 t he though, that it might contribute to the emergence of an Médiathèque Musicale Mahler in Paris will be inaugurated atavic dependence on the condition of relation and with Cardini’s R estare non ha luogo f or piano, confrontation with the other and in the other». On M ay 16 commissioned by the Fondation Royaumont and played at the Auditorium del Parco in L’Aquila, for the final concert by Claudia Chan. The composer explains: «Closeness, of the Progetto Sperimentazione Cultura Giovani, the distance, similarity, difference, reflection, diffraction: it is Società Aquilana dei Concerti “B. Barattelli” hosted the within this upheaval, in this wavering between unity and word premiere of I l passo breve di una distanza, melologue heterogeneity, that the subjective approach of the listener for narrator and ensemble on a text by the composer, can move to seek the going that is always present in the performed by Sandro Cappelletto, narrator, Luvi Gallese, staying. The relation with the material is transfigured by Franco Donatoni violin, Clara Belladone, viola, Emanuele Crucianelli, cello, means of a syntax that is constantly created through time: Marco Lepidi, double bass, Luca Giuliani, clarinet, the borders of inflections, outlines and figures exist in an Etwas ruhiger im Ausdruck Francesco Lucantoni, horn, Eleonora Pagnoncelli, evolving functional/situational context. The form is shaped for flute, clarinet, violin, cello bassoon, Andrea De Santis, piano, directed by Mimma on relations, possibilities, ambiguities and perspectives and piano will be played on Campanale. Cardini explains: «Written for Beethoven’s that nourish the reciprocal inference of these changes: a June 29 at the Casa da anniversary on commission of the Società Aquilana dei sort of coexistent sliding that innervates the score with Música in Porto by the Concerti “B. Barattelli”, it focuses on the relation between possibilities. In this moment we are separated, closed Remix Ensemble. On August Beethoven and his nephew Karl, explored through the within ourselves due to the excess of incomprehension, 27 at the Concert Hall of the reconstruction of a hypothetical “Schindler”, the man who lost in the vertex of solitude: what remains is this tension Art Tower Mito in Mito City shared many years with Beethoven, the narrator of the between distance and closeness, between what we know, (Japan) the Ensemble work. The ensemble is like a mental projection of this recognise and don’t know. There remains a will, an attempt Intercontemporain will play voice, the eversion of what there is in thoughts and at movement, desire: I believe that the only thing Lumen for six instruments. sometimes stirs in the unconscious of our narrator in a necessary is not to know the answers, but to ask yourself relation, twofold, with the text, of analogy, association and questions, search for them» On A pril 29 A lice Cortegiani unsaid: thanks to the music we hear and at times present played Simone Cardini’s R espiro, aneliti f or bass clarinet, the transfiguration of thoughts and emotions that, live-streamed from the Sala Casella of the Accademia consciously or not, dwell in the narrator and in his relation Filarmonica Romana on the YouTube channel of the with Beethoven». On J une 5 a nd 6 i n the Chapelle Saint- Accademia Filarmonica Romana, during the celebrations Libert in Tours, during the series ATMusica, the world for the 200 years of the institution’s activity. In the premiere of L a tentation d’une pensée f or soprano and meantime EMA Vinci Records has released the CD double bass on texts by Fernando Pessoa will be given by Broken Shake featuring the Duo Essentia (Alice Cortegiani Mathilde Barthélémy and Charlotte Testu. The composer clarinet, Samuele Telari, accordion) and containing Simone speaks of his new work: «For the text I used extracts from Cardini’s E xaptation for clarinet and bayan. The same Pessoa: “Si je pense, tout me paraît absurde; / si je sens, artists performed the piece on M ay 21, again in the Sala tout me paraît étrange; / si je veux, ce qui veut est quelque Casella of the Accademia Filarmonica Romana. chose d’étranger au fond de moi. / Nuages... j’existe sans Jean-Luc Hervé

Éloge de la plante (La finta giardiniera) f or female voice Margue. On J une 17 a new T rio for alto flute, clarinet and and electronics was performed on M ay 13 and 1 4 b y the violin will be premiered by Gaë lle Belot, Szymon Kaç a and soprano Jeanne Crousaud at the Fondation Camargo in Irène Lecoq at the Médiathèque in Ivry-sur-Seine. D ans Cassis (Marseille), during the Festival Propagations of l’ombre des anges for flute, clarinet, cello and percussion, GMEM - Centre National de Création Musicale in and L ucioles f or flute, clarinet, accordion, percussion, Marseille. A u dehors f or clarinet, violin, cello and piano, violin, cello and electronics will be played on J uly 3 at the En découverte for two violins and electronics, and Réfectoire des Moines of the Abbaye de Noirlac, Bruère- Germination f or ensemble and live electronics will be Allichamps, by the Ensemble Cairn directed by Jérôme played on J une 10 at the Cité de la Musique in Romans- Combier. sur-Isère by the Ensemble L’Itinéraire directed by Lèo 9 Leonardo Marino Erosive Force

