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The Georgicks of Virgil, with an English Translation and Notes Virgil, John Martyn Ipsi in defossis specubus secura sub alta Otia agunt terra, congestaque robora, Pierius says it is confecto in the Roman manuscript. And Tacitus also says the Germans used to make caves to defend them from the severity of winter, .

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The interpretative consciousness of the instrumentalist towards any sound material is a technical and aesthetic priority for the respect of music and musical creativity, not his technical capacity in the emission of a certain sound or in the intonation of another, regardless of the expressiveness that it contains or must contain. The work has a well-defined skeleton, but its content is empty and every time, for every version, for every performance, even for every repetition of the same page, it is always different, unpredictable, despite referring to itself.

The part of each instrumentalist consists exclusively of a writing that defines only the rhythmic articulation of a sound event, even if intentionally indeterminate in terms of pitches and intervals. If anything, the modes of emission of some sounds are indicated: glissandis, natural and artificial harmonics, pizzicati, pizzicati with glissandis, multiphonics, etc..

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These forms of sound emission are indicated, implying therefore an almost absolute freedom in the choice of the final sound, in its intonation within or outside the tempered system, with a minimum or maximum degree of dynamics, etc.. It is up to the musicians to establish the metronomic, agogic oscillations, in short, the interpretative-concerting choices that are usual in conventional practice; which, therefore, in this case are not secondary at all, are compositional choices that influence the executive and compositional choices of the ensemble. Enough with the censorships and prohibitions.

Free to explore sounds and chaos, strength and freedom, children play to make adults in the compositional process , in the executive one are the adults who become children again. Random, ordered abstractions compose improbable sequences and verticalities between sounds decontextualized and renewed by energies and potentialities still to be redefined each time for each performance. Gestures and silences, voices and shadows, filling our eyes with sound. And keep quiet.

Pieter Wispelwey | Piccola Accademia di Montisi

Because music is inside us, always. Work-study for further applications and developments for the biggest, utopian project of Aria, for big orchestra work in progress. The musicians enjoy imagining hits and accents on the membranes, resonating with drums whose sounds are almost unnoticed, among the much stronger and necessary sounds of the gestures that simulate forte and piano, black and white.

In the score everything is precisely calculated, but also evoked. The silent gestures on the percussions that suggest strong and decisive sounds but also cautious and gentle exceed in quantity the acoustic sounds actually hit on the membranophones. The viewer's eye is deliberately deceived, as they intentionally want to saturate it with mental images directly associated with the non-existent sound.

In order to stimulate its significance in silence through necessary psychological and mental tensions.


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Desiring sounds is like desiring the body of the lover, with eroticism to be satisfied or nourished. This cycle of four works represents within my compositional production a radical development, rather a part waters within my sonorous and mental universe, not only in the aesthetic sense, but also semiological and consequently formal. The solo percussionist in this work embodies a kind of emotional and existential alter ego: he bursts in hitting or stroking the instruments, whose multiple sounds, according to the various timbres or contrasting volumes, evoke and remember metaphorically, as a mysterious diary, stones and flowers.

The stones: the bad action, the error, the dark, the irrational, the instinctive, the involuntary, the unconscious, in general the negative feelings towards us and towards others. And the flowers, all the opposite: that is to say our loves, what we know most and are convinced of, what is planned, what is delicate and most beautiful that we have in and around us.

Carlos Chávez

Therefore, the inner narration of this work resides in the sonorous articulation between these two extreme and irreconcilable worlds, an attempt of dialogue between the tragedy and comedy of our life, between the dark and the soft, between "the flowers and the stones we collected and threw out from the balcony of the garden of our existence". From a strictly musical point of view, it should be noted that one of the purposes of the composition is to generate music through a notation system that allows instrumentalists to produce complex and variable sound structures for each performance through an innovative notation system and therefore a challenge for the musicians who cover it and perform it, because to begin with they learn to read and perform the score in a completely new way, making a clean tabula rasa of what they conventionally dominate, that is, classical or conventional musical writing on the staff.

Musicians in fact do not emit "notes" always equal to themselves, but sequences of sounds infinitely diverse although based on the same formal design. The score, according to my compositional themes that have been familiar for many years, is built on "generative-evocative structures of sound" and therefore never representative, nor descriptive.

The sound actions and their more or less complex articulations corresponding to certain symbolic expressions, are thought and emitted by each musician, only through a creative, conscious and above all versatile relation with his own instrument. They elaborate in real time the symbols of the score interpreting them along imaginary scales by ascending or descending joint degrees through glissando or quartertone intervals. Symbols have subjective durations and speeds provided they are expressed within the same bar.

Such a bar represents a kind of content of sonorous actions and not a traditional bar that is metrically pre-conceived and rhythmically re-executable in a way that is always the same as itself, as conventionally happens in traditional music. In other words, each musician plays his own sequence of sounds within the total length of the measure, they do not play conventionally "on time", but within a time x of the always variable measure based on the speed with which each musician decides to complete his own sequence of sonorous actions.

This grammatical-semiological strategy and semiographic, since they are symbolic expressions of original invention is related to precise aesthetic themes and values, that is to say the constant search for executive tension, perceptive restlessness, temporal agitation, formal irrationality. Elements of reflections and compositional and aesthetic obsessions that justify every day my existence in this life. An heretical writing that appear and disappear, fragmented but insistent: breath and life, but also affans and agony.

Baritone saxophone, clarinet, 3 bass clarinets, 2 triangles, suspended cymbal, piano, accordion, electric guitar, electric bass, four trumpets, 2 trombones, bass trombone and tuba. An image in the sky or in a dream suggests an ordered sequence of out-of-order sounds: a work for accordion and ensemble, written in Nubes y Luna, clouds and white moon: a set of instruments joined together by an imaginary cloud that sneaks between the boundaries of a moon, tickling its contours, turning herself on and off in white.

It is through the movement of the bellows of the accordion which symbolically represents it as a metaphor that a comings and goings of sound and emotion stand out among the uniform and compact mass of the instruments-clouds. And the intact and stable moon that remains intertwined with them, present and transparent, white and discreet.

Such verses are divided into 26 chapters and the stanzas are arranged according to subject matter. Here is a personal transcription of 10 chapters of such classic religious scripture.

The purpose of such compositional technique is, therefore, to make the text disappear phonetically, thereby it is re-born as a musical structure of vocal sounds. Instead of adding an external music to the original text, the musical performance of the Dhammapada is but the acoustic result of the inner musicality of the text itself.

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The stylistic diversity of the scores here presented not only reflects the diverse modalities the compositional techniques above mentioned, but also has been carried out in accordance with the conceptual themes of the books. How sweet and lovely dost thou make the shame. O, in what sweets dost thou thy sins enclose! Tegen Davidge, viola. Peter Walsh, double bass.


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