© Os Valdo Coluccino

© Osvaldo Coluccino OSVALDO COLUCCINO (*1963) Interni for flute (2017/18) 1 Primo interno, for C flute 07:41 2 Secondo interno, for bass flute 07:54 3 Terzo interno, for alto flute 06:00 4 Quarto interno, for bass flute 04:44 5 Quinto interno, for bass flute and C flute 09:49 6 Sesto interno, for contrabass flute, bass flute and electronics 12:10 TT 48:23 Roberto Fabbriciani, flutes 3 The inner part … shape of: 1) only air by the flute, 2) on- bral alterations related to expressionistic in the transparency ly human breath, 3) inspired air, 4) air by dynamic excursions, or to obsessive repe- the flute from non-standard fingering titions, other ways to a mix of phrasing and (which allows the descending pitch of a explosive, sharp effects. In our case … the quarter-tone). human breath aspires to be the alter ego of the instrument and vice versa, and the This relief highlights an unexhausted re- individual sound, sometimes distilled and search – speaking of aesthetics – based hieratically separated, has no peace, is on sonic minuteness, on the whispering subjected to a process of minute differen- subtlety, which, as often happens with art – tiation, in constant search for the non-ordi- speaking of detail – ends up permeating nary transparent sound, yet coherent with- macroscopic outcomes. in a promise to make a (poetic and formal) drawing which is completed, and to bring From the beginning to the end of the the case on the expressive immanence be- As well as Stanze for piano and as the oth- work, every centimeter of the score (with yond any aesthetic complacency. er album for solo instrument that I’m creat- a wealth of mathematically pinned de- ing, for clarinet, also Interni presents a title tails), each individual sound, although of a All in the name, I would say, of the delica- that refers to a place; I would say a shel- single instrument, is engaged to conduct, cy or sometimes of the delicate distortion ter. As if the ascetic recess proposed by weakly, diversification, alterity, undecid- and sometimes of the inaudible and the an entity in its musical soliloquy decreed ability, multiplicity, difference ... But com- fragmented suspended within siderial si- that the sense of a music is to identify it- pared to what? To begin with, compared lences. And what more appropriate classi- self with a place. to the emission of the flute sound accord- cal instrument could have embodied such ing to vitalistic attitude, and not only of tra- a feeble chant, the role of advocate of the The album Interni begins with the repeti- dition but also compared to a composi- whisper, of the rustle, of the breath, of the tion of four identical notes as pitch … but tional line, I would say recent, that in the dim, and also of the non-sound, as the different from each other as characteristic virtuosic phrasing of the flute, in its vault- aesthetic apogee of this path? of the sound. Four notes G at the same oc- ing, and keeping it in its canonical timbre, tave in incipit of Primo interno emitted ac- unitary and round timbre, has identified the “Aesthetic”, “external” … but the question cording to different morphologies, but frail- expressive task. It is a way. Other ways, al- now moves “inside”. What other instrument ly and subtly different: all in the dynamics so demonstrative, have instead paid atten- could have been used as an intermediary of pianissimo, here are four twins in the tion to the sound through modernizing tim- in giving me, even “onomatopoeically”, that 4 5 incorporeal breath that comes from the For his ability to welcome the micro-dy- (physical and metaphysical) deep? Which namic writing of the Interni and to face PRIMO INTERNO better representative could have brought, the sophisticated complexity-precarious- Osvaldo Coluccino besides the sonority of suavity, the sound ness of pervading multiple sounds, I found a Roberto Fabbriciani of the dissipation that life has dug into our the ideal travel companion. A few meters lungs, into the larynx and our soul, could from Roberto’s house, in Florence, where First Part these pitches are only indicative: have brought perdition also, which has we have rehearsed the six pieces togeth- G another fingering play clicks with this rhythm AIR but pressing on the comfortable keys soaked the breath then flowed out, could er, there is Museo di San Marco, that is PIZZ. only t KEY CLICKS have brought the raucous disillusioned the transcendence of the works by Fra breath INSPIRING STACC. t p q = 60 KEY CLICKS world of the perceived, lived, breathed Angelico, the ethereal figures some of Flute j j . rK and coughed out tragedy, the aphonia as them that almost levitate off the ground, 4 b ® ®¿ . &4 œ ‰ Á Á œ œ ‰ ¿ ®‰ ø# ®ø ® øb ®¿ ¿# ¿b ® ¿b ¿ ¿b ¿n ®‰ a cause of the loss (loss of the loved liv- symbols emptied of every corporeity. 