On May 28 at the Festival “Canne al Vento” in Bolzano, opera Huit minutes (nous y sommes presque) . “Every New work for voice the world premiere of Gutta cavat lapidem for soprano was evening it all starts again. Patricia calls her sister Irene and and an ambitious given by Laura Catrani, who will repeat the work on June 1 asks her the same questions, over and over, until they both theatre project at the Palazzo Ducale in Mantua for Trame Sonore, fall asleep: ‘How long have we been alone? Will we ever be Mantova Chamber Music Festival, and on June 21 in free from anxiety? Are we against renovation? Have we Macerata, for the Associazione Musicale Appassionata. The stopped believing in the possibility of another world?’. Every composer explains: « Gutta cavat lapidem is a short piece evening Irene listens to her. Every evening she would like for soprano commissioned to me by Laura Catrani. Laura’s to answer but doesn’t know what to say. To stop the sun only request was that I should write a piece from disappearing, there should be new around the theme of water. After accepting the ceremonies and new rituals. They should challenge and after some doubts about how to combine song, dance, music and language. We represent this theme, I concentrated on the should give our trust to new gods and, maybe, erosive force of this vital element. The text is in raise our faith in humanity to its highest point. It fact based on two proverbs, one Latin and one will be necessary to confirm the possibility that Andrea Mannucci Sicilian, which describe exactly the same another world might exist, before thinking that phenomenon: “gutta cavat lapidem” (water this one might disappear. We must convince The Sonatina for guitar was pierces stone) and “comu ci dissi l’acqua a la ourselves that this isn’t the end of the world, but given its world premiere on petra: dammi tempu ca ti perciu” (as the water the end of a world. And, maybe, in eight minutes, May 30 during the XIII said to the stone: give me time and I’ll make a exactly the time that light takes to travel between Festival of the NED hole in you). The theme of obsessive the Earth and the sun, we will finally be able to Ensemble “Music Light, la perseverance and the oxymorons of repetition that is never say: ‘Nous y sommes presque’, we are almost there”. leggerezza nella musica the same and of the infinite strength of weakness are These are the words with which the librettist Pablo Jakob d’oggi”, in a concert live- reflected in a composition that is apparently simple but is describes the opera and, like in a cinematographic teaser, streamed from the full of challenges for the singer and requires great skill in hopes to leave the reader wanting to know more. The Auditorium Celesti in rhythmic independence. In fact, the piece also foresees the spectacle, which will be put on at the end of this Summer, is Desenzano, with Mattia use of two claves and some extended vocal techniques that at once an opera and not. It is a choral work in which there Fogato. Three pieces amplify them. The composition is based on an intricate are no secondary or main characters. The performers (“Chiuso, Destino, network of virtual counterpoint and overlapping rhythms, represent a collectivity united in a ritual to stop the sun from Esperienza”) from the Suite balanced, though, by a fresh melodic simplicity that renders disappearing. Also the audience is invited to join in this 7 parole for piano quintet the piece light in its insidious violence». The first collectivity and thus this ceremony. The various disciplines can be heard on August 13 performance of Huit minutes (nous y sommes presque) , involved in the spectacle are organized in the same way: all in the Parco dell’Idroscalo in opera in five parts on a libretto by Pablo Jakob, will take have equal value and all will help us to delve more deeply Desenzano in a concert of place on September 1 , 2 and 3 at the Cube of the Haute into this rite. The operatic, theatrical, choreutic elements, the NED Ensemble. They École d’Art et de Design in Geneva for the La Bâtie-Festival the performance, video art, all merge in the final song of a will be played by the de Genève, with Lara Khattabi, Estelle Bridet, Iga Caban, humanity on the verge of collapse, in a snapshot of human Quintetto NED Ensemble: Marie Hamard, Anthony Rivera, Raphaël Hardmeyer, culture that is trying to save itself. The final result, in our Miranda Mannucci and Solène Schnüriger, Elie Autin, and the orchestra of the intention, is an all-round experience of musical theatre. One Louise Antonello violins, Haute Ècole de Musique de Genève conducted by Clement of things that inspired me in writing the music as well as in Lorenzo Boninsegna viola, Power, with the stage direction of François Renou, sets by planning the dramaturgical scheme, along with Pablo Afra Mannucci cello and Claire Van Lubeek, costumes by Clémentine Küng, Jakob, was the Voyager Golden Record, the disk sent into Andrea Mannucci piano. interaction design by Yann Longchamp, and Julien space in 1977 together with the two Voyager space probes. The first performance of the Aleonard as sound engineer. The composer introduces the This disk is nothing other than a testimony of human culture entire Suite is scheduled for work: «The Grand Théâtre de Genève (GTG), the Comédie for the use of whoever finds it. The utopic idea was this Autumn at the Festival de Genève, the Haute École d’Art et de Design (HEAD), the therefore to create a cultural testimony to sacrifice in a ritual di Nuova Consonanza in Haute Ècole de Musique de Genève (HEM), the to save humanity from a certain fate. The creative process Rome. Manifacture - Haute Ècole des Arts de la Scène, the Institut was emotional and cost me a great effort because I started Littéraire Suisse de la Haute Ècole des Arts de Berne, in writing the score some weeks before the first lockdown and collaboration with Flux Laboratory, the Abri and La Bâtie- finished it in the full pandemic. Writing and speaking of the Festival de Genève, have opened the doors to a new sacrifice of culture, of the end of humanity and the desire generation of artists and creators to rethink the format, for a new world was very demanding, but I think that, due to genre and creative process of opera. For this purpose, 14 the dramatic contingency, the act of composing was young artists are offered a residence to plan, stage and impregnated with a sincerity otherwise impossible to attain present to the public a multidisciplinary contemporary and, we hope, impossible to repeat». opera. The result of this first edition of OperaLab is the Malika Kishino Organ premiere Living Organism in Germany

On A ugust 15 at the St. Reinoldikirche in Dortmund, mixture makes life and music wonderful». M onochromer during the Orgelfestival Ruhr, the organist Anna-Victoria Garten III for timpani will be the compulsory piece for the Baltrusch will give the world premiere of Air Song for organ. second round of the third edition of the international The composer tells us: «In his lyric T alismani Goethe wrote competition organised online from Lyon between J une 14 “In the act of breathing there are two gifts of grace: taking in and July 23 in the context of the RIT-Infinity, Rendez-vous the air and being relieved of it. The former oppresses, the Internationaux de la Timbale. On A ugust 18 in the Kirche latter refreshes; life is so wonderfully mixed. Thank God St. Johann in Davos, Switzerland, during the Davos when he burdens you, and thank him again when he sets Festival, H immelwärts/Vers le ciel for flute, percussion, you free”. A pipe organ is a living organism, with mobile violin, viola and cello will be played by the Ensemble des parts and a respiratory system, all integrated within a Davos Festival. Finally, the newly released CD of Shiniti complex. In A ir Song I attempted to represent this organism Uéno, T impani Works - Vol. 1: Solo (ALM Records ALCD- through contrasts like breathing in and out, oppression and 7254), contains the first ever recording of M onochromer release, tension and relaxation… As Goethe writes, this Garten III. 10 Javier Torres Maldonado Changeable Spatialization

