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 , 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 , 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 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. The hundred a sudden acute lament/cry, the evocation of lightness and pieces have an untouchable “grandfather”, Bartòk’s dream, leading into a final distinct line, based on the unison Mikrokosmos , and an incomparable “father”, still alive, timbre of the flute and the voice of the player, alternating György Kurtág and his Játékok . The title of my series with high echoes of whistle tones , and which gradually alludes to the fact that the piano is not just keys and rises in register, overcoming the dark initial atmosphere hammers, but also strings. And even more: the whole and ending in a smile». On May 13 at the Auditorium instrument is a sonic body that will be thoroughly explored, Celesti in Desenzano, during the XI Festival of the NED Aureliano Cattaneo by “dialoguing” with it. There are two basic categories Ensemble, Sonetto for violin and piano was played by among the hundred pieces: those that revisit conventional Marcel Frumasachi and Alexandra Stradella. The same On June 14 at the Sala de ways of approaching the piano, playing “normally” on the day, May 13, at the Auditorium Vallisa in Bari, Dies for Cámara of the Auditorio keyboard (legato/staccato, speed, polyphony, dynamics, clarinet and piano was played by the Blumen Ensemble. Nacional de Música in regular and irregular rhythms and overlapping rhythms, use On June 5 in the “G.P. da Palestrina” Conservatory in Madrid, the Cuarteto Casals of the sustaining pedal and of the other pedals, use of Cagliari, the Scisma Ensemble Laboratorio will play Bois , will play Neben for string register, capacity to move the hands through various ten short pieces for marimba, and Flos (Omaggio a quartet. Insieme for flute, registers of the keyboard, etc.); and those that explore Francesco Pennisi) for flute, clarinet, cello, piano and clarinet, violin, , cello different types of sound: the many ways of using the string percussion. On June 7 in the Sala Casella of the and piano can be heard on board, preparing the strings, using the “body” of the piano Accademia Filarmonica in Rome, Michele Marco Rossi will June 30 at the Castello as a percussion instrument. These two “categories” can play the Suite for cello solo. On July 1 at the Castello Caetani in Sermoneta during also, of course, be mixed. Each piece has a suggestive Caetani in Sermoneta, during the 54 th Festival Pontino di the 54 th Festival Pontino di title, because evoking an image, an extra-musical element Musica, Incontri Internazionali di Musica Contemporanea, Musica, Incontri describing the character of the piece, has, ever since the Italian premiere will be given of Il n’est pas comme Internazionali di Musica Schumann’s Album für die Jugend , greatly helped the nous! Une fable de tous les temps , stage action for female Contemporanea, with the young performer. I would just add that writing these pieces singing and narrating voice, violin, viola, cello and Ensemble Prometeo directed has constituted a moment of growth for the composer even percussion, from El retablo de las maravillas by Miguel de by Marco Angius. Sabbia for more so than for the young student: one is forced to arrive Cervantes Saavedra, reduced from the French translation eleven instruments will be at an extreme synthesis of one’s own image, leaving only by Alessandro Solbiati. It will be performed by Mathilde played on September 21 at what is essential, using the minimum indispensable means Barthélemy and the Ensemble ATMusica (Saori Furukawa, the Radiostudio Zürich by the to not forsake one’s own ideas, but also stimulating the violin, Gilles Deliège, viola, Myrtille Hetzel, cello, and Collegium Novum Zürich imagination, the technical skills and above all eliciting Renaud Détruit, percussion). The work will be repeated on directed by Lin Liao. amazement». The following day, June 15 , the flutist Sara July 11 in Cluny during the Festival d’Àujourd’hui à Minelli will premiere Ánthos (Parte prima) for flute at the Demain. On July 7 the series Maggio Contemporaneo of Estorick Collection of Modern Italian Art in London, during the 81 st Festival del Maggio Musicale Fiorentino will Andrea Mannucci the presentation of a Cd recorded by the flutist and include, in the Foyer of the Galleria of the Teatro del released on EMA Vinci, which also includes the new piece. Maggio, a performance of Mi lirica sombra , in the version Marcel Frumasachi and The composer explains: «At the start of 2016, in the space for baritone saxophone and ensemble, with Jacopo Taddei Alexandra Stradella, of a few weeks, three musicians, Sara Minelli, Luca Avanzi and the Gamo Ensemble directed by Francesco Gesualdi. members of the NED and Antonio Politano, true virtuosi of their instrument, Finally, the Dvd has been released of the video production Ensemble, played A piena respectively the flute, and recorder, all three friends of of the opera Leggenda on EMA Vinci Records (40066). The voce for violin and piano on mine but without knowing each other, made the same video contains the production of the opera at the Teatro May 13 at the Auditorium request, namely they asked me to write a short piece for Carignano in Turin, with the Orchestra and Choir of the Celesti in Desenzano during their solo instrument. The coincidence struck me as conducted by . the XI Festival of the NED Ensemble. The composition will be played again on July 21 during I Concerti del The new 2015 general catalogue of Suvini Zerboni is available on line. Chiostro in Verona by the duo Paolo Ghidoni and All the works we published are listed on the website: www.esz.it Claudio Bonfiglio. 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.

2 Ivan Fedele Piano tribute to Debussy Ocean Dreams premiered in Paris

On September 15 at the Orangerie du Parc de with Elise Chuvin and Laurent Camatte; Aptenodytes and Bagatelle in Paris, during the Festival Les Solistes à Chionis Alba , respectively the IV and V of the Études Bagatelle, Jean-François Heisser will give the first australes for piano, on May 20 at the Sheraton Diana performance of Reflets for piano, commissioned by Ars Majestic in during the series Piano City, with Alfonso Mobilis. Fedele explains: «Debussy is the composer that Alberti; Sei meditazioni for organ on May 20 , in the Chiesa opens the book of modernity and writes its introduction. di Gesù Redentore in Modena and in August in Predazzo, This is my tribute to him, on the centenary of his Alto Adige, with the organist Giovanni Michelini; Aiscrim death, not merely a symbolic gesture but also an for flute, clarinet and piano, again on May 20 in the acknowledgement that some aspects of his poetics Auditorium Celesti in Desenzano, during the XI Festival and his compositional technique are still fertile (though of the NED Ensemble, with the New Made Ensemble modulated by another form of sensibility) in my directed by Alessandro Calcagnile. Nohtar for string imagination. The poetics of water ( La Cathédrale orchestra was played by the Orchestra Sinfonica engloutie ) and the technique of symmetries ( Reflets dans Abruzzese conducted by Marco Moresco on three l’eau ) characterize this piece that is intended as a deep consecutive dates in the auditorium of three different meditation… dreams that delve into the ocean of lost and conservatories: “G. Braga” in Teramo on May 25 , “L. rediscovered reflections». The Italian TV channel Rai5 has D’Annunzio” in Pescara on May 26 , and “A. Casella” in Carlos Roqué Alsina repeated the format “Lezioni di suono”, inaugurated in L’Aquila on May 27 . Mario Caroli and the Orchestra della 2016 by Marco Angius, artistic director of the Fondazione Toscana conducted by Frédéric Chaslin performed Corda On June 8 in Oldenburg, Orchestra di Padova e del Veneto, in collaboration with d’aria for flute and orchestra on May 28 at the Teatro del Ancuza Aprodu will play Padua University. The second series, under the direction Maggio, during the Maggio Musicale Fiorentino. In June Klavierstück 4 op. 23 for of Daniele De Plano, was broadcast for three consecutive it will be possible to hear Suite francese III for cello on piano. The 3 Canciones op. 1 Thursdays, May 10 , 17 and 24, on Rai5 (with repeats of June 7 in the Sala Casella of the Accademia Filarmonica for soprano and piano can be each episode on the following days), respecting the well- Romana, with Michele Marco Rossi; Mudra for thirteen heard on August 26 at the tried formula of interaction between the composer and instruments on June 14 at the Bourse du Travail in Saint- Teatro Colón in Buenos orchestra. The latest edition featured three compositions Etienne, with the Ensemble Orchestral Contemporain Aires, with Johanna Pisani by Ivan Fedele, composer in residence of the Orchestra di directed by Daniel Kawka. Donacis ambra for flute and live accompanied by the Padova e del Veneto for 2017, a triptych of tactile musical electronics can be heard on July 6 and 7 at the Museo composer, who on writing: the three Syntax , inspired by the abstract classical dell’Acqua in Milan, in collaboration with Serate Musicali, September 1 will be the models of Haydn, Mozart and Beethoven that explore the played by the flutist Laura Faoro; Magic for four soloist in Parcours et images, formal and expressive possibilities of a new musical saxophones on July 11 in Zagreb, during the XVIII World three movements for piano language. In the words of Marco Angius: «In comparing Saxophone Congress, with the Vagues Saxophone and orchestra, with the side by side the prismatic poetics of these three pairs of Quartet, followed the next day, July 12 , by the version for Orquesta Sinfónica Municipal orchestral works, Fedele takes the audience on a alto saxophone of High “in memoriam Miles Davis” , with de Mar del Plata conducted stimulating journey into the deepest realms of acoustic Andrea Carrozzo. Breath and Break for brass trio and by Jorge Rotter, at the Teatro and electroacoustic sound». In these months it is possible electronic device will be played on August 31 at the Colón in Mar del Plata to hear various works by Ivan Fedele: Suite francese VI b Resonanzraum in Hamburg, during the International (Argentina). for electric 5-string violin and electronics on May 10 at the Summer Academy for Contemporary Music of the Theatre of Salerno University, with Francesco D’Orazio Hochschule für Musik und Theater. Finally, on September and Francesco Abbrescia; Paroles… , two piece for viola 8 in the Abbaye de Royamount in Asnières-sur-Oise, and female voice on May 13 in the Foyer Ernest Reyer of Immagini da Escher for ensemble will be performed by the the Opéra de Marseille during the Festival Les Musiques, Meitar Ensemble directed by Pierre-Andre Valade.

