Javier Torres Maldonado Encounters and Memories series of first performances for Javier Torres enflamed with very bright and brilliant colours. AMaldonado between Winter and Spring. On February 23 The explosion of those images stirred my imagination to in Montréal, during the Festival Montréal Nouvelles the point that I associated those celestial landscapes Maturation of multidisciplinary Musiques and coinciding with a masterclass held by the with hypothetical musical architectures deriving from projects, confirming an interest composer at the McGill University, the first performance chromatic scales. These mental projections gave rise, in in the dialogue between the arts in Canada of Figuralmusik II/A for ensemble and my imagination, to actual refractions that consisted of a electronics will be given by Walter Boudreau constant movement of “threads of sound”, as if they the Ensemble of the SMCQ. On March 10 to 12 the were real luminous and musical skies projected Yerba Buena Center for the Arts Forum in San Francisco simultaneously in my mind. It took me many years to will give the first performance of Atlacualo, the Ceasing consider these ideas more than just a pleasant memory, of Water, acousmatic music for a multidisciplinary work, innocent and typical of childhood, resulting from a commissioned by the Navarrete x Kajiyama Dance multidimensional way, I might say, of conceiving music. Company of San Francisco, who will give its premiere. In reality, this multidimensionality is not only reflected in The work was prepared at the studios of GRAME the work but also in the time of its realization, it regards (Centre National de Création Musicale in Lyon), with the dialogues and the interactions between composer and collaboration of the acoustic engineer Max Bruckert, the performers, between man and machine (composer during the composer’s artistic residence in September and technological means), at the level of writing and the 2010 for the purposes of the elaboration of the electro- conception of the complementary spaces between the acoustic part. The work is in line with Maldonado’s acoustic instruments, the electro-acoustic system and constant interest in collaborating with artists from other the video, between composer and visual artist, between disciplines. The composer explains: «Atlacualo, the composer and musical assistant (Max Bruckert from Ceasing of Water draws from the mythology and GRAME, Lyon), as well as the essential, virtual, fantastic iconography of ancient Mexico to tackle urgent questions interaction, set in a further imaginary space: the dialogue regarding the right to water and its shortage. Inspired by with my childhood memories». On May 20, at the the poetry and the didactic power of pre-Colombian Théâtre Romain Rolland de Ville-Juif in Paris, during the myths, it develops a compelling discourse about the Festival Extension de La Muse en Circuit (Centre exploitation of natural resources, in a production that National de Création Musicale) and the “Année du combines contemporary dance, performance art, Mexique en France”, the world premiere will be given of acousmatic music, installations of visual art and video. Un posible día, a multimedia work, almost a radio drama, Atlacualo is the result of the artistic encounter between for voice, ensemble, interactive electro-acoustic system different characters: two Mexican artists working in San and video, commissioned by the Ensemble 2e2m, the Francisco, José Navarrete and Violeta Luna, the Centre National de Création Musicale La Muse en Circuit composer Javier Torres Maldonado, the video/film artist and the Sistema Nacional de Creadores de Arte in Ricardo Rivera and the visual artist Lauren Elder. The Mexico, with the support of FONCA (Fondo Nacional work on the acousmatic part was mostly made using para la Cultura y las Artes). The text of the radio drama sounds captured from the actual noises produced by the is by Ana Candida de Carvalho Carneiro, the lyrical texts actors on stage: salt that falls on the floor, the friction of by José Manuel Recillas, the graphic art and video by Jean-Luc Hervé clothes, of the hands, the body, sounds produced with Magali Lara. It will be performed by the Ensemble 2e2m objects used in the dramatic part or the dance. The and La Muse en Circuit (computer technology), directed The Ensemble Court-Circuit will overall picture conceived by the composer is completed, by Pierre Roullier, with the soloists Maja Pavlovska, take