Ancienne chanson corse: un portrait imaginaire is the title reality to belong to a more ancient vocal polyphony from of the new work for twenty male voices divided into four the 10 th century); it is a traditional secular song that is New choral work inspired by groups in space. Its first performance will be given on practically a lamentu . Thanks to its character, this structure the Mediterranean tradition August 23 at the Collégiale Saint-Georges in Saint- was used for a letter written to his mother by Stefanu Paulien, during the Festival de La Chaise-Dieu, by the Luciani, prisoner of the Prussians during the Franco- Chœur Spirito directed by Nicole Corti. The premiere Prussian war of 1870. The letter expresses all the bitter will finally take place after the cancellations of two sorrow that Luciani feels in his cell. I have not used appointments originally scheduled for Summer 2020, again only static polychoral techniques: the ideas linked to at the Festival de La Chaise-Dieu, and for March 12 this “changeable music” or more explicitly to “music with year at the Sémaphore in Irigny. The composer tells us: changeable spatialization” represent an area of research I «This work was born from an invitation from Nicole Corti to have been exploring for some years now and is applied in create a work inspired by traditional Corsican music and several of my more recent instrumental pieces, like Móvil, derives from my admiration for this wonderful repertoire. cambiante (2017, written for the ensemble Klangforum The relative project received the “Aide à l’écriture d’une Wien) for 14 players, ten of whom make movements in œuvre musicale originale” from the French Ministry of space while they are playing, or High Over the Distant Culture in 2020. My interest in the traditional music of Horizon (2018, to mark the sixtieth anniversary of the different cultures is not new: in works like Exabrupto electronic music studio of the Mozarteum) for piano, (1997/98) for three groups of instruments, a pianist and microtonal electric organ, cello, four players in movement a percussionist, or Ximohua (1997) for tenor and wind and electroacoustic system. These techniques combine quintet, but also in other works from the early 2000s up to compositional processes with spatial trajectories and my chamber opera Viaje (2015), it is possible to note a dynamic polychoral actions (that is, performed by the personal interpretation of some rhythmic and polyrhythmic musicians in movement), where the relation between the characteristics of different traditional American musics, two is conceived as unitary. The general idea underpinning linked to my geographical origin. However, my interest in the piece is to establish different relations between musical traditional music is not limited to that of a single continent: universes linked above all by their expressivity. The title, in pieces like Juegos fantásticos (2012) for three children’s Ancienne chanson corse: un portrait imaginaire , alludes to choirs, female choir, didgeridoo and electronics, I tried to the search for a poetic dichotomy that develops between Niccolò Castiglioni extend this highly spiritual and emotional relationship the process of composition and the original material. The through the appropriation of musical elements from more work is divided into two formal blocks, the first consisting of On May 31 at the Teatro distant cultures, like that of the Australian aborigines or the a “spazialized” transcription of the lamentu in static blocks, Verdi di Padova, the Arabic music of North Africa. In Juegos fantásticos there is while the second (the “imaginary portrait”), features more Orchestra di Padova e a utopian idea that consists in searching for a thread of abstract transformations of the original material, all moving del Veneto conducted Ariadne, a continuity between the traditional music of in space, that take place in a clear manner thanks to an by Pasquale Corrado different cultures, their musical elements and my work as a alchemy that permits reworkings, recompositions and performed the Fantasia for composer. Although my output clearly belongs to the world expansive deformations, regarding both the use of space orchestra of 1952. It was of contemporary music and is characterized by a constant and the characters of the Corsican traditional music, the first performance of the search for an abstract musical language, in some works I combined with more personal ideas and techniques. The score recently published by nevertheless explore the expressive possibilities deriving resulting formal contrast is characterized by the confluence ESZ in collaboration with from a more open approach towards other musical of two apparently distant musical worlds, where the the Fondazione Giorgio realities, as long as this does not imply any drastic assimilation of the usages of traditional Corsican music is Cini. changes in style. Having lived in Italy for over twenty years, the key to a stylistic unity underlying the work». Finally, I have had the opportunity to encounter many other kinds … en el aire… for female voice and five players will be of traditional music from the Mediterranean area, including given its Italian premiere by the Syntax Ensemble directed that of Corsica. So the material that forms the basis of this by Pasquale Corrado on July 9 at the Castello Caetani in composition is an ancient song from the island, used until Sermoneta during the 57 th Festival Pontino di Musica, the 19 th century as the musical structure for the versu Incontri Internazionali di Musica Contemporanea. piuvisgianu (even though this musical structure appears in Bruno Maderna Musical Party Edizioni Suvini Zerboni are issuing a previously hands in the future» (in a letter of 1969 Lüske imagined unpublished chamber piece by Bruno Maderna, Serenata using Maderna’s piece to conclude a programme of music Release of a previously per Luisa for piccolo, clarinet in B b, two trumpets in C and and theatre dedicated to young people that would be held unpublished divertissement two trombones. Edited by Angela Ida De Benedictis, the in a new small theatre in The Hague), in three movements for winds score dates back to the close friendship established (in Lüske’s description it is in three movements “Tempo di between the composer form Venice and Johannes marcia”, “Valse”, “Moderato”, but in the score there is only Andreas Hubertus Lüske, artistic director of the Residentie the marking “Moderato”) will be played in its new critical Orkest of The Hague with whom Maderna worked for a edition published in collaboration with the Paul Sacher whole decade. A bubbling piece, with contagious gaiety, Stiftung on June 19 at the Musik- und Kulturzentrum Don the Serenata , datable at 1968 ca., was inspired, as Lüske Bosco Basel, during the final concert of Sonic Space himself revealed no earlier than 1999, three years before Basel, with the Sonic Space Basel Alumni Ensemble his death, by a barbecue in the shape of a dinosaur for conducted by Mike Svoboda. On June 20 in a concert whose inauguration, during a «cheerful party» in honour live-streamed from the Auditorium Celesti in Desenzano, of Maderna and the wind section of the orchestra, «this during the XIII Festival of the NED Ensemble “Music light, composition was performed several times with huge and la leggerezza nella musica d’oggi”, the soloists of the NED increasing success and a cast that grew larger as the Ensemble Miranda Mannucci and Sara Capone will play members of the orchestra arrived», to the extent that the Per Caterina and Serenade für Claudia for violin and uproar attracted the police, as Lüske’s widow recalls. piano. On August 27 in the Concert Hall of the Art Tower «This delightful miniature», that the dedicatee, who was Mito of Mito City (Japan) the Ensemble Intercontemporain also a trombonist, hoped would not fall «into indifferent will play Serenata n. 2 for eleven instruments. 11 Daniela Terranova The Image of Memory Two world premieres, a radio broadcast and a performance Scratching Memories for piano, previously scheduled for Two chamber premieres in a concert characterise these months for Daniela Terranova. February 20, was given by Mathilde Hoursiangou. The work in Florence and Graz The first performance of A Fleeting Image in the Moving was commissioned by the University of music and performing Water for cello will be given on June 22 in the Chiostro of the arts in Vienna, in the context of the project “Saiten-Tasten, Accademia di Belle Arti in Florence, with the soloist Vittorio Innenraumstudien für das andere Klavier”, and with the Ceccanti, during the series “New Life - Isolamento e musica ai support of the Ernst von Siemens Musikstiftung and SKE- tempi del lockdown”, promoted by the ContempoartEnsemble Fonds Austro Mechana. The composer introduces her new for Estate Fiorentina and shared between two concerts of work: « Scratching Memories opens with a scratching solo pieces commissioned to various composers: a project exploration of the string-board, from which clusters of originally planned for last Autumn and now rescheduled. The harmonic sounds emerge, organized in a rhythmic structure composer explains: «From an iridescent mixture of harmonic that combines fragile resonances of muffled sounds and sounds, fragments of a song emerge, fragile and fluctuating, percussive gestures. The metamorphosis of the opening interrupted by trills of harmonic notes that break up its elements expands the gesturality of the player until building substance. The voice of the cello has increasingly blurred a rich and changing texture that integrates the physicality edges, it seems raucous even in the upper register and enacted inside the instrument with fragments played on the presents itself to the listener with alternating identity and keyboard. The attention drawn towards the gesture of the difference, at times allowing itself to be swallowed up among performer elicits a careful and subtle listening that allows the the folds of a thready texture, until then returning to the perception of the physicality of the sound». On April 19 , in surface. Metaphorically, the image recalls the ephemeral preparation for a radio programme, Black Ink on Rice Paper nature of memories that are mixed with the assorted elements for violin, viola and cello was recorded at the studios of the of dreams. The title is a quotation from Eugène Ionesco, who BBC in London, with the Fidelio Trio; it was broadcast on May in the inconsistency of memory deeply perceives the unreality 22 during the BBC’s New Music Show. On July 4 in Franz and fleeting nature of the world and of human existence: Marc Museum in Kochel, during the Code Modern Festival, image fugitive dans l’eau mouvante ». On August 20 in Graz, the Trio Coriolis will perform Rainbow Dust in the Sky for during the Festival Open Music, the world premiere of string trio. Giorgio Colombo Taccani Poetic Digressions On September 5 , during the Festival Internazionale di the contemporary scene. The composer writes: «For the Ceramics and nature Musica in Savona, the new version of Al terzo foco for second year running, Suoni in Cammino asked me for a inspire vocal narrator, female voice, small choir and ensemble on a text short vocal work linked to the themes of the series, as chamber works by Pier Luigi Berdondini, will be performed by Francesca always shared between music and excursions, observations, Tripaldi, Akiko Kozato and the instrumental wanderings, in the wonderful and vocal ensemble Nuove Musiche directed natural park of Monte di Portofino. In view of the by Huba Hollókői, with stage direction by ornithological theme of the 2021 edition, I thought of Marco Ghelardi. Colombo Taccani introduces using four very short poems by Toti Scialoja (three the work: « Al terzo foco , with its text devoted out of four have only four lines and the other has just to the art of ceramics, represents the first step a few more…), characterized, typically for the author, in collaboration with Pier Luigi Berdondini that by extreme lightness and always involving highly will result in various other pieces over the refined plays of words and constant alliterations. Four coming years. This new version has just one images of birds (a thrush, cranes, a kite, a seagull) female voice alongside the narrator, instead of which are transformed musically into short pieces the previous two, but they are now joined by bordering on aphorism, in a setting that is deliberately a small mixed choir. At the same time the simple but – one hopes – not shallow». On May 29 at instrumentation passes from the trio consisting the Museo Temporaneo Navile in Bologna, Manuela of an oboe, bassoon and piano to a larger ensemble of six Rasori performed Amans, supplex for solo voice and, joined instruments, namely flute, clarinet, piano, percussion, violin by Elisa Prosperi, Diana, luna , for two voices on extracts and cello. While the narrative structure remains mostly from Ovid’s Metamorphoses . On June 1 , Nox, tellus for solo unchanged except for a very limited number of new episodes voice, again on extracts from Ovid’s Metamorphoses , will be involving in particular the newly introduced small choir, all the video-streamed during the Divertimento Ensemble’s series aspects regarding the instrumentation inevitably need to be Young Performers on Digital Stage, with Federica Cassati. rethought and perfected, with a broadening of the ideas and Richiamo da lontano and Richiamo da vicino for flute and play of timbres already present, albeit in a limited way, in the clarinet will be played by the soloists of the Ensemble previous version». Ali senza peso for mixed vocal quartet on Gli Intrigati on July 21 in the context of the Cantiere texts by Toti Scialoja will be given its world premiere on Internazionale d’Arte in Montepulciano. Finally, on July 27 , September 18 during the series Suoni in Cammino in the the duo Giacomo Copiello and Giacomo Susani will play Chiesa Millenaria in Ruta, at Camogli. It will be performed by A Perfect Beat of for two guitars at the Istituto Italiano di the Ring Around Quartet, a group that has for some time Cultura in Berlin. divided its work between ancient music and excursions into Carlos Roqué Alsina