Jean-Luc Hervé An installation and the premiere of a venerable Autonomous Music Listening genre are the novelties of this Summer Two world premieres for Jean-Luc Hervé at the two The intention of the piece is to lead this insignificant extremes of Summer. On June 16 at the Familistère de sound material through a complex architecture of time. Guise in Aisne, Harmonie , electroacoustic installation in During the crossing the musical time models and gives situ will be given its first broadcast. The electroacoustic shape to this elementary sound, giving rise to increasingly composition will be permanently transmitted from that day complex forms. At the end of the piece the music originally in the internal courtyard of the social palace of the located on the stage spreads into the concert hall by Familistère. Built on the model of the phalanstery of means of an invisible system of small loudspeakers and Charles Fourier at the wish of the entrepreneur Jean- forms a coda that links the music to the place». These Baptiste André Godin as lodgings for his workers, the months offer various occasions to hear Jean-Luc Hervé’s building represents a monument to the economic and music. Éloge de la plante (La finta giardiniera) for female social history of the 19 th and 20 th centuries. Then, on the voice and electronics, with Jeanne Crousaud, soprano, September 9 in Schwaz, during Klangspuren the Tiroler and Axel Bouhier, sound engineer, was performed on Festival für neue Musik, the Quatuor Diotima will play the May 19 in the Jardin de la Retraite of the Théâtre de composer’s first string quartet, which he introduces as Cornouaille di Quimper, during the Festival Sonik, and on follows: «The string quartet is a formation that invites May 26 in the Jardin des Plantes of the Muséum National Aldo Clementi abstraction, to concentrate your music down to the d’Histoire Naturelle in Paris for the Fête de la Nature; it essential. In a time dominated by the spectacular and the will then be performed on June 2 and 3 in Saint Goazec, Ein kleines... for accordion cult of the instant, where the tendency of some composers Château de Trévarez, and finally on August 26 at the will be played on July 18 at is to look for the effect that attracts the gaze, in which Potager Jardin of the Abbaye de Royaumont, in Asnières- the 54 th Festival Pontino di theatre, performance, and video relegate listening to an sur-Oise. (Re)transmission for eight voices, ten musicians Musica, soloist Francesco accessory role, the utopia is to encourage autonomous and mp3 recorders will be given its world premiere on Gesualdi. musical listening. This composition is in some way a July 8 during the Festival Format Raisin in Charité-sur- manifesto that celebrates the power of music, that of Loire: a project of the Département Supérieur pour Jeunes Orpheus, who thanks to his art can assuage the gods, Chanteurs, CRR de Paris/PSPBB Étudiants, and in cross forbidden territory, invert the course of time. The collaboration with La Muse en Circuit for the realisation of sound material that opens the piece is reduced to the the informatics and sound engineering, the work will be minimum, an insignificant sound, without particular performed by the Ensemble 2e2m directed by Pierre qualities, animated only by an elementary dynamism. Roullier. 3 Nicola Sani Premiere in Beijing and new work inspired by Japanese painting Gestural Impact