on tour En dehors for on the basis of the dramatic aspects of some scenes, by soprano, and David Jisse, actor. Torres Maldonado will clarinet, , and , sound landscapes recorded in various cities of the world take two artistic residences, in December 2010 and on February 28 to the Salle that combine, overlap and transform giving rise to a wide April 2011, in the studios of La Muse en Circuit to d’Art Lyrique of the variety of environments that virtually enlarge or restrict produce the electro-acoustic part. The work will be Conservatoire in Boulogne and the space where the dramatic events take place or those recorded in its entirety for a Cd on the ALAMUSE label on March 10 to the occupied by the dance». Two performances mark the co-produced by the Ensemble 2e2m, the Muse en Circuit Conservatoire of Cergy- baptism of Iridiscente for piano, percussion, interactive and the Fondo Nacional para la Cultura y las Artes in Pontoise. The Ensemble electro-acoustic system and video. On April 23 in Mexico. The composer speaks of the new work: «Un Recherche will also play Dans Grenoble it will be possible to hear the first performance posible día (Aquél océano profundo) stems from my l’ombre des anges for flute, of the version without video, as the prelude to the interest in dialoguing, interacting and building complex clarinet, cello and percussion concert by the Ensemble Orchestral Contemporain; on projects with artists from other disciplines. Much of its on March 26 at the Salzburg May 12 at the Opéra de Lyon, during the “Année du realization was possible thanks to the interest in my Biennale. Finally, Au loin for Mexique en France”, the first performance of the music shown by Pierre Roullier, the director of Ensemble eight will be played on complete version will be given, with Candida Felici on 2e2m. The idea of working on a new work with June 5 in Vandoeuvre, by the piano and Yi-Ping Yang on percussion, and Max characteristics belonging more to the radio drama than to Ensemble Nomos. Bruckert, from GRAME, as sound engineer. The video the melologue had already been in my mind for some was made by Danio Catanuto. For the preparation of the time, but the difficulty was to find a suitable subject and a electro-acoustic part, commissioned by the GRAME and text. The solution in the end was to ask the dramatist the Sistema Nacional de Creadores de Arte in Mexico, Ana Candida Carvalho and the poet José Manuel the composer undertook an artistic residence at the Recillas to create the texts especially for the purpose. studios of GRAME from January 24 till 28. The concert The dramatic subject focuses on an ordinary day in the will be preceded by a talk held by the composer in the life of a common woman (the protagonist), whose foyer of the Lyon . Torres Maldonado tells us: loneliness plunges her into various sound landscapes. «The emotional perspective generated by memories is On the stage of an imaginary theatre we see (almost like probably one of the factors that, to some extent, bring a “film”, due to the speed with which the various scenes about our present. Each of our perceptions provokes often follow each other, but without explicit images, sensations which we react to in different ways, and some despite the presence of the video in the live show) the of them are eventually transformed into images or sounds and images from that day like any other, until an concepts that remain distant and abstract with respect to encounter, that happens in the woman’s imagination, the original experiences that generated them. Among my radically changes the apparent predictability of the childhood memories there are some that are inevitably events». Another first performance will be given in linked to music. When I was 10-12 my parents took me France, that of Espira III for violin and accordion, on on several trips into the jungles of Quintana Roo, in the May 27 at the Théâtre de Cornauille, Scène Nationale de south of the Yucatan Peninsula, the region where I was Quimper, with the soloists Marianne Piketty and Pascal born. On the way back I always tried to travel in the back Contet. This is how Torres Maldonado introduces the part of the car, to watch the sunset, with the sky work, commissioned by the Association AIE (Accordéon 4 continues on page 5 Luca Mosca Made in Real-italy n May 15 at the Teatro Goldoni in Florence (with a from the Val Gardena; the Singer, talentless and over- A “zapping” opera at the Maggio, O th replica on