The Trio Ernest played T rio 2019 f or violin, cello and piano on Provence, during the series Les Nuits Pianistiques d’Aix-en- May 9 in the Salle des Abeilles of the Palais de l’Athénée in Provence, with the Orchestre Symphonique de l’Opéra de Geneva and on J une 6 in the Chapelle du Méjan in Arles for Toulon conducted by Valentin Donni. Carlos Roqué Alsina will the Matinées Musicales d’Arles. The K lavierstück 7, three feature both as performer and composer in a double CD to studies for piano, will be played on J uly 23 at the Plage be released shortly by the label Forgotten Records. They Musicale en Bangor in Belle-Île-en-Mer by the pianist Carine will include the S uite f or piano and magnetic tape, F ormes Zarifian. F antaisie f or clarinet and orchestra and S uite et figures f or string quartet, B elgirate for violin and the 3 indirecte for orchestra will be played on J uly 31 at the Canciones Op. 1 for soprano and piano on a text by William Auditorium du Conservatoire Darius Milhaud in Aix-en- Shakespeare. 12 Maurilio Cacciatore Maximum Speed A world premiere and a work in progress characterise precise fingering different from those commonly used, as for these months for Maurilio Cacciatore. The first performance example in the notation of multiphonics, is cumbersome and Chamber premiere in of Breve IV for clarinet in B flat will take place on June 29 difficult to read when various fingerings in sequence are Florence and ongoing in the Chiostro of the Accademia di Belle Arti in Florence, necessary. The more signs necessary for the notation, the teaching project soloist Giovanni Riccucci, during the project “New Life - harder it is to decipher, study and memorize them. The Isolamento e musica ai tempi del lockdown” promoted by second problem concerns consequent variation in the the ContempoartEnsemble for the Estate Fiorentina and pitches obtained. The suppression even of just one key by consisting of two concerts of solo pieces commissioned to a fingering produces pitches that differ from the traditional various composers: a project originally planned for last ones; in particular, using an instrument entirely “assembled”, Autumn and now rescheduled. The composer explains: that is, with a mouth piece, neck and body or else just one «The Brevi are an unplanned cycle started as a sort of game part of it, the results obtainable are different. It is often a as homages for the tenth anniversaries of some ensembles question, in partially assembled instruments, of non (Breve I and II ) and which then with the pandemic acquired tempered scales which have never been studied in depth new numbers on request of friends and other institutions. and yet it is the same on all the instruments of the same Conceived as concert encores or as opening pieces, they type irrespective of their material and make, and so a are virtuosic and of great scenic impact. In this number, the formalization is possible. Discovering that an instrument can clarinet exploits the maximum possible speed from the base its physiology on a non tempered scale can be a great player to create a virtual polyphony, first in two voices and point of interest for a composer. In the case of this study, then three, possible only by fully dominating the breath and they are pieces of a pedagogical nature, that is conceived registers». The cycle of Brevi will continue with two for younger students, and this makes the task arduous but imminent recordings between May and June involving fascinating. The four pieces, the first two for alto saxophone, Breve III for viola, played by Clara Belladone, and Breve VII the third for tenor and the fourth for soprano, all with for harpsichord, played by Luca Quintavalle. The composer electronics, are in a progressive order of difficulty for is currently engaged in a work still in progress, Ho fatto the cycles of study from the first to fourth, according to amicizia coi folletti , four teaching pieces for alto, tenor, the academic classification of the courses at French soprano saxophone with electronics, commissioned by conservatories. The difficulty of the combinations grows with the French research centre Art Zoyd Studios. Cacciatore the increase in age of the young players, who are given the explains his new project: «After the piece Ecco perchè chance to discover a hidden but fun side of their instrument, ho paura dei folletti for double bass flute, video and live enjoyable and like transforming a wind instrument into a electronics, this work is the continuation of a cycle that will percussion one. The title therefore alludes both to the playful probably have another number in the future. The basic idea atmosphere of the pieces and my own awareness of the is again that of using sounds produced by clicking the keys compositional possibilities offered by this kind of technique of wind instruments. Thinking carefully about the technique, in the saxophone family (for those used here, given that the outcomes are not so obvious and there are currently no additional studies are needed to extend the same studies exploring this genre. Depending on the keys struck techniques to saxophones of different sizes to those and the fingering adopted, the timbre of these small sounds, involved in this work). A special thanks goes to the enlarged by amplification and enriched by various live saxophonist Serge Bertocchi, architect of this project elaborations, varies in a considerable but deterministic and the intermediary with his saxophone class at the manner. The use of non standard fingering leads to two Conservatory Amiéns, and for the commission from Art types of problems. The first is semiographic: the notation of Zoyd Studios». Stefano Gervasoni