On May 30 , at the Millennium Center in Beijing, during seascapes are intense, engaging and dazzling images the Meet in Beijing Arts Festival, Roberto Prosseda gave in their contemplative stillness with loss of horizon. A set the world premiere of Concetto spaziale , in the version for of contrasts and reflections – water and air define areas pedal piano and digital system, composed especially for of colour – in the gradation of greys and black and white, this concert. The original idea of the piece (written in 1997 which blend and contrast. Thus in the sound space the for piano and magnetic tape), which draws from the transfigured sound images, the timbral surfaces generated aesthetics of the paintings of the same name by Fontana, by the same instrumental group, with the stratifications of is to expand the acoustic space in which the sound of the the sounds of the stringed instruments, are mirrored by piano is diffused thanks to the use of the piano resonances affinity and contraposition. Sometimes a third almost present in the recorded audio track, overlapping the live imperceptible component appears between the two fields, performance. The new version for pedal piano further like a line of transparent light, that of the surface of the extends the “spatial concept” of the piano resonance, water. They are sound images of great emotional power, exploiting the second string board of the piano and reminiscent of the paintings of another great artist who has Roland Kayn reinforcing the texture of the low register with the doubling always fascinated me: Mark Rothko». Achab for B flat of some of the timbres on the pedals. Also the gestural clarinet was played by Raffaele Bertolini, soloist of the Simultan , cybernetic project impact is intensified here, thanks to the lively movement New Made Ensemble, on April 18 at the Art and Culture for 1-5 environments, can of the legs of the performer, who is also required to play Centre in Bangkok, on April 27 at the Conservatori be heard from 21 to 23 tremolos and clusters on the pedals. On August 31 at Superior de Música in Castelló (Valencia) and on May 20 September in the form of the Grønnegades Kaserne Kulturcenter in Næstved in the Auditorium Celesti in Desenzano, during the XI a permanent installation (Denmark), during the Suså Festival, again a world Festival of the NED Ensemble. On July 12 in the Salone at the Gleishallen of the premiere, Seascapes X for eight amplified doublebasses dei Concerti of the Palazzo Chigi Saracini in Siena, the Güterbahnhof in Bremen will be performed by Daniele Roccato, doublebass, and Accademia Musicale Chigiana will host A Time for the during the Biennale Aktueller Ludus Gravis. Sani explains: « Seascapes X is the latest in Evening for clarinet, violin, cello and piano, with Yoshua Musik, 20 th Festival of the the series of my compositions inspired by the photographic Fortunato, clarinet, Alessandro Mingrone, violin, Alain Projektgruppe neue Musik images of the Japanese artist Hiroshi Sugimoto. His Meunier, cello, and Anne Le Bozec, piano. Bremen. Malika Kishino Premiere in Frankfurt of a new work for ensemble inspired by Goethe Breath and Stillness On September 11 …Kaum einen Hauch… from the agitated and reaches its peak. The second part represents Wandrers Nachtlied by Johann Wolfgang von Goethe and tranquillity, peacefulness and rest. As Goethe said: “On all Franz Schubert, for ten instruments, will be given its world the summits lies peace. Here, barely a breath is felt, only premiere at the Freimaurerloge zur Einigkeit in Frankfurt, deep stillness”». Malika Kishino’s Lamento II for violin and during the Freispiele 2018 “Goethe Festwoche”, by the viola was played by the Ensemble Horizonte on May 10 at Junge Deutsche Philharmonie, who commissioned the the Melanchthonkirche in Bochum and on May 23 at the work, directed by David Niemann. It will be repeated the Alte Brüderkirche in Kassel. On August 26 , in the Suntory following day, September 12 , at the Comoedienhaus Hall in Tokyo, on the occasion of the Akutagawa Wilhelmsbad in Hanau. The composer tells us: « …Kaum Composition Prize of the Suntory Summer Festival, Shades einen Hauch… is inspired by Johann Wolfgang von of Ochres for orchestra will be played by the Japan New Goethe’s poem Wandrers Nachtlied . The piece has two Philharmonic Orchestra conducted by Yoichi Sugiyama. parts. A motif, which represents “breathing” (inhaling and Still in Tokyo, on September 15 Sange for six exhaling), provides the basis for the flow of the music percussionists will be performed by the Phoenix Percussion throughout the whole piece. The first part consists of nine Ensemble directed by Shinichi Ueno. A recording of the smaller sections (breaths), which are divided into three world premiere of Ochres II for flute, oboe, clarinet and groups. Each group is characterized by different elements, ensemble, played by the Ensemble Orchestral such as smooth linear movement (flow), impulses Contemporain directed by Daniel Kawka, is now available (heartbeat) and fragments of a quote, which symbolizes the on the Cd Wittener Tage für neue Kammermusik 2017 warm traces of a memory. During the nine breaths, which issued by WDR 3. are of differing lengths, the music gradually becomes more Federico Gardella A new work for orchestra continues his linguistic research Return to the Essential On May 25 at the “G. Braga” Conservatory in Teramo, inhabits the empty space between the notes, between the Grammatica dell’istante for orchestra was given its world gestures, between the articulations of the form. The premiere by the Orchestra Sinfonica Abruzzese conducted language here is reduced to the essential, sculpted from by Marco Moresco; the work was repeated on May 26 at just a few words, defined through the relations between the the “L. D’Annunzio” Conservatory in Pescara and on May voices that reside within it: in a certain sense my idea was 27 at the “A. Casella” Conservatory in L’Aquila, always in to return to grammar in order to redefine my language, to the context of the Festival di Musica Contemporanea concentrate within an instant those questions to which I MusAnima. The composer explains: «Another short work have not, yet, found the answers». On May 17 at the Torri for orchestra (three years after Metrica dell’istante ) to dell’Acqua in Budrio the Cinque cori notturni sotto la costa reflect on the reasons why form can be thought of as an for alto flute was played by Manuel Zurria. Finally, on June anamorphosis of time. And so Grammatica dell’istante can 5 at the “G.P. da Palestrina” Conservatory in Cagliari, be defined in terms of analogies and contrasts with respect Architetture del canto e del silenzio for flute, clarinet, violin, to the previous work, in a sense of closeness that reveals cello and piano will be played by the Scisma Ensemble its otherness. This path (almost a labyrinth) finds its origin, Laboratorio. its destiny, in the syntax – in that invisible force that 4 Javier Torres Maldonado Recordings, performances and teaching engagements Music and Poetry on both sides of the Atlantic