May 17), the 74 Maggio Musicale Fiorentino rated; the Gym-fanatic, blown-up with muscles and a ruthless satire of an Italy united will give the world premiere of the new opera by Luca empty-headed; the Creative, ridiculously omnipotent) all by sex, ambition and ignorance Mosca, L’Italia del destino, “Real-italy” in one act on a have very different characters but nevertheless share a libretto by Gianluigi Melega in collaboration with Pilar tremendous ignorance. Sex is the only vital force that García and Davide Livermore. Commissioned by the drives these phantoms while awaiting the judgement of Teatro del Maggio Musicale Fiorentino, it will feature the audience, which will arrive at the end of the opera Daniela Bruera (The Waitress), Alda Caiello (The and will be even more atrocious than expected. The Stylist), Cristina Zavalloni (Sexilia), Sara Mingardo (The chance to work once more with “my” singers gave me Diva), Davide Livermore (The Singer), Chris Ziegler the opportunity to work hard on the vocal writing. The (The Gym-fanatic) and Roberto Abbondanza (The instrumental writing is exalted by it: the virtuosity of the Creative), with the del Maggio Musicale figures is in constant counterpoint with the melodic lines, Fiorentino under Marco Angius. Livermore will also be and never subordinate. The opera is dedicated to the director. Mosca speaks about his new venture in Salvatore Sciarrino». On May 19, still at the Teatro th these terms: «One of the most stimulating things about Goldoni, the 74 Maggio Musicale Fiorentino will present writing this opera was the chance to tackle the closed a new work by Mosca for soprano and piano. The forms of the Tv show. L’Italia del destino, “Real-italy” in composition is part of the project “Nuovo Canzoniere” one act, is in fact divided into 28 sections (prologue, conceived by Alda Caiello and Maria Grazia Bellocchio, th epilogue, nine commercial breaks, two news broadcasts, who will also be the performers, to mark the 150 eleven scenes, four confession-boxes) which, although anniversary of the Unification of Italy, in which twenty there are no intervals, give the work a sense of constant Italian composers were each asked to re-work a folk change, like the sometimes frantic zapping of a Tv melody from the same number Italian regions. Book II of viewer. The seven characters that frequent the “house” Words to Score a Rhyme, fifteen haikus for female of “Real-italy” (the Waitress, a would-be noble woman voice, violin, cello and piano on texts by Gianluigi from ; the Stylist, a third-rate impassioned Melega, was played on January 14 at Villa Aurelia, feminist; Sexilia, obsessed with men; the Diva, a racist , by the Scharoun Ensemble.

“L’Italia del destino”: Synopsis The Presenter announces that the final episode of the The following day most of the competitors fail to pass a Tv reality show “Real-italy” has now arrived, and the test in the art of acting; entangled flirting between the public will be asked to decide which participants to Waitress and the Gym-fanatic, and the Stylist and the eliminate. Among these the Singer and the Creative give Diva, as Sexilia, jealous, manages to win back the Gym- vent to their narcissism, provoking the irony of the fanatic. The general knowledge test about Italian Unity Stylist, who goes on about how useless men are, reveals the crass ignorance of the competitors and including the Gym-fanatic, capable only of racist tirades. leads to a brawl during which the Creative is wounded Martino Traversa Between one commercial break and another the with a knife. The tension mounts, while the Waitress Waitress tells her unhappy story in the confession-box. returns to the arms of the Gym-fanatic. Unexpectedly Three of Martino Traversa’s Sei Meanwhile the Gym-fanatic and Sexilia court each other, the Creative returns dressed as Garibaldi, inveighing Annotazioni for piano (numbers while the Stylist tries to seduce Sexilia. The Singer against those who betrayed the Unity of Italy. At this 1, 5 and 6) will be performed on boasts about his unmerited success, built through point the Presenter invites the public, to the great March 19 in a recital by Alfonso cunning and tricks, and the Creative brags about his anxiety of those concerned, to decide with their remote- Alberti at the Accademia influence in being able to set up his own protégés: a control which competitor to eliminate. Marziali in Seveso. show that is repeatedly given first place in the Tv news.

