New location for the second appointment of Ricominciamo da Trenta, the last segment of the season celebrating the thirtieth anniversary of Dissonanzen at the San Pietro a Majella in Naples.
First performances by young authors for the Ensemble Dissonanzen
Friday 13 October at 18.00 Sala Scarlatti del San Pietro a Majella, new appointment for Ricominciamo da Trenta. With the concert “La Nuova Scuola Compositiva Napoletana” the collaboration between the Neapolitan Conservatory and Dissonanzen is consolidated, giving space both to the creativity of the new generations of authors enrolled in the composition classes, coordinated by Patrizio Marrone, and to the interpretation of young musicians. Seven pieces in first performance that testify different approaches to today's languages, with different aesthetics and inspirations. Young performers will join the staff of the Dissonanzen Ensemble in the sign of continuity and attention to innovation and the new generations of performers and authors.
World premieres of: Salvatore Matricano, Walter Aveta, Giuseppe Franza, Donato Attanasio, Giulio Masi, Francesco Sgambati, Marco Savastano.
Ensemble Dissonanzen
Tommaso Rossi, flute
Emanuele Palomba, clarinet
Francesco Solombrino, violin
Manuela Albano, cello
Ciro Longobardi, piano
Giusy Lo Sapio, percussions
Giuseppe Galiano, direction
Free admission subject to availability
Info: www.dissonanzen.it www.sanpietroamajella.it
Salvatore Matricano, Emotions at Sunset for clarinet, violin, cello and piano, Giuseppe Franza
The warning escapes decipherment for cello and piano, Walter Aveta Hot spots for flute and cello, Giulio Masi Past, Present and Future for flute, clarinet, piano, violin and cello *
Donato Attanasio, Trio number 1 for flute, cello and piano, Francesco Sgambati Ma'at, chamber poem for flute, clarinet, cello, piano and percussion, Marco Savastano, Dialogo col profondo for 4 performers and 6 instruments.
The concert “The new Neapolitan composition school” is a further step in the now multi-year collaboration between the Conservatory of San Pietro a Majella and the Dissonanzen Association. In particular, on this occasion, we want to give space to the creativity of some young composers, enrolled in the composition classes of the Conservatory.
The piece Emozioni al tramont odi by Salvatore Matricano was initially conceived for a quintet (string quartet and clarinet), and was later adapted for the ensemble Dissonanzen. The composer started from a dodecaphonic series, but then treated it with more freedom, preferring the musical gesture to the rigidity of the rules.
The warningescapesdecipherment by Giuseppe Franza was born from the idea of focusing on an imaginary machine, filmed in an attempt to decipher an absurd “object”. In this dimension, the listener comes into contact with the entire sound world that this “effort” brings with it: sounds of mechanisms, relays, gears, then small stifled screams.
In spite of everything, the object continually escapes, preventing the end of the processing and leaving the problem unsolved. Then the automaton becomes our brother: like man, it experiences things that elude its own reason.
Hot spots by Walter Aveta is a piece for flute and cello. The title is in English and can be translated as “hot spots”. This expression is borrowed from geology, in fact it is a term that indicates the formation of particular types of volcanoes. As from these volcanoes that develop on “hot spots” of magma, the piece develops from long and harmonically dense sound bands, the “hot spots” of the composition. These elements extremely saturated with harmonics, dissipate in the most diverse ways, just as the magma retained in the depths of the earth’s crust flows out in the form of lava in many different ways.
The piece entitled Past, Present and Future by Giulio Masi is divided into three parts, where in each of them he has developed his own style or one inspired by other composers such as L. Bernstein or N. Kapustin: a piece that will accompany the listener on a journey that begins in his past memories and ends in his future dreams.
In Donato Attanasio's Trio number 1, starting from a common note, the piece winds along the similar but different paths of the three instruments to reach a new common note never heard before in the piece. But the peak reached is only a brief illusion and the three instruments soon find themselves back where they started.
Ma'at by Francesco Sgambati is inspired by the Egyptian goddess of the same name who personified the ancient concept of balance, order, harmony, truth, law and rule, morality and justice. She was also represented as an anthropomorphic goddess, with a feather in her head, responsible for the natural arrangement of the constellations, the seasons, human actions as well as those of the deities, as well as the propagator of cosmic order against chaos. Her theological antithesis was Isfet. Sent into the world by her father, the sun-god Ra, to forever banish chaos, Maat also had a primary role in the weighing of souls (or weighing of the heart) that took place in the Duat, the Egyptian underworld: her feather was the measure that determined whether the soul (believed to reside in the heart) of the deceased would reach the afterlife or not.
Dialogue with the Deep by Marco Savastano is a dialogue between the rational part and the unconscious. In moments of stasis, the rational part tries to make sense of everything by trying to order everything according to its own patterns. There is another part, however, that asks to be listened to and not to be suffocated in any way. The deep bursts out with force, giving rise to a panic attack, thus destroying every attempt at rationalization and releasing all its energy.
Article published on 11 October 2023 - 16:14