“S ib ila”, a prestigious Spanish journal of art, music and on April 21 Lacrymosa I was played, again by Vincent literature, has dedicated the Cd attached to issue n. 54 to Lhermet, at the Conservatoire de Fribourg. On June 15 Javier Torres Maldonado. The monographic Cd features Interstizi for violin and cello will be played by members of the recording of Sidereus nuncius for three percussionists the Quatuor Bozzini at the Festival Le Domaine Forget, and interactive electroacoustic system performed by Québec, in its Canadian premiere; on July 27 Imágenes Yi-Ping Yang, Ricardo Gallardo and de la Caída de Altazor for two pianists and Raul Tudon, with the sound direction two percussionists will be played by of Max Bruckert (Grame, Centre Candida Felici and the Ensemble Sillages in National de Création Musicale in the Auditorio “Blas Galindo” of the Centro Lyon). The journal also contains an Nacional de las Artes of Mexico City, during article in which the composer explains the third edition of the Ciclo Internacional de the various correspondences between Música “Laberintos Sonoros” 2018. the musical form of the work and that The version for soprano saxophone and of the poetic text deriving from his electronics of Alborada opens the recently collaboration with the poet José released Cd S3 Spectral Sax Style Manuel Recillas, which gave rise both (FONOSAX002), with Jesús Núñez and to the score and the poetic texts. The Juan D. García Aguilera. Javier Torres article introduces the text that José Manuel Recillas wrote Maldonado has been nominated member of the Sistema purposely for Sidereus nuncius . Over the past months Nacional de Creadores de Arte, Consejo Nacional para la various works by Javier Torres Maldonado were Cultura y las Artes in Mexico, for the three year period Martino Traversa performed. On January 28 Figuralmusik II for ten players 2018-21. On May 16 and 17 he held a masterclass of was played by the Ensemble Cepromusic directed by composition and of electro-acoustic composition at the Quadrato bianco, su sfondo José Luis Castillo, in the Sala Manuel M. Ponce in the Conservatory in Strasbourg. From June 10 to 23 he has bianco for clarinet was Palacio de Bellas Artes of Mexico City; on March 17 been invited as professor of composition in the played on May 15 at the Lacrymosa I for accordion was played by Vincent Lhermet composition masterclass held in the prestigious Casa della Musica in Parma in Helsinki, during the concert celebrating the 40 th International Music Academy Le Domaine Forget, in during the series “Verso anniversary of the accordion class at the Sibelius Québec (Canada). Finally, Torres Maldonado has Traiettorie”, with Roberta Academy; on March 24 Masih for saxophone quartet was received a commission from the Plural Ensemble in Gottardi, soloist of the played by the Komea Sax Quartet, at the Conservatorio Madrid for a new piece for ensemble that will be played Ensemble Prometeo. Superior de Música de les Illes Baleares in Palma de during the ensemble’s national tour in Spain. Mallorca during the X Mallorca Saxophone Festival 2018; Pasquale Corrado Fluctuating Fragments On June 30 at the Castello Caetani in Sermoneta, the fragments that fluctuate within an unstable network that 54 th Festival Pontino di Musica, Incontri Internazionali di becomes progressively exasperated: the electricity of Musica Contemporanea, will include the world small particles that accumulates until emitting New work for ensemble premiere of Ozone for flute, clarinet, violin, continuous explosive charges that are reflective, inspired by a scientific viola, cello and piano, with the Ensemble sparkling. The dull and resonant sound of the phenomenon Prometeo conducted by Marco Angius. The piano in its lowest register divides and protects composer tells us: « Ozone is known as one the various sections, absorbing their vibrations in of the paradoxes of science: an essential a “black” point from which the material is reborn protector of life in the stratosphere, but a in ever different forms. This constant process of dangerous pollutant in the troposphere. Known accumulation/massing/compression leads to a for its blue colour and pungent smell, it reached process of division/partition/decompression in a the news on account the gap in its layer continuous cycle that is never interrupted and produced by the polluting agents of our planet. whose speed of succession is determined only But ozone is also an unstable gas, explosive in its liquid by the quantity and quality of the particles that are state, and yet very versatile and with many applications. affected by this energy». From May 9 to 13 Pasquale It is a naturally complex element: dangerous but Corrado held a masterclass in composition at the controllable. With these features in mind, I elaborated, Conservatory in Bari. On the final day, May 13 , in the compositionally, the properties and versatility of ozone Auditorium Vallisa, the Blumen Ensemble played Raise and expanded their character. This resulted in a story Voice for female voice and four instruments. where small elements clash and explode, releasing Carmine Emanuele Cella Reflection at Ircam on a work presented at Omnipresent Sound the Festival ManiFeste On May 14 in the Salle Stravinsky of Ircam, during the “play” other instruments, by injecting its own sound into Ircam Talks #005, Carmine Emanuele Cella and the the resonant body of the others. […] The sound therefore creator of the electronic part Serge Lemouton analyzed loses its precise localisation, it invades the whole space. the composition Inside Out for piano, three percussionists Thus immersed in the sonic liquid, the listener rises to the and electronics, which they previously premiered at the surface, with attentive ears, vigilant, until being immersed Festival ManiFeste 2017. Jérémie Szpirglas comments once more. Inside-out. From this omnipresent sound a on the process of creation and the development of the voice very slowly emerges. Any percussive connotation is work: «A piano, a bass drum, a large metallic sheet, a lost, the environment becomes vocal, prosodic. Like a giant gong: each instrument is augmented, that is to say, primitive rite, a prayer that comes from the depths of this besides the sounds it normally produces, is able to suspended time». spread and develop electronic sounds, and is also able to 5 Giorgio Colombo Taccani Construction and Deconstruction On September 14 and 15 at the Teatro Carignano in I therefore tried to search very carefully for different ways Debut in contemporary Turin, and on September 17 at the Teatro Elfo Puccini in of creating this pathway each time, so as to avoid any dance with Aterballetto Milan, Colombo Taccani’s first experience in the world of excessive predictability. It should be added that, by choice, at MITO Settembre Musica contemporary dance will be staged. Domus aurea , ballet every intervention on Bach’s originals is not aimed at any for five instruments and electronics from the French Suites profound transformations of the musical substance or at for harpsichord by Johann Sebastian Bach, will be aggressive manipulations, and still less are the fragments premiered during the Festival MITO featuring the dancers taken as starting points for successive constructions that of Aterballetto and the choreography of Diego Tortelli, with would turn them into mere unrecognizable pretexts. This Daniela Terranova the collaboration of the visual artist Massimo Uberti and new work is therefore placed in unfamiliar territory with the live performance of the ensemble Sentieri Selvaggi. respect to my usual output, but, I stress once more, it is a Notturno in forma di rosa for After these first dates the work will be repeated in various deliberate choice, a possible alternative, and not a limit. flute, clarinet, violin, cello and Italian and European cities. Diego Tortelli talks about the Then there is one further element in the work that Tortelli piano was played by the project: «The work takes its inspiration, and I believed important in order to form a link Ensemble Blumine directed though in a completely abstract manner, between the various episodes: a part realized by Caterina Centofante on from the Domus aurea in Rome, a villa built on the computer, that we aseptically defined as April 15 at the Basilica di S. by the emperor Nero, and probably never a “sound environment”, which runs throughout Maria Maggiore in Bergamo completed, after the great fire that the whole path, leaving isolated only the last and on April 18 at the Teatro devastated Rome in 64 A.D. In this new episode based on the Saraband of the second Lauro Rossi in Macerata, work for Aterbaletto the Domus is the place Suite. This is an element deliberately lacking in during the series Nuova that emanates light at its exterior and any naturalistic references or any well defined Musica; Hinoki. Still Life for creates shadows of ourselves in its interior; figural and frequential elements; a sort of saxophone, accordion and a place in which man can hide himself from abstract scenography varying in density and double bass was played on the social and real conflict of contemporary overall colour, able to combine very effectively May 13 at the Mostra Sonora, life; a place that encloses many stories with what is being played live, adding colour Sueca, by the Trio Feedback made of images and echoes. Construction, and depth to the path, but at the same time not (Ricard Capellino, yielding, destruction and rebirth are the key creating any interferences or negative friction saxophone, Esteban Algora, elements of this creation. Construction with the instrumental parts. In other words, a accordion, and Elena García, allows us to want and desire. Yielding and destruction sort of “background noise” from which the single Bachian doublebass); Solo andata for entails being willing to leave the certain for the uncertain. islands will progressively detach themselves and in the children’s choir and Rebirth is not just a word, but is a new way of being and same way will return, alongside more or less ample zones ensemble was performed on of rebuilding one’s freedom. The Domus aurea is that in which interventions of an improvisatory character by the May 30 at the Flagey in house, but also a cage, a prison; maybe simply a nest individual players will accompany this electronic element». Brussels by ReMuA/ShAkE where one prepares oneself for the “flight”. A flight On April 7 at the Sala Piatti in Bergamo, during the series and the Hermes Ensemble permitted by rebellious wings in gilded cages». In turn, “E adesso musica!”, Brace for double bass flute was directed by Stijn Saveniers. Colombo Taccani explains: «The commission for this work played by Antonella Bini. On April 29 during the Festival has well defined connotations. The evening in which the Contrasti 2018 in Trento, Blank After Blank for baritone piece will be inserted is named “Progetto Bach” and my saxophone was played by Emanuele Dalmaso; the piece work had to be linked to Bach. The starting point therefore was repeated by same artist on May 18 at the MUSE in became the French Suites, from which Diego Tortelli and Trento. On May 17 at the Istituto Italiano di Cultura in Giovanni Bertelli I selected some pieces on the basis of their offering a Madrid, the duo Akiko Kozato and Adele D’Aronzo possible choreographic path, both in terms of balance and performed L’àgnili for voice and piano on two poems in On May 16 in the National of musical coherence. The relations between my pieces Sardinian by Pompeo Calvia. On May 19 in the Bunker Gallery, Convent of St Agnes and Bach’s originals are various in kind, with an underlying Breda, inside the Parco Nord in Milan, during the festival of Bohemia in Prague, the concept of construction/deconstruction as the basic Piano City, Antonietta Loffredo played Call Me Later for Neue Vocalsolisten Stuttgart guideline for the choreographic plan. In the small islands toy piano. On May 31 at the Teatro Elfo Puccini in Milan, played Le premier jour for six that are created along the way, each of which is usually during the series “Crossroads” organized by the ensemble voices on extracts from À la built on elements drawn from a single piece from the Sentieri Selvaggi, Paola Fre played Eyeless Dark for bass recherche du temps perdu by Suites , a local trajectory is created similar to that flute. Finally, on July 6 Blind Trust for electric guitar, Marcel Proust. The composer presented by the entire work: an opening that reduces the theorbo and accordion will be played during the Spettacolo will be in residence at the original substance to a very limited number of elements Aperto Festival in Pergine, by the Azione Improvvisa Casa de Velàzquez, Madrid, (the bottom line, the harmonic content, the lines stripped Ensemble consisting of Pierpaolo Dinapoli, Andrea the Academy of France in from linking elements and from ornamentations, and so Antonel and Margherita Berlanda, with Raul Masu as Spain, from September 2018 on) to reconstruct the original material in view of its sound engineer. until August 2019. successive deconstruction and, sometimes, dissolution.

Valerio Sannicandro New work for ensemble built on the performance space Sequences from Space On May 28 at the LWL Museum di Münster, the dimensions of the space. In this way the the Festival Zeitklang included the world most marked frequencies of the resonance premiere of Kern for six amplified instruments, modes give rise to melodic sequences, harmonic Sándor Veress with the Festival Zeitklang Ensemble directed by combinations, rhythmic and formal structures. the composer. Sannicandro explains: « Kern While the first parts of the work focus on the The Quattro danze (“nucleus”) is a composition written for a precise perception of the sound sources, in particular the transilvane for string space, the Foyer of the LWL-Museum in ricochet play between the harp and percussion, orchestra can be heard on Münster. Apart from the spatial arrangement of at the end of the piece the instruments group June 17 in Thun the players, which varies from section to section, together to form a band of sound that is (Switzerland), with Musica the musical material derives completely from an extremely dense but also mobile and changing». Vitae conducted by Malin analyisis of the resonance modes calculated on Broman.