from page 4 (Torres Maldonado: Encounters and Memories)

Instrument Européen) and the Association des and cello). In Spanish the term “espira” refers to the Jeunesses Musicales de France: «Dedicated to Pascal curved line of a spiral. The title alludes to the fact that at Contet and Marianne Piketty, this work is the outcome of some points the course of both movements tends to the collaboration and friendship that I have had for many precipitate into a sort of vortex within which the formal years with the accordion player Pascal Contet. The title structures are condensed». Last year on December 3, refers to a project for a series of pieces for different for UNESCO, in the Salle de Pas Perdus in Paris, the combinations of instruments, or for solo instruments, first French performance of Sones for violin, cello and that all bear the same title (Espira) and can be seen as piano was given by the Trio Arbós. Finally, a recording is an independent formal nucleus (as in the case of this being prepared featuring the Nueva Musica Duo (Miguel piece), or can be organized into movements of a more Angel García, violin, and José Luis Hurtado, piano) extended work (Espira I and II, for guitar, piano, violin which will include music by Javier Torres Maldonado. press cuttings Onpress Cuarteto de cuerdas n. 1, Witten,cuttings Wittener Tage für neue Gianluigi Mattietti, «Musica», n. 217, June 2010 Kammermusik, April 23, 2010 This year the opening concert featured the Arditti Quartet, who played the Cuarteto de cuerdas n. 1 by Javier Torres Maldonado, Gerhard Rohde, «Neue Musikzeitung», June 2010 one of the most interesting new works in the festival. The The Arditti Quartet, an indispensable part of Witten, played the Mexican composer has built this quartet on a mirror structure, in electrifying Cuarteto de cuerdas n. 1 by Javier Torres five movements innervated with continuous developments, Maldonado, the Mexican composer living in Italy: five dense intertwining different musical processes, which generated a movements, caught between compression and expansion, often nervous matter, always full of tension but with highly refined organized on principles that are almost mathematical. timbre.

5 Prime esecuzioni assolute FEBRUARYPrime esecuzioni assolute Giorgio Colombo Taccani Maurilio Cacciatore Nicola Sani PrimeMEMORIA esecuzioniSTESSO DENSO FOUR DARKS IN RED ass for orchestra for orchestra for string quartet and 8-channel electronic space Turin, Auditorium Rai, Rai NuovaMusica 2011, Milan, Teatro Dal Verme, February 24 Rome, Istituzione Universitaria dei Concerti, Aula February 4 Orchestra I Pomeriggi Musicali Magna dell’Università “La Sapienza”, March 22 Orchestra Sinfonica Nazionale della Rai conductor: Antonello Manacorda Quartetto d’Archi di Torino conductor: Frank Ollu

Nicola Sani Andrea Vigani BLACK AREA IN RED MECCANISMO I (Meccanismo di superficie) MARCH for ensemble for piano and mechanical metronome Rome, Istituzione Universitaria dei Concerti, Aula Wien, 19. Wiener Tage der zeitgenössischen Magna dell’Università “La Sapienza”, March 22 Klaviermusik, February 9 Valerio Sannicandro Ensemble Algoritmo Studenti della Universität für Musik und FORCES MOTRICES conductor: Marco Angius darstellende Kunst Wien for orchestra and live electronics München, Herkulessaal der Residenz, March 4 Symphonieorchester des Bayerischen Rundfunks Nicola Sani - Lucio Gregoretti Michele dall’Ongaro Barbara Bucholz, Theremin CENERENTOLA.COM AD LIBITUM Experimentalstudio des SWR A children’s opera on a libretto by Albertina for ensemble Joachim Haas, Reinhold Breig, Michael