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Interior Image Homages and Messages jun e2018 76 ESZ news Edizioni Suvini Zerboni - Fourmonthly Newsletter Homages and Messages This Summer sees two world premieres for Luis de Pablo. speaks its own language, it is always the “master” that takes On June 30 at the Castello Caetani in Sermoneta, the 54 th the initiative. In the third piece (the present one) the “king” is o Festival Pontino di Musica, Incontri Internazionali di Musica alone, but speaks in three languages, a “polyglot” organ: what l Contemporanea, will include Encore for violin, with Francesco a challenge for the composer in daring to open the door to this b D’Orazio. The composer explains: « Encore was born when stream of voices, each with something different to tell! These a I listened to Francesco D’Orazio’s performance of my violin Riflessi are three very personal Reflejos , almost three P Concerto. After hearing the incredible marvel he accomplished worlds… the first, Fantasia , respects its own name. This I decided to write this short piece, which is a tribute to his “fantasia” doesn’t exist except in music. I offer it to the listener e mastery and, more especially, a mark of my appreciation as a sonic adventure, a stimulus to the act of listening (as d of his admirable, classic perfection and deep artistic suggested by the title). The Corale (Quasi un Corale ) is s understanding of my work. The six minutes’ duration of instead a memory of the past, seen through the prism of the i Encore is a small homage to his talent, his art, his intelligence present: there are two angelic voices that don’t tell us u Two premieres for and his sensitivity». On August 11 Tre riflessi [Tres reflejos] anything in particular, but are simply (simply?) there, the only L two important solo for organ, commissioned by the Associazione Culturale message being their presence. The Litania … “Litany” to instruments “Rapallo Musica”, will be premiered in the Basilica dei SS. whom? Is there a recipient? The composer doesn’t say Gervasio e Protasio in Rapallo (Genoa) by the organist Jean- (maybe doesn’t know). However, he likes to think that the Pierre Lecauday. Luis de Pablo introduces his new work: «It is music and the instrument that serves it are so eloquent as to always hard to write about one’s own music. However, I’ll try suggest it without the need to give any names». On May 12 to do so now because in this case I do it willingly. The organ in the Sala Alfredo Piatti in Bergamo the Achrome Ensemble is an instrument that inspires respect. In my long life as a paid tribute to Luis de Pablo with two works: Dibujos for flute, composer I have tackled this instrument only three times: clarinet, violin and cello, and Pocket Zarzuela for mezzo in Bremen, in Bilbao (my city of birth) and now for Rapallo soprano and five players on texts by José Miguel Ullán. Musica. They were three very different experiences. The first On September 27 at the Teatro Campos in Bilbao, the was an invitation of the composer to the performer through an Association of Basque composers (Musikagileak) will present open writing: they were the years of the controlled aleatory. Amicitia , Concerto for accordion and orchestra, with Iñaki The second was a concerto true and proper: the “king” Alberdi and the Bilbao Orkestra Sinfónikoa conducted by dialogues with his “subjects”; even though the orchestra Ernest Martínez Izquierdo. Interior Image Two world premieres are forthcoming for Giovanni Verrando. piece: « Keekee Bouba was written between 2015 and 2017, Sixth Born Unicorn for electric guitar will be presented on for transformed voice and four musicians who play various June 15 at the Kultum im Cubus in Graz during the Festival instruments: two daxophones, a prepared electric guitar, o Open Music, with Mats Scheidegger, soloist of Soyuz21 several different percussion instruments. In Keekee Bouba the d Contemporary Music Ensemble. The composer explains: «In voice is an instrument that generates sounds, just like the n my everyday activity a spontaneous thought regularly recurs: daxophones (built especially for this occasion by an American a how can I translate that specific and concrete sound that luthier and an Italian one) and the other instruments used r comes clearly into my mind? What work do I have to carry out alongside it. The voice, for instance, moves nimbly between r on the means in order to effectively transfer that clear interior the harmonic and inharmonic, between stable and notably e image of timbres and gestures? These questions find a more unstable timbres, between envelopes that are percussive or V convincing solution if they are tackled alongside a central and that have no attack. The same qualities of the daxophones i more general theme: to represent oneself, one must (also) produce a dialogue that is essentially based on an