The monographic CD Muro di canti has been released on the Salle des Concerts of the Philharmonie de Paris, at the the label Kairos (15082KAI), featuring three important works Cité de la musique in Paris. On June 8 at the Scuola della composed by Stefano Gervasoni between 2015 and 2017. Carità in Padua, during the season of Amici della Musica di The works in question are Altra voce. Omaggio a Robert Padova, Tommaso Luison will play Folia (Omaggio a Aldo Schumann for piano and transparent electronic device, Fu Clementi) for violin. Ansioso quasi con gioia for bass clarinet verso o forse fu inverno , six poems by Lorenzo Calogero for will be played by the soloist Loadbang Adrian Sandi on mezzo soprano, piano and live electronics, and Muro di June 10 at the Center for 21 st Century Music of the canti , “multichannel time-evolving sound installation” on University at Buffalo (New York), during the June in Buffalo texts by Giacomo Leopardi, Lorenzo Calogero, Bartolo Festival, to be repeated on June 14 at Longy’s Divergent Cattafi, Alfonso Gatto and Leonardo Sinisgalli. They are Studio at the Longy School of Music of Bard College, performed by the mezzo soprano Monica Bacelli and the Cambridge (Massachusetts). Nube obbediente for trombone pianist Aldo Orvieto, with Alvise Vidolin on live electronics and percussion will be given its Italian premiere on July 20 and sound direction, and Marco Liuni, computer music at the Accademia Musicale Chigiana in Siena during the design. On May 6 the Ensemble Intercontemporain directed Chigiana International Festival and Summer Academy 2021, by Matthias Pintscher performed Eufaunique (first and with Ivo Nilsson, trombone, and Antonio Caggiano, second part) for ensemble, in a concert live-streamed from percussion. Ennio Morricone