6 Luca Antignani Double premiere at the Discontinuous Trajectories Maggio Musicale Fiorentino

Three premieres for Luca Antignani in the space of a passage in a poem by Carducci: “Va’, molli sonni reca e month. On June 6 at the Auditorium of the Conservatoire sussurranti / ombre a pastori e cani, / a Maria fiori e litanie, d’Annemasse the first performance will be given of the briganti / de l’arsa Puglia a i piani”. The comma has been definitive version of Litanie briganti for seven wind artfully removed». On July 7 , in the Foyer di Galleria of the instruments and piano, with a repeat performance on Teatro del Maggio in Florence, during the section Maggio June 8 at the Comédie in Geneva, with the Lemanic Contemporaneo of the 81 st Festival del Maggio Musicale Modern Ensemble directed by William Blank. Fiorentino, the first performances will be given of The composer explains: « Litanie briganti , commissioned Monomanies for five instruments and of the definitive by the French State on behalf of the Lemanic Modern version of Les murs de Jean for seven instruments, both Ensemble, is the outcome of a reflection on the figure of with the Gamo Ensemble directed by Francesco Gesualdi. the litany, the obsessive and enchanting repetition of a Antignani introduces the two works: « Les murs de Jean , simple melody. Thus a work with a double perspective: and even more so in Monomanies , are Suites made up of on one side morphological, the protagonist being the miniatures each with their own autonomy but at the same sequence, the profile, the line developed horizontally; on time linked to an overall unifying structure. Each movement Gilberto Bosco the other formal, as I attempt to investigate the infinite is based on a single musical idea, a key-gesture that possibilities of evolution contained in the spiral of becomes a figural trajectory following a well defined path Marcel Frumasachi and reoccurrence. The litanies, though appearing as but that, in a different way each time, keeps its distance Alexandra Stradella, independent microcompositions, follow each other without from any strict logic of continuity. The objective is to set up soloists of the NED interruption, like many small stones in a rudimentary a subtle game with the listener, made of unkept promises, Ensemble, played L’eco necklace. The association with the adjective “briganti” paths that are only apparently predictable, discontinuous ritorna for violin and piano came to me quite unconsciously. I then discovered this trajectories and sudden interferences». on May 13 at the Auditorium Celesti in Desenzano during the XI Festival of the NED Maurilio Cacciatore Ensemble. Simultaneously

On June 28 in the Salle Jacques Prévert of the superimposed by another metronome setting provided by Médiathèque in Bourges, in the Loire Valley, Pulse(s) for the feedback of the signal captured by a microphone and A new work studies the alto saxophone and electroacoustic device will be given sent into a Sampo device. This work was commissioned by interaction between a solo its world premiere by Serge Bertocchi. The composer the Musinfo association in Bourges, who have for some instrument and a capture explains: «For some time now pulsation has been one time been developing this device for the performance of system of the main aspects of my works, both instrumental and historical pieces of mixed music – the whole repertory from electroacoustic. In a passage in my work La vallée des the ’50s to the ’90s – and for the creation of new pieces merveilles I tried to experiment with the simultaneous use written for the devices. Sampo consists partly of a of several metronomes assigned to different musicians who hardware – a series of pedals that correspond to a series play independently from one another. In another moment of of treatments, and a calculator inside a container with an the same work, a solo passage for flute was written on two integrated monitor – and partly of a software, whose staves using different metronomes. This experience was graphic interface is used directly by the musician, who very important because it helped me to understand the can perform his repertoire in a concert without the need worth of a rhythmic system that with extreme simplicity of for a sound engineer. This independence is part of the writing gives the perception of a highly complex rhythm; it musicological mission of this device and my piece moves would require the use of Machiavellian rhythmic figurations in this direction. The musician on the stage is responsible if it adopted a traditional writing based on just one for the direct sound, for the amplification and the metronome setting. In this work for alto saxophone I superimposition of numerous rhythmic layers coming from continue this approach with an even greater complexity: the instrumental part and the interaction with the capture the simultaneous metronome settings corresponding to system». plots and timbres clearly different from each other are Luigi Manfrin New work for electric Opaque Threshold guitar at the Biennale On September 30 at the Biennale di Venezia, 62 nd listener. These two levels – energetic-dynamic and Festival Internazionale di Musica Contemporanea, morphogenetic-figural – sustain the basic rhythm, Giacomo Baldelli will give the world premiere of Loo(p)cy constantly alternating, at different speeds, between phases for electric guitar. The composer tells us: «Writing or of compression and of expansion reproduced spatially on composing a piece is, for me, a way or path through which various overlapping planes. This multiplication spreads I can give sense to the creative process in course, in the over time through a chain of repeated rhythmic-melodic actual instant in which it crystallizes into sonic forms that figures, which overlap each other with different extensions reflect its internal dynamics. I might say: music “produces so as to gradually become out of phase with one another. itself” in me in the instant that I become its maker, I could compare Loo(p)cy to a sort of loop-machine with incorporating creation with technique. For this reason which the player interacts in real time, at times identifying I place great importance on the acoustic image, not himself with it and at other keeping his distance. This subjectively but rather as an opaque threshold or a produces an ambiguous sensation of reciprocity, as it is blackness inherent in the sound material, generative of difficult to establish whether it is the player that generates metaphors that can feed the creative process in course. the machine or, vice versa, it is the player that emerges From this point of view, Loo(p)cy is like an ambivalent film, from the machine that he himself produces. The autopoietic because it is as if it records in real time the different levels process of the player, on the other hand, is from the very of energy intensity and the variations of frequency of the beginning situated in the sound-image onto which he “live” impulses, of the electric sound of the guitar, while on retreats and from which the sound-image releases itself the same surface it draws “figuring” formations, able, that and becomes opaque». is, to provoke symbolic-imaginative resonances in the 7 Maurizio Azzan New work at Ircam continues the project for a cycle of works Organism in Movement

On June 16 in Paris, at the Le Centquatre, Salle 400, come to life as the sound of the cello passes through the Festival ManiFeste of Ircam will present the world them and fills the acoustic space with increasingly premiere of Where the Here and Now of Nowhere Is distorted, ambiguous reflections – other territories, other for cello, resonators, live electronics and two hands. There follows an extreme dilatation Caterina Di Cecca dancers, with Cameron Crozman on cello and of the multiplication of a moving organism, the dancers Noé Ferey and Yoann Jolly. The which gradually settles between the two Caterina Di Cecca was the composer tells us: «After Each Mirror Infects mirrors. So where is its here and now? winner of the Riot Call for Itself for violin and electronics, Where the As the initial centre becomes lost in its Scores 2018 (London), Here and Now of Nowhere Is is the second reflections, its complementary and opposing receiving a commission for a work to be included in Fractals Are extensions – the dancers and the resonators new piece for six instruments Haphasard Maps , a cycle of works for string – gain their own identity that takes them that will be played on October instruments with electronics inspired by the beyond their subordinate role until finding a 31. She also won the 27 th Fractal Geometry section of Cristallography , new balance. In this work I tried to look International Review of a collection of experimental poems by the closely at how the search for different forms Composers (Belgrad), which Canadian Christian Bök. The work is of contact between these two opposite poles will lead to the performance dedicated to Thierry De Mey. The musician and the centre from which they emanate, of Und wie Früchte sind wir and his instrument are at the centre of the evolves over time». On May 26 Geometrie for seven instruments at the stage. Around them are two metallic bodies abandoned nelle mani for amplified guitar was played at the start of October. Finally, Di on the ground – the resonators – and two human bodies Kulturzentrum bei den Minoriten in Graz by Ruben Mattia Cecca won the “Della morte e standing, waiting. At the start we are at once outside and Santorsa, during the Impuls Minute Concerts. The del morire” competition of the inside this centre. In the distance we see hands Ensemble Fractales performed Of Other Spaces for five Associazione Culturale Dello exploring the surface of the instrument with fluid spatialized instruments during the Festival Dias de Scompiglio, which will result movements, almost as if wanting to feel these centres Música Electroacústica, in Portugal, on April 18 at the in her residence at the Tenuta and peripheries through a primeval and elementary form Escola Superior de Artes Aplicadas in Castelo Branco dello Scompiglio (Lucca) and of contact. However, this exploration generates a and on April 19 at the Casa Municipal das Artes in Seia. the commission for a new disproportionate level of sound, which pervades the hall On April 21 at the Incomum in Lisbon, the same festival piece for four percussionists, and grows, taking us into a paradoxical space where the with the same artists included In limine for violin, cello in collaboration with Blow Up acoustic proximity of the sounds produced by the skin and piano. Finally, on April 30 , in a monographic concert Percussion. and nails contradicts the physical distance that at the Cité Internationale des Arts where Azzan is separates us from the stage. Meanwhile, the bodies of currently in residence, the Ensemble Fractales played the dancers silently extend their distant movement, while the definitive version of Of Other Spaces . the resonators lying motionless on the ground slowly

