Music of the next age features a selection of pieces which aims to focus on the multiplicity of expressive shades of guitar sound. This collection comprehends 11 compositions, some of them already published and some to be recorded yet by Edizioni Musicali Sinfonica; these compositions are the production of authors and guitarists nowadays acting in our musical milieu.
It’s a kind of programmatic choice that gives the opportunity to listen to the voices of different authors reunited in an only collection, and to appreciate their variety in style, and their different choices with respect to music writing and taste in research (from modal – tonal, to atonal – serial). All the authors represented in this selection are similar in their sensibility to enlighten the timbre peculiarities of their instrument, and to let the guitar be the only leading voice.
A listening tension is constantly kept alive, and the result is product both accurate and fluent.
The first piece is Toccata by Marco Gammanossi, composed in 1990. This piece is characterised by a “crazy” rhythm – whose idea has been maybe suggested to the author by the amazing Prokof’ev’ Toccata op. 11 – which produces a continuous thumping effect, someway violent, where the different melodic events come from. A central contrasting element, made up of declamatory and lyric emphasis, creates some changing movement.
Su echi di Mompou, written in 1994 by Nicola Jappelli, is a little homage to the Catalan pianist and composer Federico Mompou. Actually the author takes the theme - characterising the third movement of this composition, out of Mompou’s collection of piano works “6 Impresiones Íntimas”, aiming to recreate – in a simple way - the same atmosphere.
A classic use of the theme with variations form characterises the first of the 2 pieces proposed by Eugenio Becherucci as an author. In Tema con variazioni (1993) a modal-like musical idea is taken as a central element, and becomes material to be elaborated through the 5 variations; as it stands recognisable in its melodic structure, gives the piece a sense of unity. All these variations follow a kind of historical path which goes from the strict use of polyphony ‘til the use of modern compositional techniques, which the author uses to underline the different characteristics of the instrument.
Bruno Giuffredi is the author of Beubelet (1997). The title expresses - in an archaic form - the meaning of baubles. The piece is an musical fresco made up of melodic ideas, which tries to elaborate the tradition by distilling it, and avoiding what is predictable and stereotypical. The result is a piece that – even if homogeneous – conveys different expressive units, some of them brief, each one strongly individual, which get melted and intesected.
Vieille comptine au parfume d’eglantine (1996) is Vittorio Vinay’s piece. The harmonic process is developed in grace-noted accords, connected by acrobatic melodies, which suggest shady and sweet atmospheres, recalling harmonies someway classical, someway elaborated in elegant and inventive solutions.
Tendres eclairs dans les souffles du soir (2000), Vinay’s second piece, developes over two timbre planes, both opposite and tied together in consonance. Expressive rearings and pianissimo, obtained through harmonics, amazingly exploits guitar’ dynamic and timbre power. Nothing appears as mere techniques, but the whole pieces in built in order to achieve a fascinating lyrism.
The use of sound material varied with different techniques, first of all the serial one, and the use of traditionally conceived rhythm, are the main constitutive elements on which Franco Cavallone’s Tre impressioni (1998) is based. The kind of technique he uses, conceived by the author as a kind of red line, succeeds in melting the three movements composing the piece in an only identity.
Notturno Indiano (2001) by Eugenio Becherucci is formed by 5 lyric episodes mainly quiet in character, preceded and followed by comments in free and cadence-like style, a little suite born from the impression the author had by reading Rabindranath Tagore’s poetry.
Maurice Ravel inspires Giovanni Podera in Prélude à la nuit (1996). Just like the French composer, who – in the II part of his Rhapsodie Espagnole for orchestra - built the Prélude on 4 near notes : F, E, D, C sharp. Podera uses for this piece the 2nd interval, mainly minor, as a characterising element. The cromatic potentiality of such rigourously serial proceedings, is not entirely exploitened; the author just uses short fragments which undergo free permutations, as to create a continue dialogue between tension and distension.
With Nocturne, written and published in 2001, Giovanni Podera wants to express his own personal tribute to Edgard Varèse. In the beginning the quiet and calm atmosphere dissolves gradually to introduce an “Allegro ma non troppo”; a “Breve Interludio” follows, whose incipit comes from Varèse’ “Octandre”, and precedes a “Allegro” reprise. This formal structure better underlines both the rhythmic and timbre contrasts of this piece.
Bagatella (1990) is the piece closing this recording. It originates from author Marco Gammanossi’s will to transpose on guitar some stylistic model from jazz and pop music. The formal structure is simple, and the piece sounds easy and fluid; its introduction as a recitativo is a real contrast with the rhythmical, dazzling ending.
[Cinzia Romeo – english translation by Laura Berna]