Gabriele Galvani, soloist of the NED Ensemble, played Prosseda, with repeated performances on June 9 in the the version for bass clarinet of Come un’onda… on May 23 Chiesa di San Bernardo in Salerno, and on August 3 at in a concert live-streamed from the Auditorium Celesti di the Teatro del Giglio in Lucca for the Opera Barga Festival. Desenzano during the XIII Festival of the NED Ensemble 2 TT x 4 for flute, clarinet in B flat, violin and viola will be “Music light, la leggerezza nella musica d’oggi”. On June 6 , played on June 12 at the Haute École de Musique (HEM) in the same venue and festival, Carlotta Bellotto and Andrea in Geneva by the students of the school, for the chamber Mannucci will perform, again live-streamed, Bella quanno te music exam. Roberto Prosseda again will play the Quattro fece mamma tua, Roman folk song for soprano and piano. Studi for piano on July 25 at the Accademia Musicale Rag in frantumi and a selection from Quattro Studi for piano Chigiana in Siena during the Chigiana International Festival will be played on June 8 in Villa Pignatelli, Naples, for the and Summer Academy 2021. Associazione Alessandro Scarlatti, by the pianist Roberto 13 Marco Quagliarini Orchestrations of Puccini and chamber work in Florence Apparent Sound The Decca CD Passione (UPC 00028948515097), recorded “New Life - Isolamento e musica ai tempi del lockdown” by the tenor Freddie De Tommaso with the London promoted by the ContempoartEnsemble for the Estate Philharmonic Orchestra conducted by Renato Fiorentina, two concerts will be held presenting solo Balsadonna, features a series of songs by Italian pieces commissioned on this theme to various composers ranging from Bellini to Respighi in an composers, a new scheduling of events originally orchestral version. For this recording initiative, planned for last Autumn: on June 22 the world premiere Marco Quagliarini purposely made new of Marco Quagliarini’s Orme for viola will be given by orchestrations of the two chamber songs by Anna Serova in the Chiostro of the Accademia di Belle Giacomo Puccini Mentìa l’avviso and Sole e Arti in Florence. The composer reflects: «Apparent amore . The two orchestrations are part of a sound: the sound is an event turned to the past. The project that for now has produced a first cycle of trace of something that has been. A blurred image. five pieces titled Canti (Parte I) for voice and orchestra, and Amnesia of a distant time. Attempt to reconstruct an image listed as: I. Crisantemi - II. Mentìa l’avviso - III. Sole e amore - through an elusive sound ». IV. Terra e mare - V. Morire? . In the context of the project Andrea Manzoli The timbre of the cello protagonist of a new recording Syncretic Key

The newly released CD of Fernando Caida Greco Cello in detail. This situation has led to the creation of Abstract Extension. Opere per violoncello solo del XXI secolo (Tactus Passage , six pieces for cello composed by Andrea Manzoli TC 960004), includes a recording of Abstract Passage in 2015 that are based on a scheme on which the performer for cello. Emiliano Giannetti writes in the booklet: improvises following further indications that the «The meeting between Fernando Caida Greco and composer provides during the performance. The Andrea Manzoli marks a decisive step towards the sound is the only element that participates in the identification of a syncretic stylistic key, able to unite realization of the form, through the extemporary the ancient Italian tradition with the avant-gardes. exploration of the sound itself. A “guided” […] Their collaboration has led in a short space of improvisation where the ear assumes a light but not time to the exploration of new sonic experiences, irreverent attitude towards the physical score. The until reaching a particular blend of composition and peculiarity of Abstract Passage lies in the unique improvisation that offers both aspects the chance relation between composer and player, in which the to perceive a wider potential of the instrument in roles do not follow the canonic hierarchical division, question. Thus we discover a cello that is “iridescent”, but merge to give rise to an unwritten music, which can vary timbrally “multiform”, that allows each of the smallest at each performance». nuances of frequency and articulation to be translated Goffredo Petrassi - Luigi Dallapiccola Classic at the Keyboard

The label Piano Classics (Brilliant Classics, PCL10222) has (1950) and Oh, les beaux jours! (1942-76). Dallapiccola is Double CD with released the double CD Petrassi Dallapiccola Complete Piano represented with three works: the challenging Sonatina complete works Works , containing the complete works for piano canonica su “Capricci” di Niccolò Paganini (1943), Tre for piano by two of the most eminent Italian composers of episodi dal balletto “Marsia” (1949) and Quaderno the 20 th century, both born in the same year. The musicale di Annalibera (1951-52). Forthcoming works are played by Andrea Molteni, a young performances of Dallap iccola’s music include Il

pianist, pupil of the AmericanWilliam Grant Prigioniero – a pro logue an d an act from La torture par Naborè, who in around 1960 had the opportunity l’espérance by Villiers de l’Isle Adam and La légende

to frequent Petrassi at the Conservatory of Santa d’Ulenspiegel et Lamme Goedzak by Charles de Coster

Cecilia. Each CD is devoted to one composer, – due to be p e rfo rmed in Amsterdam in the Grote Zaal th featuring classics of the 20 century and some of the Het Koninklijk Con certgebouw on June 5 . It will rarities, longer works and miniatures, revolving be interpreted by Jasmin Etezadzadeh, mezzo-soprano

mainly around the years of the Second World WarT. T his is ( La Ma d re ), Le ster L ynch , b ari to ne (Il Prigioniero), John

an area of the keyboard repertory not commonly explo r ed, Da sz ak, t eno r (I l Car c erie re , Il G rande inquisitore), Morschi

highlighting the stylistic orientations of the coeval mu s ical Fr anz, t enor (P r imo Sa ce rdo te), S am Carl, bass-baritone

scene, from neoclassicism to dodecaphony. The work s b y ( Se con do S ac erd ot e), the G root Omroepkoor and the Radio

Petrassi include Partita (1926), Toccata (1933), the m in ute Fi lh a rm onis ch O rke s t, co ndu cted by Franck Ollu.