Francesco Hoch Musical setting of architecture by Mario Botta on Monte Generoso A Flower in Colours On August 25 inside the “Fiore di Pietra” by the at the centre, where the music is homogeneously architect Mario Botta on Monte Generoso (Canton blocked on a long unison, in which the whole “Fiore di Ticino) an event titled “Colorazione musicale del Fiore pietra” resounds throughout its complete verticality, Gabriele Cosmi di pietra” will take place. Three times during the day finally managing to move symmetrically towards a Francesco Hoch’s new work Musica per il Fiore di pietra liveliness similar to that of the opening. This division of The Orchestra d’Archi NED will be heard within the octagonal structure of the the time came curiously close to the visual structure of Ensemble conducted by building. The composer explains: «The the petals of the “Fiore di pietra”, so I have Andrea Mannucci performed idea to compose music for Mario Botta’s called the musical structure Petalo uno and Musica per orchestra d’archi “Fiore di pietra” came to me immediately Petalo due . The musical interventions last 30 for strings on May 27 at the during a visit to Monte Generoso, and minutes each ( Petalo uno - Petalo due - Petalo Auditorium Celesti in was then confirmed after checking the uno ) and are repeated three times. The Desenzano during the XI building’s acoustics. The distribution of audience moves freely among all the floors, Festival of the NED the eight instruments that will play live at can stay near the musicians or listen from a Ensemble. Kic for four the same time, in pairs on the four floors distance, even from outside, can choose the saxophones can be heard on – from the low instruments on the bottom perspectives and angles for listening, can walk July 11 in Zagreb during the floor (cello and bassoon), to the medium or sit. The eight “petals” of the “Fiore di pietra” XVIII World Saxophone ones on the central floors (clarinet, cor that rise in an octagon, are thus set to music Congress, with the Vagues anglais and violin, flute), and the highest using the eight colours of the instruments, eight Saxophone Quartet. on the top floor (piccolo and oboe) –, sequences, eight musical characters and the allowed me to set up musical dialogues corresponding dedication to the eight chosen personalities. While the to the architectonic space. The music was therefore also number 75 is found in the 7 minutes duration of each composed with constructive criteria, in precisely shaped sequence and the 5 th minute of the collective centre. The blocks, sculpted geometrically, according to a precise result is a close consonance between architecture and Marco Quagliarini structure. The clear cuts of the changes in the outer music». The event is organized in collaboration with the sections, always polyrhythmic and polyharmonic, are Festival Ticino DOC and with Musica del Mendrisiotto, Dal buio for string quartet contrasted by the single veins of the free inner and is dedicated to eight people from Ticino that will th can be heard on July 8 in sequences of music, which also play kaleidoscopically celebrate their 75 birthday in 2018, including Mario Priverno, at the Infermeria di with repetitions, pauses and reprisals for each Botta, the composer, and the cellist Rocco Filippini. On Fossanova, during the 54 th instrument or in vertical dialogue. The music also May 15 at the Casa della Musica in Parma, during the Festival Pontino di Musica, possesses a directional structure with regards the series Verso Traiettorie, Francesco Hoch’s Frammento with the Quartetto Noûs. scansion of time (three times ten minutes): starting in a d’epitaffio for cello was played by Claude Hauri, soloist lively manner from the extremes, the space is then filled of the Ensemble Prometeo.

