OSVALDO COLUCCINO Interni Roberto Fabbriciani 1999 20 YEARS 2019 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 2 Recording dates: 12 to 14 March 2018 Recording venues: EMA Vinci Studio, Fibbiana (Firenze), 6 Electroacoustic part at Coluccino’s Studio Engineer: Giuseppe Scali Editing, Mixing: Osvaldo Coluccino Texts: Osvaldo Coluccino, Roberto Fabbriciani Translation: Osvaldo Coluccino Cover based on artwork by Enrique Fuentes ℗ & © 2019 paladino media gmbh, Vienna www.kairos-music.com 0015062KAI ISRC: ATTE41956201 to 06 LC 10488 3 The inner part … man breath, 3) inspired air, 4) air by in the transparency the flute from non-standard fingering (which allows the descending pitch of a quarter-tone). This relief highlights an unexhaust- ed research – speaking of aesthet- ics – based on sonic minuteness, on the whispering subtlety, which, as of- ten happens with art – speaking of de- tail – ends up permeating macroscop- ic outcomes. From the beginning to the end of the As well as Stanze for piano and as the work, every centimeter of the score other album for solo instrument that (with a wealth of mathematically I’m creating, for clarinet, also Interni pinned details), each individual sound, presents a title that refers to a place; although of a single instrument, is en- I would say a shelter. As if the ascet- gaged to conduct, weakly, diversifica- ic recess proposed by an entity in its tion, alterity, undecidability, multiplicity, musical soliloquy decreed that the difference ... But compared to what? sense of a music is to identify itself To begin with, compared to the emis- with a place. sion of the flute sound according to vitalistic attitude, and not only of tra- The album Interni begins with the rep- dition but also compared to a composi- etition of four identical notes as pitch … tional line, I would say recent, that in but different from each other as char- the virtuosic phrasing of the flute, in acteristic of the sound. Four notes G its vaulting, and keeping it in its ca- at the same octave in incipit of Primo nonical timbre, unitary and round tim- interno emitted according to different bre, has identified the expressive task. morphologies, but frailly and subtly It is a way. Other ways, also demon- different: all in the dynamics of pianis- strative, have instead paid attention to simo, here are four twins in the shape the sound through modernizing tim- of: 1) only air by the flute, 2) only -hu bral alterations related to expression- 4 istic dynamic excursions, or to obses- breath that comes from the (physical this work? For his ability to welcome sive repetitions, other ways to a mix of and metaphysical) deep? Which bet- the micro-dynamic writing of the Inter- phrasing and explosive, sharp effects. ter representative could have brought, ni and to face the sophisticated com- In our case … the human breath as- besides the sonority of suavity, the plexity-precariousness of pervading pires to be the alter ego of the instru- sound of the dissipation that life has multiple sounds, I found the ideal trav- ment and vice versa, and the individual dug into our lungs, into the larynx and el companion. A few meters from sound, sometimes distilled and hierat- our soul, could have brought perdition Roberto’s house, in Florence, where ically separated, has no peace, is sub- also, which has soaked the breath then we have rehearsed the six pieces to- jected to a process of minute differ- flowed out, could have brought the gether, there is Museo di San Marco, entiation, in constant search for the raucous disillusioned world of the per- that is the transcendence of the works non-ordinary transparent sound, yet ceived, lived, breathed and coughed by Fra Angelico, the ethereal figures coherent within a promise to make a out tragedy, the aphonia as a cause some of them that almost levitate off (poetic and formal) drawing which is of the loss (loss of the loved living be- the ground, symbols emptied of every completed, and to bring the case on ings, the loss of ourselves and of the corporeity. the expressive immanence beyond hope ...), and could have brought the any