analysis n start from sound, and to translate one’s own immovable image of the spectral data, in a field of sound investigation lying Two new experiences n of sound one must elaborate one’s means. This is how the somewhere between scientific and illusory, between the relaunch his research on vocal and a elaboration of the instruments and their gesture, which numerical data and a bet, a wild delirium. The text of the three instrumental sound v precedes or accompanies their formal organization in the movements is made up of isolated words, vowel or consonant space of the piece, becomes a structural part of the phonemes. The set of sounds produced by the voice can be o i compositional process. The work on lutherie and on the divided into three categories: 1) sounds derived from personalization of the instruments is in fact a decisive factor instrumental gestures and their spectrum; 2) phonemes and G in this context: the sounds that I have in mind cannot find a single words drawn from research on the representative solution in traditional acoustic or electric instruments, even faculty of spoken language, as investigated by V.S. though very often they stem from them and from their basic Ramachandran and E.M. Hubbar; 3) only in the third properties. Thus, for example, in Sixth Born Unicorn the movement, phonemes and single words extracted from a electric guitar is played with a daxophone and with a blade quotation of David Foster Wallace: “Logical validity is not a made of card, precisely to produce that specific combination guarantee of truth”. Keekee Bouba is written for the Ensemble of timbre that corresponds to my approach to the instrument L’Arsenale, and the first movement was composed to mark on this occasion. Sixth Born Unicorn is written for Mats their tenth anniversary, and was commissioned jointly with the Scheidegger». On July 5 at the Festival L’Arsenale 2018 in Ernst von Siemens Musikstiftung». On May 15 at the Zürich Treviso, during the series Nuova Musica in Treviso, Keekee Hochschule der Künste (ZHdK), First Born Unicorn (Remind Bouba for transformed voice and four players will be me what we’re fighting for) for amplified flute was played by performed by Livia Rado and the Ensemble L’Arsenale Melody Chua. directed by Filippo Perocco. The composer describes his new Alessandro Solbiati Compositional challenge for young pianists and homage in memory of Annamaria Morini A World of Gestures and Figures Alessandro Solbiati’s Spring closes with two world curious, but because in that moment I was afraid of premieres. On June 14 , during a joint masterclass given by losing myself in too many short pieces, for some months Maria Grazia Bellocchio and Alessandro Solbiati, the piano I resisted their request. Then, unfortunately, in May of students of the “N. Piccinni” Conservatory in Bari will play the same year, something very painful and upsetting Corde e martelletti (Libro I) , one hundred short pieces for happened: the death of my dear friend Annamaria Morini, young pianists. The composer introduces his new work: a true “priestess” of the flute. So I decided to dedicate a «The problem of the lack of connection between musical particular musical tribute to her: I united the three requests thought of the 20 th century and the very young aspiring into one single project, a triptych, titled Ánthos , that is musician, that is to say the almost total absence of a “flower” in Greek, because Annamaria was really a flower contemporary music literature that is aware of new that faded too soon, and I imagined three consecutive languages and also approachable by a student beginning parts, one for each instrument, each one totally to learn an instrument, is increasingly evident. The independent and playable separately, but linked by a consequence is serious: the music of today is not part of a common thread, so I hope one day to hear them played beginner’s learning path. Under the strong and friendly one after the other, without any break. Ánthos (Parte prima) encouragement of Maria Grazia Bellocchio, who besides is conceived for flute in G, but can also be played her work as a pianist is doing much to promote the (obviously a fourth above) by a flute in C. Its formal and inclusion of today’s music in teaching programmes, I imaginative structure, marked in the score with the letters decided to write a long series of very short piano works, A, B, C, D, E, is that of an initial funeral march, using one hundred pieces divided into three books, where the percussive techniques like key-clicks, tongue-rams and gestures and figures are unmistakeably my own, without pizzicatos, into which a dark and twisted line of flutter- any concessions or compromises, but keeping in mind that tongues slowly inserts itself and struggles to emerge, then they will be played by very young students.
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