2 X airy staccato and airy pizzicato n 3 ing beings, the loss of ourselves and of the about these numbers for fingerings: 4 2 0 = empty space – / hope ...), and could have brought the non- The intimate is subjected to a superim- / = truncated numbers 2, 3, 4 0 n 4 WHISTLE TONES 0 – breath that breathes? … posed swarming vital layer that with its AIR+TONE 0 2 AIR+VOICE 3 D# 3 trampling makes deaf, compared to the re- 3 4 œ œ œ œ ·b ‚b ‚b Hence a path of transparency (like the cessed cavities, full of their private and se- Ó ‰ ‰ 5 ‰ Ó. 4 j transparency of the veils in Italian painting cret panting. But it is not relegating the in- & 7 œ œ œ œ 4 œ œ 4 singles whistles Ø 3 J n7¬. –œ . with these specific pitches of the fourteenth and fifteenth centuries), timate to an individualistic dimension and of levity, of splitting and other unexpected of retreat that we get answers to our in- multiphonic possibilities in spite of the ba- vestigations, which, always, and with the 3 VOICE-SOUND 8 sically monophonic nature of the medium; means that from time to time we have ( ) j · then the instrument that, even in the low available, dream of the mirroring reality in ‚ ‚. Œ ·b . ‚ ŒÓ J ‚ Ó b7 types (bass and contrabass flute), can be- front and of the heights above our fronts. & Ó come the medium of the intangible and the Ó Yb Yb Œ Yb . ‰Ó ‰. Y Y ‰‰Y Y Y Œ ¬b 2 SHADOW R J J Ó spiritual, as well as sometimes it turns into Osvaldo Coluccino 3 shadow-airy sounds n4 “damned” (maudit) in its refined distortions. – 0 Ø 3 qAIR = 80 13 4 3 And what better master of Roberto, who j C B 3 has always been looking for such different 7 œ #7. œ ‰Œ ‰ œ œb j œb œN . œb ŒÓ possibilities of the flute, to fix this work? & ¬ – #7. œ œb œn œ œb œ œ# 0 X J 0 0 3 / n 0 6 4 4 4 7 – – – A 2 2 2 q = 60 0 AIR 3 3 17 0 4 D 4 AIR 7. # œ. C# C µ K X#7. œ. 3 ® ®œ œb ‰ 4 77 œœ ‰ U œ#N œ œœ œœ . Ó 2 & J 4 œ# œ œ œ# œb œn 4 J J. 4 Ø AIR KEY CLICKS 21 ¿b 2 œb œn œb œb . œn œ ¿b . ¿N 4 &4 œ# œ œn œ œ œ œb . ¿ ¿b ¿# Ù ¿A 4 p sameP as above: play clicks freely, on the comfortable keys SIAE. Tutti i diritti riservati © 2017 by OSVALDO COLUCCINO N. 060 PRINTED IN ITALY. All rights reserved IMPRIMÉ EN ITALIE Unusual horizons of listening Every age has changed the sound of music. We learn to listen to silence … silence is Fantasy, imagination and poetry. a sound, an integral part of the work. We extract from the essential sign a complex Sounds that have been thought, sounds and heterogeneous meaning that is not with a life of their own, sounds at the lim- the result of superficial and inaccurate its of the audible. exegesis. The composers have always looked ahead For me music is a thought that walks and and with them the performers, looking for always evolves, it is exploration as a ne- new and more sophisticated sounds, pro- cessity, the necessary path. posing solutions and novelties. Roberto Fabbriciani In these Sei interni (“Six insides”) by Osvaldo Coluccino, unprecedented hori- translated from Italian by zons of listening open up and we appreci- Osvaldo Coluccino ate beauties that we are not used to listening to. 9 OSVALDO COLUCCINO Angelo Foletto, Mario Gamba, Mario Messinis, Luigi Pestalozza and Paolo Petazzi have written about his music, and his discs were reviewed by accredited in- ternational critics. His music has been broadcast on national radios of Austria, Belgium, France, Germa- Osvaldo Coluccino (born in 1963) is an Ital- ny, Italy, Netherlands, Portugal, Slovenia, ian composer and poet. His compositions Vatican (e.g. SWR2, ORF, Radio France- have been commissioned by Biennale di France Musique, BR-Klassik, Kulturradio Venezia, Milano Musica, Orchestra Sinfoni- RBB, RAI Radio3, Concertzender, RTBF ca Nazionale della RAI, Teatro La Fenice di Musiq3, RTP Antena2, Vatican Radio, Rai Venezia, Orchestra della Toscana Teatro Filodiffusione) and on other famous radios. Verdi di Firenze, Angelica with Orchestra Some scores are published by RAI Trade del Teatro Comunale di Bologna, Compag- musical editions. nia per la Musica in Roma… and have been performed in several festivals in Europe, He has composed music since 1979 but America and Asia.

Load more