8 Inner Diary he series dedicated to Camillo Togni by Naxos of four perfect triads, which allow the listener to latch on T Fourth volume of the continues with the Cd Complete Piano Music 4 to weak tonal relationships that occasionally emerge from complete piano works (8.573019). Aldo Orvieto, who also played in the previous the material – these series are often used as actual motifs released on Naxos volumes, proposes the first ever recordings of youthful and not as purely constructive material, thus breaking the works written during the war, between 1940 and 1944, rules of twelve-tone composition. This gradual approach when the composer was in his twenties: Suite op. 14 a, to serialism can also be seen in the genuine adoration Serenata n. 2 op. 11, Quattro pezzi for piano op. 22, the young Togni developed for Sch önberg who, making Serenata n. 4 op. 15, Serenata n. 5 op. 18 and Valzer (ad a choice that was in a certain sense the opposite of usum Lyae) . In the Cd booklet Orvieto Webern’s, had masterfully blended this Vittorio Montalti observes: «Thanks to this recording strong linguistic structure with an expressive project I have had the opportunity to tension based on a late-romantic matrix. The Les toits de Paris for flute, study Camillo Togni’s oeuvre for piano in distinguished scholar Gian Paolo Minardi, who clarinet, piano, violin, viola depth. […] I believe that an interpreter’s was in close contact with the composer, recalled and cello can be heard on point of view is particularly significant in how “Camillo, in that ineffable tone of his, July 4 in the Auditorium del this case, given the fact that Togni was defined Sch önberg’s piano Concerto as Brahms’ Conservatorio di Musica himself an excellent pianist and highly third!” The period when the works on this Cd “Gesualdo da Venosa” in active as a performer up until 1953. were composed was difficult for the young Potenza, during the series Togni was a favourite student, and later a composer. Alongside the bitter divisions that Il Gioco in Musica, Festival close friend of Arturo Benedetti separated consciences in a country devastated di musica classica, jazz e Michelangeli. He attended his classes by a worldwide conflict, his music reflects the contemporanea. It will be assiduously from 1945 and 1948 – when Benedetti equally bitter “divisions” that were becoming crystallized played by students of the Michelangeli lived with Camillo’s aunt, Esterina Togni in on the Italian musical panorama […]. Camillo Togni Laboratorio di Musica Gussago, near Brescia – then less frequently up until experienced these aesthetic contrasts as an isolated Contemporanea of the 1953. Until the composer’s death in 1993, Togni and spectator, yet, thanks to his broad-ranging intellectual Dipartimento di Teoria e Benedetti Michelangeli were linked by a close bond of openness and curiosity, he drew a unique synthesis from Composizione of the mutual admiration. Benedetti Michelangeli intended to them in his own music. […] Togni himself highlighted the Conservatorio di Potenza, include Togni’s Seconda Partita corale (1976), which was importance of this work [the Suite op. 14 a] within his directed by Matteo dedicated to him, in his repertoire; he recorded Togni’s output by defining the last two pieces as his first truly Franceschini. cadenza for Wolfgang Amadeus Mozart’s piano Concerto dodecaphonic composition. […] The artistic trajectory that K. 503 (1989) and he would have performed Togni’s can be traced through Togni’s cycle of seven Serenades is cadenzas for the piano Concerto K. 491 in the Autumn a sort of inner diary of his apprenticeship: Serenata n. 1 of 1993 if illness had not prevented him. On several was first performed in 1940 by the composer himself at occasions Michelangeli praised Togni’s skill as a pianist, the Accademia Chigiana in Siena; numbers 2 to 6 (1941- especially in his own compositions, for example the highly 43) were all written for various editions of the same demanding Fourth Capriccio (1969). […] In the works of summer course and performed by Lya de Barberiis, a Ennio Morricone this first period Togni makes use of series – though friend and fellow student of Togni’s as well as the sequences might be a more appropriate term – made up dedicatee of Valzer (ad usum Lyae) ». The Terzo Concerto for guitar, marimba and string orchestra was played on May 24 by the Roma Sinfonietta during the opening ceremony of the Nuovo Rettorato of the “Tor Return to Florence Vergata” University in Rome. The concerts and events linked to the project liriche di Antonio Machado , in the version for voice and “Dallapiccola torna in città” organized by the Centro Studi piano, with the soprano Costanza Fontana accompanied Luigi Dallapiccola continue their path. On May 14 at the by Francisco Rico Ferrández. This last piece can also be Opera di Firenze, Teatro del Maggio Musicale, the 81 st heard on June 28 during the 54 th Festival Pontino di Festival del Maggio Musicale Fiorentino Musica, Scuderie del Castello Caetani in A series of performances in hosted a monographic concert with the Sermoneta, with Laura Catrani and Maria Grazia Florence and three stage soprano Susanna Rigacci, and I Cameristi Bellocchio. On July 5 at the Conservatorio di productions between the del Maggio Musicale Fiorentino directed Musica “L. Cherubini” in Florence, during the Maggio Festival and Germany by Mario Ruffini: the programme included series “Estate Fiorentina”, the Ensemble Luigi Due liriche di Anacreonte for soprano and Dallapiccola directed by Luciano Garosi will instruments in the translation by Salvatore perform An Mathilde , cantata for female voice and Quasimodo, the Quattro liriche di Antonio orchestra on poems by Heinrich Heine. A further Machado , in the version for voice and production of Il Prigioniero is scheduled for June 9 , Goffredo Petrassi instruments, and Commiato for a soprano 16 and 25 at the Opernhaus in Stuttgart, in a joint voice and 15 players on a text formerly production between La Monnaie/De Munt and The Due liriche di Saffo attributed to Brunetto Latini. On June 19 , 21 and 23 there Oper Stuttgart, with Ángeles Blancas Gulín (La Madre), for voice and piano in the will be a new production of Il Prigioniero , a prologue and Georg Nigl (Il Prigioniero), John Graham-Hall (Il translation by Salvatore one act from La torture par l’espérance by Villiers de l’Isle Carceriere, Il Grande Inquisitore), Julian Hubbard (Primo Quasimodo can be heard Adam and La légende d’Ulenspiegel et Lamme Goedzak Sacerdote) and Guillaume Antoine (Secondo Sacerdote); on June 28 at the Scuderie by Charles de Coster. It will feature Levent Bakirci the stage direction will be by Andrea Breth and the scenes of the Castello Caetani in (Il Prigioniero) and Anna Maria Chiuri (La Madre). The by Martin Zehetgruper; the Staatsorchester Stuttgart will Sermoneta during the 54 th choreography and stage direction will be by Virgilio Sieni; be conducted by Franck Ollu. A third production will be Festival Pontino di Musica, the choir will be prepared by Lorenzo Fratini, the staged on June 30 , and on July 3 , 6, 8 and 11 at the Incontri Internazionali di Orchestra e il Coro del Maggio Musicale Fiorentino will Semperoper in Dresden, with Tichina Vaughn (La Madre), Musica Contemporanea, be conducted by Michael Boder. Again on June 19 , still at Lester Lynch (Il Prigioniero), Mark Le Brocq (Il Carceriere, with Laura Catrani and the Opera di Firenze, the Giornata internazionale di studi Il Grande Inquisitore), Khanyiso Gwenxane (Primo Maria Grazia Bellocchio. su Luigi Dallapiccola will include performances of Sacerdote) and Alexandros Stavrakakis (Secondo Rencesvals for voice and piano from the Chanson de Sacerdote); stage director Elisabeth Stöppler, scenes Roland , with the baritone Min Kim and the pianist by Annika Haller and costumes by Frank Lichtenberg. Francisco Rico Ferrández, Due studi for violin and piano, The Sächsischer Staatsopernchor Dresden and the with Neri Nencini and Sofia Tapinassi, and the Quattro Staatskapelle Dresden will be conducted by Erik Nielsen. 9 Gian Francesco e Riccardo Malipiero New Cd with two works contrasting th uncle and nephew Italian 20 Century

The Italian 20 th century is the focus of the discographic recording will help give the works the recognition they trilogy that the cellist Silvia Chiesa has made for Sony deserve». Gian Francesco Malipiero’s concerto was Classical. The third Cd in the series completed in his beloved villa in Asolo on 28 contains, for the first time together, the October 1937 and was premiered in Belgrade cello concertos of three important Italian on 31 January 1939 by the dedicatee Enrico Etwas ruhiger im Ausdruck composers: Mario Castelnuovo Tedesco, Mainardi. In the words of the major biographer for flute, clarinet, violin, cello Gian Francesco Malipiero and Riccardo of Malipiero, John C.G. Waterhouse, it is a and piano was played on Malipiero (whose concerto is recorded «compact work that exalts the dialogue between May 21 at the Kleiner here for the first time). The performers soloist and orchestra, an emblematic display Konzertsaal of the are all Italian: Silvia Chiesa plays with the of expressive joy of neo-classical stamp». Hochschule für Musik in Orchestra Sinfonica Nazionale della Rai Characterized by “serial” writing, the concerto by Munich by the Ensemble conducted by Massimiliano Caldi. The Riccardo Malipiero, nephew of Gian Francesco, Blauer Reiter directed by artist explains: «As an Italian musician the brother of his father, was premiered at the Armando Merino. On May 28 and citizen I have always felt the need to Teatro alla Scala on 30 October 1957 by the at the Universität Mozarteum become more familiar with the Italian repertoire for my Catalan cellist Gaspar Cassadó. It is dedicated to his in Salzburg, Ash for eight own instrument. After long and in-depth research I father, a competent cellist, as well as composer and instruments was played by discovered that there are many splendid compositions by teacher. On July 29 in Priverno, Infermeria di Fossanova, the Ensemble für neue Musik Italian composers of the 20 th century that are still unknown during the 54 th Festival Pontino di Musica, Riccardo directed by Marino Formenti. and have not yet been adequately considered. Among Malipiero’s Trio for violin, cello and piano will be played by these the cello concertos by Riccardo and Gian Francesco the Rest Ensemble: Rebecca Raimondi, violin, Michele Malipiero are two gems: I sincerely hope that this Marco Rossi, cello, and Alessandro Viale, piano. The radiophonic fable inspired by Carlo Gozzi goes on stage in Alessandria Radiophonic Singspiel L’ augellino belverde , philosophical fable by Carlo Gozzi, effective adaptation of the theatrical text and attended to adaptation in three movements by Vittorio Sermonti, was the direction of the whole production. The result could be staged on May 12 at the Complesso Conventuale di defined as a radiophonic Singspiel made up of acted parts San Francesco in Alessandria in collaboration with the alternated with sung arias, recitatives and musical pieces, Conservatorio “A. Vivaldi”, in the reduced version edited to the extent that Maderna’s pieces, with easy irony, by Angela Ida de Benedictis and Giovanni Cestino, during betray a clear stylistic referent: Mozart and his musical the 21 st edition of Scatola Sonora, International festival of theatre, with particular reference to Die Zauberflöte . The opera and musical theatre of small dimensions, with stage music and the adaptation of the theatrical text re-emerged direction by Luca Valentino, scenes by Elisa Schiavina only in 2001 thanks to the research of the musicologist and with the musical direction of Cestino himself. The Angela Ida De Benedictis, who together with Giovanni fortune of a theatrical gem from the 18 th century like Cestino has been preparing the edition of the work since L’augellino belverde (1765) continues to this day, also 2012. The version on which this production is based was arousing interest in other artistic forms. Among these is authorized by Vittorio Sermonti and involves a reduction the radiophonic fable produced exactly sixty years ago, in only of the theatrical text, whereas Maderna’s musical 1958, by the Rai in Milan, which in those years boasted parts remain intact. On September 12 at the Teatro Litta one of the most advanced studios of electronic music in in Milan, Maderna’s Serenata n. 2 for eleven instruments Marco Momi the world, the Studio di Fonologia Musicale, in which will be played by the Divertimento Ensemble, directed by a Bruno Maderna worked as a composer of the music for selected participant of the Course of orchestral conducting On June 15 the Kultum im numerous radio dramas, including L’augellino belverde . for chamber repertory from the 20 th century until today. Cubus in Graz, during the At his side, the writer Vittorio Sermonti prepared a very Festival Open Music, will host Due nudi for viola, played by Petra Ackermann, and Cinque nudi for tenor saxophone and stomp Michele Tadini boxes, played by Sascha Armbruster, who, like Th e Ravenna Festival will include three works by Michele Cogs in Cogs for electric guitar and four percussionists will Ackermann, is a soloist of Tadini in the section “Le cento chitarre elettriche - We Sing be given its world premiere, again with Luca Nostro, joined the Soyuz21 Contemporary the Body Electric”, realized with the participation of PCME, by the ensemble Blow Up Percussion; finally, on June 22 , Music Ensemble. Parco della Musica Contemporanea Ensemble, and in in Palazzo San Giacomo-Russi, In a Blink of a Night for collaboration with the Fondazione Musica per Roma. electric guitar and ensemble of electric guitars, electric On June 19 at the Artificerie Almagià it will be possible to basses and drums will be performed by Luca Nostro, hear Scenario for electric guitar and magnetic tape, soloist soloist, and Tonino Battista conductor. Luca Nostro; on June 20 , at the same venue, Cogs in Federico Troncatti

