Archive for June, 2011

Next releases for Limenmusic…

Corrado Rojac, accordionist


CD – LIMEN Classic & contemporary

First Italian earning an accordion Diploma at a State Conservatorio, Corrado Rojac is considered one of the most important italian accordionists. In addiction to an intense soloist and chamber activity, this eclectic artist is engaged to the development of contemporary accordion’s literature, working with many composers and offering first performances of many pieces, often also his.
In this CD, he takes the listener into an enthralling and suggestive journey to the discovery of the accordion, proposing tracks linked by a common thread: the musical topos of the variation.
The album opens with some of Johann Sebastian Bach’s (1685-1750) Partitas on “O Gott du frommer Gott”, originally written for the organ, and ends with a fundamental piece of the German accordion repertoire, Hans Brehme’s Paganiniana, touching leading authors, like: Ettore Pozzoli, Anatoli Kusjakov e Gianluca Verlingieri.


J. S. Bach
1 – Partite sopra “O Gott, du frommer Gott”

E. Pozzoli
2 – Tema e Variazioni

A. Kusjakov
3 – Sonata n. 1

G. Verlingieri
4 – Shift

H. Brehme
5 – Paganiniana

Stay tuned!!


Ars Trio di Roma on Limenmusic Web Tv

By now you can find a new concert on Limenmusic Web Tv at Ars Trio di Roma in concert

The trio is made up of: Laura Pietrocini (piano), Marco Fiorentini (violin) and Valeriano Taddeo (cello).
Since its debut in 2001, the Ars Trio di Roma has stood out as one of the most interesting young trios of the Italian scene.
On the strength of a complete repertoire, ranging from classical to modern choice (Mozart, Beethoven, Brahms, Schubert, Schumann, Dvorak, Ravel, Shostakovic) the Trio has always paid extreme attention to contemporary music as well, performing regularly on programs of authors like Copland, Shchedrin, Kagel and Henze.
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In this concert:

Dmitrij Shostakovic – Trio Op. 67 n. 2
Charles Ives – Trio for violin, cello and piano



Arthur Lourié: composing music as if it was a canvas

In one of our former posts, we reflected on Sylvano Bussotti’s scores and on his habit, of tracing them as he would do in front of a canvas: so that in many cases the border between the musical and the pictorial page is blurred or even removed. Reading his music often means browsing the page in various directions, following the paths, traced by dotted lines, arrows and pointers of other sorts; and seldom we can sink into the relaxing safety of left-to-right, top-down reading.

This possibility, of writing music in a spatially different way, was widely taken advantage of during the twentieth century, although without reaching Bussotti’s radicalism. But how far in time should we go back, in search of a pathfinder who first dreamed of “painting”, instead of writing music? A good reference point is Arthur Vincent Lourié (1892-1966), a Russian composer who, a few years after the Revolution, settled in France and then in New York. In his young years he was in close relationship with the poets Vladimir Majakovskij, Anna Achmatova and Aleksandr Blok; and then he was among the subscribers of the Futurist Manifesto in Russia, forestalling Marinetti who went there for promoting the Italian novelty, and found a group of Russian artists and scholars forcefully determined to claim their novelty…
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You can listen to Arthur Lourié’s Formes en l’air (à Pablo Picasso), performed by Alfonso Alberti inside the concert:

Alfonso Alberti – Piano Music and Visual Arts – 1
go to the concert


Means of defence and traumas I

It would be suitable to ask oneself what kind of perception towards operatic theatre has he who doesn’t know it and feels it alien and strange, or decidly boring or unnecessary. Unprofitable like every product extimeed inable of moving a large fluxus of money. Useless like one of these “good things of bad taste” inherited from a great-hunt, which its possession it would be better to made without. Or, strange and impenetrable as the hieroglyphics of an ancient Egyptian obelisk. A product remote in the time, particularly used by a limitate number of monomaniac iniziates, devoted to cultural archaeology and palaeontology and observed in the best of the chances with a benevolent smile of pity. In force of this fact they are judged carriers of a rare desease, not infectious, but obstinated in cultivating old and eccentric practices.
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Sofija Gubajdulina, or the freedom of narrating themselves

Could music narrate? In this sense, could the intersection between the art of sounds and the art of narration emerge?

That’s far from indisputable, although it is, in some respects, a natural enough fact. It could be natural, for example, to ask “what is happening now?” at any point of a piece, and expect that the five, ten or twenty forthcoming minutes will be an oriented whole, with a beginning and an end, where each moment is the consequence of the preceding and the premise of the following one. But it could not be so, and in fact for music of different times the narration metaphor could not be a mandatory key, sometimes it would even be inappropriate. A better alternative could be the rhetorical metaphor (the piece as discourse), for example, that can fit much of the baroque music, or the architectural one (the piece as building).

A great part of Sofija Gubajdulina’s (born 1931) work, instead, definitely narrates.

Let’s consider De profundis (1978) for accordion. Missing the true characters (in music there are no proper names and surnames), we meet archetypes: using an appropriate capital letter meaning the symbolic power of musical structures, we’ll meet for example the Dark and the Bright, generated by the powerful mechanics according to which being an acoustically low or high sound always carries along with itself the two opposing visual suggestions.

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Corrado Rojac plays Sofija Gubajdulina’s De Profundis on Limenmusic Web Tv
go to the concert

Photo by Dmitri N. Smirnov (Own work)

Aki Kuroda presents Burgmüller Complete Études

Good morning, I’m Aki Kuroda.
I’m glad to announce you the release of my new album (CD+DVD) for Limen Music in Milano: Burgmüller Complete Études – 25, 18 and 12 Études.
Burgmüller is a composer very well-known to all the children who train in piano-playing.
In Japan in the Seventies, when I was young, it was fashionable to teach piano to the children.
It’s no exaggeration to say that at that time in Japan, in the homes, in the neighborhoods, in the classrooms of the primary schools, these Burgmüller’s  pieces were everywhere to be heard.
Now that I’m among the parents, remembering these lovely pieces as the childhood memories, I was struck by their beauty and by the musical essences that comprise them.
Friedrich Burgmüller was born in Germany where he lived until he was 26, and then moved to Paris where he wrote many piano composition for the Salon Parisien and for the ballet.
He was also very appreciated piano teacher.
Every Etudes is reach in accurately conceived piano techniquest, that enable the learning of the many musical “rubato”, with the appropriate expressions and the right singing quanties.
When I was recording them, I tried to play as if I were at the Salon Parisien, paying close attention to the required techniques and respecting the tempo marking prescribed by the author.
Especially 12 Etudes are very virtuosic. Please, look at the movements of the fingers, through the images of the DVD. I hope that the music abd the pictures are to your liking.
Have a good time!

Find out the EPK at

For more info about the album, please, click here.