Piccola invenzione (1941), Invenzioni (1944), Petit piè ce

Gilberto Bosco o

New chamber work from two notes of Beethoven

Marked Alea s

A world premiere for Gilberto Bosco on May 16 in and a few intervals taken from that work. (My automatic th Desenzano. The 13 Festival of the NED Ensemble “M usic co rre ctor w rote “pe rsi” [“lo s t”] in place of “presi” [“taken”] and I light, la leggerezza nella musica d’oggi” included, in a live - thi nk it was probably right). For a piece that is almost a series streamed concert from the Auditorium Celesti, Elisa Elisa for of writte n improvisations, an alea that is marked and a little

flute, with the soloist of the NED Ensemble Chiara Picchi. The fantastic , open to interpretation. Ludwig (and Arnold) are the first live performance will take place on September 5 in the only two masters I have really tried to learn something from. Chiostro of the Cappella Sistina in Savona during the series I hope they will forgive me and will have fun listening to this Ensemble Nuove Musiche, Festival Internazionale di Musica piece». Serenata V for flute, clarinet, violin, cello and piano di Savona, with Filippo Del Noce. Bosco explains: «Two notes can be heard in September performed by the Gruppo Musica of Beethoven (E D sharp, E D sharp… exactly those ones) Insieme, in the context of SpazioNovecento in Cremona. 14 FFPFiiirrrriPsmstsr etWi metWos reelWdc oeu Prszelieodorfnco iuPr ramzselaisdornofncluoe its Peramsesaornlufctoee s rma FJUiNE rst WCaterina Di Coecca rldMarc o QuaPgliarini er F LA TERRA E LA MORTE ORME Leonardo Marino for mixed choir and seven instruments for viola GUTTA CAVAT LAPIDEM on texts by Cesare Pavese Firenze, ContempoartEnsemble, Estate for soprano solo (Commission by Fondazione Petruzzelli) Fiorentina, Chiostro dell’Accademia di Belle Mantova, Trame Sonore, Mantova Chamber Bari, “Aus Italien”, Istantanee musicali di otto Arti, June 22 Music Festival, Palazzo Ducale, June 1 compositori italiani, Teatro Petruzzelli (online Anna Serova, viola Laura Catrani, soprano streaming), June 19 Orchestra and Choir of Teatro Petruzzelli Simone Cardini Michele dall’Ongaro conductor: Fabrizio Cassi LINEE DI ERRANZA VOYNICH for ensemble for eleven strings Bruno Maderna Milan, Conservatorio “G. Verdi”, Final concert Padova, Veneto Contemporanea, Palazzo SERENATA PER LUISA of the Prize of composition, June 26 della Ragione, June 4 for piccolo, clarinet, two trumpets and Mdi Ensemble Orchestra di Padova e del Veneto two trombones conductor: Marco Angius (Premiere of the score edited by Angela Ida Ivan Fedele De Benedictis in collaboration with Paul HYBRID Michele dall’Ongaro Sacher Stiftung) Concerto for (hybrid) organ and orchestra TRE CAN ZON I SI CILIAN E Basel, Schlusskonzert Sonic Space Basel, (Commission by ONPL and Festival for cello and string orche stra Don Bosco, June 19 Printemps des Orgues) Padova, Veneto Contemporanea, Palazzo Space Basel Alumni Ensemble Angers, Centre de Congrès Jean Monnier della Ragione, June 4 conductor: Mike Svoboda d’Angers, June 27 Francesco Dillon, cello Baptiste-Florian Marle-Ouvrard, organ Orchestra di Padova e del Veneto Alessandro Solbiati Orchestre National des Pays de la Loire conductor: Marco Angius IL SILENZIO E IL CANTO conductor: Stanislav Kochanovsky Virtual opera for female singing Simone Cardini voice/voices, male speaking voice/voices Ivan Vandor LA TENTATION D’UNE PENSÉE and seven instruments/orchestra on texts IMPROMPTU MINIATURE for soprano and double bass by Homer, Rilke, Kafka, Pascoli and for cello on a text by Fernando Pessoa Tennyson Firenze, ContempoartEnsemble, Estate Tours, ATMusica, Chapelle Saint-Libert, Milan, Divertimento Ensemble Digital Stage, Fiorentina, Chiostro dell’Accademia di Belle June 5 June 19 Arti, June 30 Mathilde Barthélémy, soprano Divertimento Ensemble Vittorio Ceccanti, cello Charlotte Testu, double bass Alessandro Solbiati Maurilio Cacciatore Aldo Clementi SECONDA SINFONIA DA CAMERA BREVE IV VO M HIMM EL HO CH for fifteen players for clarinet for keyboard or four instruments (Avant-première) Firenze, ContempoartEnsemble, Estate (Premiere of the version for piano, violin, La Chaise-Dieu, Festival de La Chaise-Dieu, Fiorentina, Chiostro dell’Accademia di Belle bass clarinet and cello) Auditorium Cziffra, June 20 Arti, June 30 Parma, Traiettorie 2021, XXXI Rassegna Ensemble Orchestral Contemporain Giovani Riccucci, clarinet Internazionale di Musica Moderna e conductor: Bruno Mantovani Contemporanea, Centro di Produzione Musicale “A. Toscanini”, June 11 Ivan Fedele JULY Ensemble Prometeo FUYU HAIKU conductor: Marco Angius for female voice, bass clarinet, cello Ivan Fedele and percussion WS VARIATION S Alessandro Solbiati Roma, Accademia Filarmonica Romana, for piano ANIMALIA Sala Casella, June 21 (Commission by Fondazione La Società dei Five short pieces inspired by Dante Accroche Note Concerti) for female voice Milan, La Società dei Concerti, Antonio Vicenza, Settimane Musicali al Teatro Nicola Sani Mormone International Prize, Sala Verdi of Olimpico, Palazzo Chiericati, June 12 IL CELLO IN UNA STANZA the Milan Conservatory, July 7-9 Laura Catrani, soprano for cello Compulsory piece for the final phase of Firenze, ContempoartEnsemble, Estate the 