In memoriam Bob Berg for four soprano saxophones will Stefano Gervasoni be given its world premiere on July 11 in Zagreb during he Neue Vocalsolisten Stuttgart performed In Dir , can be heard on August 25 at the KKL in Lucerne during the XVIII World Saxophone T thirteen couplets by Angelus Silesius for vocal ensemble the Lucerne Festival, with the Ensemble of the Lucerne Congress, with the Vagues on May 8 at the Theaterhaus Stuttgart during the series Festival Academy directed by Matthias Pintscher. Finally, Saxophone Quartet. “Südseite nachts”. Luce ignota della sera from Altravoce, on September 12 at the Teatro Litta in Milan, Nube omaggio a Robert Schumann for piano and transparent obbediente for trombone, percussion and ensemble will be electronic device can be heard on June 30 in the Petite played by the Divertimento Ensemble directed by a Salle of the Centre Pompidou during the Festival participant of the Conducting course for chamber repertory ManiFeste, with Wakuko Ide. Eufaunique for ensemble from the 20 th century to today. 10 FFPFiiirrrrismsts etW etWos relWdcou Przeliodorfno iPr ramselasdrnofcluoe ts Permearnfcoes rma FJUNE irst WPasquale Corrado orldSEPTEMBE R Per OZONE Luca Antignani for flute, clarinet, violin, viola, cello and piano Jean-Luc Hervé LITANIE BRIGANTI Sermoneta, 54 th Festival Pontino di Musica, New Work for seven wind instruments and piano Incontri Internazionali di Musica Contemporanea, for string quartet Annemasse, Auditorium du Conservatoire Castello Caetani, June 30 Schwaz, Klangspuren, Tiroler Festival für neue d’Annemasse, June 6 Ensemble Prometeo Musik, September 9 Lemanic Modern Ensemble conductor: Marco Angius Quatuor Diotima conductor: William Blank Malika Kishino Alessandro Solbiati JULY …KAUM EIN HAUCH… CORDE E MARTELLETTI (Libro I) nach Wandrers Nachtlied von Johann One hundred short pieces for young pianists Giovanni Verrando Wolfgang von Goethe und Franz Schubert Bari, Conservatorio “N. Piccinni”, June 14 KEEKEE BOUBA for ten instruments Students of the Bari Conservatory “N. Piccinni” for transformed voice and four players (Commission by Junge Deutsche Philharmonie) coordinated by Maria Grazia Bellocchio Treviso, Festival L’Arsenale, July 5 Frankfurt, Freimaurerloge zur Einigkeit, Livia Rado, voice September 11 Alessandro Solbiati Ensemble L’Arsenale Junge Deutsche Philharmonie ÁN THOS . Parte p rima conductor: Filippo Perocco conductor: David Niemann for solo flute London, Estorick Collection of Modern Italian Art, Luca Antignani Giorgio Colombo Taccani June 15 MONOMANIES DOMUS AUREA Sara Minelli, flute for five instruments Ballet for five instruments and electronics Florence, 81 st Festival del Maggio Musicale from the “French Suites” for harpsichord Giovanni Verrando Fiorentino, Teatro del Maggio, Foyer di Galleria, by Johann Sebastian Bach SIXTH BORN UNICORN July 7 (Commission by Festival MITO Settembre Musica) for electric guitar Gamo Ensemble Turin, Festival MITO Settembre Musica, Graz, Festival Open Music, Kultum im Cubus, conductor: Francesco Gesualdi Teatro Carignano, September 14 June 15 Diego Tortelli, choreography Soyuz21 Contemporary Music Ensemble: LES MURS DE JEAN Aterballetto Mats Scheidegger, electric guitar Version for flute, clarinet, violin, viola, cello, Sentieri Selvaggi piano and percussion st Maurizio Azzan Florence, 81 Festival del Maggio Musicale Ivan Fedele WHERE THE HERE AND NOW Fiorentino, Teatro del Maggio, Foyer di Galleria, REFLETS OF NOWHERE IS July 7 for piano for cello, resonators, live electronics Gamo Ensemble (Commission by Ars Mobilis) and two dancers conductor: Francesco Gesualdi Paris, Festival Les Solistes à Bagatelle, Orangerie Paris, Ircam, Festival ManiFeste, Le Centquatre, du Parc de Bagatelle, September 15 Salle 400, June 16 Federico Troncatti Jean-François Heisser, piano Cameron Crozman, cello IN MEMORIAM BOB BERG Noé Ferey and Yoann Jolly, dancers for four soprano saxophones Luigi Manfrin Zagreb, XVIII World Saxophone Congress, LOO(P)CY Michele Tadini July 11 for electric guitar COGS IN COGS IN COGS Vagues Saxophone Quartet Venice, La Biennale, 62 nd Festival Internazionale di for electric guitar and four percussions Musica Contemporanea, September 30 Ravenna, Ravenna Festival, Artificerie Almagià, Giacomo Baldelli, electric guitar June 20 AUGUST Luca Nostro, electric guitar Blow Up Percussion Luis de Pablo TRE RIFLESSI [TRES REFLEJOS] Maurilio Cacciatore for organ PULSE(S) (Commission by Associazione Culturale for alto saxophone and electroacustic device “Rapallo Musica”) Bourges, Médiathèque de Bourges, Salle Jacques Rapallo, XX Festival Organistico Internazionale, Constantly updated, at the website Prévert, June 28 Basilica di SS. Gervasio e Protasio, August 11 www.esz.it Serge Bertocchi, alto saxophone Jean-Pierre Lecauday, organ you will find the complete performance list of our composers Luis de Pablo Nicola Sani ENCORE SEASCAPES X for solo violin for eight amplified doublebasses Sermoneta, 54 th Festival Pontino di Musica, Næstved (Denmark), Suså Festival, Grønnegades Incontri Internazionali di Musica Contemporanea, Kaserne Kulturcenter August 31 Castello Caetani, June 30 Daniele Roccato, doublebass Francesco D’Orazio, violin Ludus Gravis

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