Acker and Archibugi (First complete performance) Valerio Sannicandro, live electronics Palermo, Teatro Massimo, March 23 Milan, I Pomeriggi Musicali, Koinè 2011, Teatro conductor: Arturo Tamayo Orchestra e Coro del Teatro Massimo di Palermo Dal Verme, February 11 conductor: Giacomo Sagripanti Ensemble Sentieri Selvaggi direction, scenery and costumes: Francesco conductor: Carlo Boccadoro Matteo Franceschini Esposito L’ALTER EGO for violin and piano Christophe Bertrand L’Aquila, Società Aquilana dei Concerti Pasquale Corrado OKHTOR “B. Barattelli”, Sala S. Pio X, March 6 NEW WORK for orchestra Massimo Quarta, violin for trumpet and electronics Strasbourg, Palais de la Musique et des Congrès, Roberto Bellucci, piano Paris, Ircam, March 26 Salle Érasme, February 11 Jocelyn Methevet, trumpet Orchestre Philharmonique de Strasbourg conductor: Marc Albrecht Javier Torres Maldonado ATLACUALO, The Ceasing of Water Acousmatic music for a multidisciplinary work Giorgio Gaslini San Francisco, Yerba Buena Center for the Arts, LARGO March 10 APRIL for orchestra Navarrete x Kajiyama Dancetheater Cesano Maderno (Milan), Teatro Excelsior, Grame - Lyon, electronics February 17 Max Bruckert, musical assistant Malika Kishino Orchestra Sinfonica Accademia Jupiter NEW WORK conductor: Sergio Vecerina for accordion and cello Andrea Mannucci , BKA-Theater, April 5 CANTI PER VOCE E ARCHI Christin Paté, accordion Giorgio Gaslini on texts by Ida Travi Valérie Dulac, cello CONCERTO Verona, Teatro Camploy, March 15 for clarinet and orchestra Silvia Scartozzoni, voice Cesano Maderno (Milan), Teatro Excelsior, Ned Ensemble Nicola Sani February 17 conductor: Andrea Mannucci SEASCAPES Angelo Teora, clarinet for orchestra and stereophonic electronic Orchestra Sinfonica Accademia Jupiter space conductor: Sergio Vecerina Ivan Fedele Cottbus, Staatstheater Cottbus, April 8 TELLUS Philharmonisches Orchester Cottbus for Paetzold bass flute and electronics conductor: Evan Christ Luis de Pablo Lausanne, Haute École de Musique, PER FLAUTO Conservatoire de Lausanne, March 18 for a flutist Antonio Politano, Paetzold bass flute Ivan Fedele Belluno, Amici della Musica, February 18 ĀS-LÊB Roberto Fabbriciani, flute for mixed choir and orchestra Pasquale Corrado Rome, Accademia Nazionale di Santa Cecilia, XILONMACHIA Auditorium Parco della Musica, April 9 Vittorio Montalti for percussion ensemble Orchestra e Coro dell’Accademia Nazionale LES TOITS DE PARIS Milan, I Pomeriggi Musicali, Koinè 2011, di Santa Cecilia for ensemble Teatro Dal Verme, March 18 conductor: Antonio Pappano Milan, Rondò 2011, Palazzina Liberty, Ensemble di Percussioni dell’Accademia February 23 Internazionale della Musica di Milano Divertimento Ensemble conductor: Pasquale Corrado conductor: Sandro Gorli Prime esecuzioni assolute PrimeJavier Torres Maldonado esecuzioniStefano Gervasoni assoluteFederico Gardella IRIDESCENTE NUBE OBBEDIENTE VOICI VENIR LA NUIT - D’APRÈS UNE for piano, percussion, interactive Concertante version for trombone, percussion CHANSON VALDÔTAINE Primeelectro-acoustic system and video esecuzioniand ensemble for soprano and piano ass Grenoble, Festival 38e Rugissants, April 23 Genève, Contrechamps, Studio Ernest Ansermet, Florence, Teatro Goldoni, 74° Maggio Musicale Candida Felici, piano May 10 Fiorentino, May 19 Yi-Ping Yang, percussion Jean-Marc Daviet, trombone Alda Caiello, soprano Grame - Lyon, electronics François Volpé, percussion Maria Grazia Bellocchio, piano Ensemble Contrechamps conductor: Michael Wendenberg Francesco Hoch Giovanni Verrando FLASHBACK NEW WORK for piano