1 st edition of the Antonio Mormone Eric Maestri Fiorentina, Chiostro dell’Accademia di Belle International Prize E I TIFONI I MAREMOTI Arti, June 22 for soprano, saxophone and electronics Vittorio Ceccanti, cello Alessandro Solbiati on a text by Camillo Pennati RUFT UNS… Matera, MA/IN Matera Intermedia Festival, Daniela Terranova for soprano saxophone Casa Cava Auditorium, June 12 A FLEETING IMAGE IN THE MOVING (Commission by Claude and Odile Delangle Ensemble L’Arsenale: WATER for the 50 th anniversary of the Campus Livia Rado, soprano for cello Internazionale di Musica in Latina) Ilario Morciano, saxophone Firenze, ContempoartEnsemble, Estate Sermoneta, 57 th Festival Pontino di Musica, Eric Maestri, live electronics Fiorentina, Chiostro dell’Accademia di Belle Incontri Internazionali di Musica Arti, June 22 Contemporanea, Castello Caetani, July 10 Vittorio Ceccanti, cello Claude Delangle, soprano saxophone a FFPFiiirrrrismsts etW etWos relWdcou Przeliodorfno iPr ramselasdrnofcluoe ts Permearnfcoes rma r FIvani Vandror st WCaterina Di Ceocca rldGilbert o BosPco er MEDI TATIV O IL VARCO C HE TU TI AP RIS TI ELISA ELISA for cla rinet, violin and cello for wind quintet for flute Sermoneta, 57 th Festival Pontino di Musica, Saint-Léger-sous-Beuvray (Autun, Saône-et- Savona, Ensemble Nuove Musiche, Incontri Internazionali di Musica Loire), Oppidum de Bibracte, Festival Le Festival Internazionale di Musica di Contemporanea, Castello Caetani, July 11 Vent sur l’Arbre, August 4 Savona, Chiostro della Cappella Sistina, Clara Riccucci, clarinet Ensemble Ars Nova September 5 Duccio Ceccanti, violin Filippo Del Noce, flute Vittorio Ceccanti, cello Malika Kishino AI R SON G Giorgio Colombo Taccani Ivan Vandor for organ AL TERZO FO CO QUA RTET TO CON CL ARIN ET TO Dortmund, Orgelfestival Ruhr, Version for narrator, female voice, small for cla rinet, violin, cello and piano St. Reinoldikirche, August 15 choir and ensemble on a text by Pier Sermoneta, 57 th Festival Pontino di Musica, Anna-Victoria Baltrusch, organ Luigi Berdondini Incontri Internazionali di Musica Savona, Ensemble Nuove Musiche, Contemporanea, Castello Caetani, July 11 Daniela Terranova Festival Internazionale di Musica di Clara Riccucci, clarinet SCRATCHING MEMORIES Savona, Chiostro della Cappella Sistina, Duccio Ceccanti, violin for piano September 5 Vittorio Ceccanti, cello (Commission by University of Music and Francesca Tripaldi, narrator Matteo Fossi, piano Performing Arts Vienna) Akiko Kozato, mezzo-soprano Graz, Festival Open Music, August 20 Marco Ghelardi, stage direction Federico Gardella Mathilde Hoursiangou, piano Ensemble Nuove Musiche ELSE conductor: Huba Hollókői Opera in one act Javier Torres Maldonado Libretto by Cecilia Ligorio from Arthur ANCIENNE CHANSON CORSE Maurizio Azzan Schnitzler’s “Fräulein Else ” UN PORTRAIT IMAGINAIRE TIME CHANGES THE MEMORY OF (Commission by Fondazione Cantiere for twenty male voices divided into 4 THINGS Internazionale d’Arte di Montepulciano) groups in space for piano Montepulciano, Cantiere Internazionale Saint-Paulien, Festival de La Chaise-Dieu, (Commission by Amici della Musica di d’Arte, Teatro Poliziano, July 31 Collégiale Saint-Georges, August 23 Firenze) Maria Eleonora Caminada, soprano Chœur Spirito Firenze, FFF Fortissimissimo Firenze Alda Caiello, alto conductor: Nicole Corti Festival, September 16 Leonardo Cortellazzi, tenor Axel Trolese, piano Michele Gianquinto, bass Ivan Fedele Ensemble Risognanze GA LILE O’ S JOU RNEY Giorgio Colombo Taccani stage direction: Cecilia Ligorio Multimedia opera for ensemble, three ALI SENZA PESO scenes and costumes: Domenico Franchi female voices, electronics and visuals for mixed vocal quartet conductor: Tito Ceccherini Cividale del Friuli, MittelFest, August 30 on texts by Toti Scialoja Students of the Conservatory in Trieste Camogli, Festival Suoni in Cammino, Luis de Pablo conductor: Marco Angius Chiesa Millenaria di Ruta, September 18 FAN TASI A IN TERR OTTA Ring Around Quartet for viola Sermoneta, 57 th Festival Pontino di Musica, SEPTEMBER Alessandro Solbiati Incontri Internazionali di Musica SECONDA SINFONIA DA CAMERA Contemporanea, July 31 Leonardo Marino for fifteen players Francesco D’Orazio, viola HUIT MINUTES (NOUS Y SOMMES (Commission by Ensemble Orchestral PRESQUE) Contemporain) Opera in five parts Saint-Etienne, September 23 AUGUST Libretto by Pablo Jakob Ensemble Orchestral Contemporain Genève, Haute École d’Art et de Design conductor: Bruno Mantovani Simone Cardini (HEAD), Cube, September 1 CHRSTHAI NOSTOU François Renou: stage direction Simone Cardini for electric guitar Claire Van Lubeek: set designer RESTARE NON HA LUOGO Darmstadt, Internationales Musikinstitut Clémentine Küng: costumes for piano Darmstadt (IMD) , Darmstädter Ferienkurse, Yann Longchamp: interaction design (Commission by Fondation Royaumont) July 31-August 11 Julien Aleonard: sound engineer Paris, Médiathèque Mahler, September 29 Umberto Di Nucci, electric guitar Orchestre de l’Haute École de Musique Claudia Chan, piano (HEM) de Genève, conductor: Clement Power

Constantly updated, at the website www.esz.it you will find the complete performance list of our composers 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