Alessandro Solbiati – Les espaces limpides per flauti e mezzo elettronico (2002,seconda versione 2012 – prima esecuzione assoluta)
Oscar Bianchi – Gr…(2010-11) (versione per flauto in do a cura di Annamaria Morini)
Marco Momi – Reloading Vanishing (2012) (prima esecuzione assoluta)
Michael Lévinas – Froissement d’ailes (1975)
Tristan Murail – Unanswered questions (1995)
Bruno Mantovani – Quatre mélodies arméniennes (2010)
Giacomo Manzoni - Frase 2 (1993)
Aldo Clementi – Canzonetta per flauto in sol e nastro (2006)
Aldo Clementi – Sonate Y. per violino (2002)
Bruno Maderna - Dialodia (1972)
Luciano Berio – Tre Duetti : Igor– Béla – Bruno (1979/81;vers. per flauto e violino a cura di A. Morini ed E. Porta 1995)
Adriano Guarnieri – Cadenza (1989)
Salvatore Sciarrino – Dai 6 Capricci per violino solo : nn.1 e 4 (1976)
Armando Corridore – Soltanto attraverso la notte per flauto (2011)
Aldo Clementi – luCiAnoBErio (1995)
Annamaria Morini, flute
Enzo Porta, violin
Armando Corridore, sound director
The background is an objective element, big screen where the time of the (hi)Story flows, while the foreground focalises the attention towards details, where the individual acts. The background receives the time flux; the foreground describes the instant’s particular aspect, the plot’s development. Backclothes descriptions take allegorical characteristics, they delineate an objective “commentary”, the world nearby the individual intimate, private dimension. In Guillaume Tell first scene, the title role’s home is setted in foreground, nearby the torrent and other village’s houses; in the last scene it appears faraway, enveloped by flames, sign of extreme help’s request transmitted by Gemmy to Swiss countrymen. This house’s recession toward the foreground is a sort of warning concerning the renunciation of individual good in favour of the common one: the sacrifice of Tell’s home permits to free the Country from the tyrant’s arrogance.