Eric Maestri for soprano and piano Washington, Residenz Series, April 28 CELESTOGRAFIA Florence, Teatro Goldoni, 74° Maggio Musicale See Siang Wong, piano for soprano and string quartet Fiorentino, May 19 Poirino (Turin), Fondazione Spinola Banna per Alda Caiello, soprano l’Arte, May 14 Maria Grazia Bellocchio, piano Valentina Coladonato, soprano MAY Quartetto Prometeo Luca Mosca NEW WORK Ivan Fedele Nicola Sani for soprano and piano MOROLÒJA KÀI EROTIKÀ UN SOUFFLE LE SOULÈVE Florence, Teatro Goldoni, 74° Maggio Musicale for voice and string quartet for flute, harpsichord and stereophonic Fiorentino, May 19 Rome, Accademia Filarmonica Romana, electronic space Alda Caiello, soprano Teatro Argentina, May 5 Wroclaw (Poland), Festival Musica Electronica Maria Grazia Bellocchio, piano Valentina Coladonato, soprano Nova, May 14 Quartetto Prometeo Roberto Fabbriciani, flute Elisabeth Chojnacka, harpsichord Alessandro Solbiati Nicola Sani, sound engineer DOLÇE AMORE Giovanni Verrando for female voice and piano THE SINOPIA OF DULLE GRIET Florence, Teatro Goldoni, 74° Maggio Musicale for orchestra Francesco Hoch Fiorentino, May 19 Cottbus, Staatstheater Cottbus, May 6 SPREMUTE DI SENSO Alda Caiello, soprano Philharmonisches Orchester Cottbus Melologue on a text by Roberto Bernasconi Maria Grazia Bellocchio, piano conductor: Marc Niemann for speaker, piano and percussion Ligornetto (Switzerland), Museo Vela, May 15 Barbara Zanichelli, soprano Javier Torres Maldonado Stefano Gervasoni Massimiliano Pascucci, tenor UN POSIBLE DÍA DIR - IN DIR Luciano Zampar, percussion A multimedia work, almost a radio drama, for for vocal sextet and string sextet voice, ensemble, interactive electro-acoustic Witten, Wittener Tage für Neue Kammermusik, system and video Johanniskirche, May 6 Luca Mosca Text by Ana Candida de Carvalho and José Exaudi L’ITALIA DEL DESTINO Manuel Recillas L’Instant Donné Real-italy in one act Ville-Juif, Festival Extensions, Théâtre de Ville- conductor: James Weeks Libretto by Gianluigi Melega in collaboration Juif, May 20 with Pilar García and Davide Livermore Ensemble 2e2m Florence, 74° Maggio Musicale Fiorentino, conductor: Pierre Rouiller Stefano Gervasoni Teatro Goldoni, May 15 Magali Lara, graphic art and video HORRIDO Daniela Bruera (The Waitress) La Muse en Circuit, Centre National de Création for seven voices Alda Caiello (The Stylist) Musicale, electronics Witten, Wittener Tage für Neue Kammermusik, Cristina Zavalloni (Sexilia) Aula der Rudolf Steiner Schule, May 7 Sara Mingardo (The Diva) Schola Heidelberg Davide Livermore (The Singer) Javier Torres Maldonado conductor: Walter Nußbaum Chris Ziegler (The Gym-fanatic) ESPIRA III Roberto Abbondanza (The Creative) for violin and accordion Orchestra del Maggio Musicale Fiorentino Théâtre de Cornauille - Scène Nationale de Stefano Gervasoni conductor: Marco Angius Quimper, May 27 ASTER LIEDER director: Davide Livermore Marianne Piketty, violin for voice, violin, and cello Pascal Contet, accordion Witten, Wittener Tage für Neue Kammermusik, Festsaal, May 7 L’Instant Donné

Constantly updated, at the website www.esz.it you will find the complete performance list of our composers 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 EDirettoreSZ responsabile: Maria Novella Viganò - Responsabile del Settore Classica: Alessandro Savasta Redazione: Raffaele Mellace - Coordinamento di redazione: Gabriele Bonomo - Progetto e realizzazione grafica: Paolo Lungo - Traduzioni: Mike Webb Aut. del Tribunale di Milano n. 718 del 25-10-1991

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