aesthetic complacency. non-breath that breathes? … The intimate is subjected to a super- imposed swarming vital layer that with All in the name, I would say, of the deli- Hence a path of transparency (like its trampling makes deaf, compared to cacy or sometimes of the delicate dis- the transparency of the veils in Ital- the recessed cavities, full of their pri- tortion and sometimes of the inaudible ian painting of the fourteenth and fif- vate and secret panting. But it is not and the fragmented suspended with- teenth centuries), of levity, of splitting relegating the intimate to an individ- in siderial silences. And what more ap- and other unexpected multiphon- ualistic dimension and of retreat that propriate classical instrument could ic possibilities in spite of the basical- we get answers to our investigations, have embodied such a feeble chant, ly monophonic nature of the medium; which, always, and with the means the role of advocate of the whisper, then the instrument that, even in the that from time to time we have avail- of the rustle, of the breath, of the dim, low types (bass and contrabass flute), able, dream of the mirroring reality and also of the non-sound, as the aes- can become the medium of the intan- in front and of the heights above our thetic apogee of this path? gible and the spiritual, as well as some- fronts. times it turns into “damned” (maudit) “Aesthetic”, “external” … but the ques- in its refined distortions. Osvaldo Coluccino tion now moves “inside”. What oth- er instrument could have been used And what better master of Roberto, as an intermediary in giving me, even who has always been looking for such “onomatopoeically”, that incorporeal different possibilities of the flute, to fix 5 PRIMO INTERNO Osvaldo Coluccino a Roberto Fabbriciani First Part these pitches are only indicative: G another fingering play clicks with this rhythm AIR but pressing on the comfortable keys PIZZ. only t KEY CLICKS breath INSPIRING STACC. t p q = 60 KEY CLICKS Flute . rK 4 j j b ® ®¿ . &4 œ ‰ Á Á œ œ ‰ ¿ ®‰ ø# ®ø ® øb ®¿ ¿# ¿b ® ¿b ¿ ¿b ¿n ®‰ 2 X airy staccato and airy pizzicato n 3 about these numbers for fingerings: 4 2 0 = empty space – / / = truncated numbers 2, 3, 4 0 n 4 WHISTLE TONES 0 – 0 2 3 AIR+TONE D AIR+VOICE 3 # 3 œ œ 4 œ œ ·b ‚b ‚b 5 . 4 & Ó 7 œ œ ‰ œ œ ‰ 4 ‰ œ œ Ó 4 j singles whistles 3 J n7¬. –œ . with these specific pitches Ø . 3 VOICE-SOUND 8 () ‚ ‚. j ·b . ‚ ŒÓ · Ó J Œ ‚ b7 & Ó 6 Ó Yb Yb Œ Yb . ‰Ó ‰. Y Y ‰‰Y Y Y Œ ¬b 2 SHADOW R J J Ó 3 shadow-airy sounds n4 – 0 Ø 3 qAIR = 80 13 4 3 C B 3 j #7. œ 7 œ ‰Œ ‰ œ œb j œb œN œb ŒÓ & ¬ – #7. œ œb œn œ œb œ œ# . 0 X J 0 0 3 / n 0 4 4 4 – – – 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 We learn to listen to silence … silence music. Fantasy, imagination and poetry. is a sound, an integral part of the work. We extract from the essential sign a Sounds that have been thought, complex and heterogeneous meaning sounds with a life of their own, sounds that is not the result of superficial and at the limits of the audible. inaccurate exegesis. The composers have always looked For me music is a thought that walks ahead and with them the performers, and always evolves, it is exploration as looking for new and more sophisticat- a necessity, the necessary path. ed sounds, proposing solutions and novelties. Roberto Fabbriciani In these Sei interni (“Six insides”) by translated from Italian by Osvaldo Coluccino, unprecedented Osvaldo Coluccino horizons of listening open up and we appreciate beauties that we are not used to listening to. 7 OSVALDO COLUCCINO Osvaldo Coluccino (born in 1963) is an Italian composer and poet. His com- positions have been commissioned by Biennale di Venezia, Milano Musica, Orchestra Sinfonica Nazionale della RAI, Teatro La Fenice di Venezia, Or- chestra della Toscana Teatro Verdi di Firenze, Angelica with Orchestra del Teatro Comunale di Bologna, Compag- nia per la Musica in Roma… and have been performed in several festivals in Europe, America and Asia. Monographic CDs have been re- leased by labels KAIROS, Col legno, Neos, RAI Trade, Another Timbre, Die Schachtel and others.