Posts Tagged ‘Alfonso Alberti’

From September 2011 on Limenmusic Web Tv…

Here we are…Limenmusic restarts in September with new concerts, specials, interviews with leading musicians of national and international scene, new releases…and so much more.

Here are some advances:

Takahiro Yoshikawa plays L. van Beethoven – Episode 1
In this concert the young and talented Japanese pianist Takahiro Yoshikawa will perform L. van Beethoven’s Piano Sonata n. 1 in F minor.
This Opus was the first piano sonata written by the German composer in 1795. This work was dedicated to his predecessor Joseph Haydn, who has strongly influenced the early period of Beethoven’s career.

Alfonso Alberti in concert
Alfonso Alberti, appreciated Italian pianist and musicologist, will propose to the audience a concert on musics by: Luca Francesconi (1956), Flavio Emilio Scogna (1969), Paul Méfano (1937).
Furthermore, he will perform aworld première: Giostre di cristallo, written in 2000/2001 by Stefano Bulfon.

Shin Sasakubo in concert
Limenmusic proposes another kind of music, other than classical and contemporary one, the Andean – Peruvian music. In this concert the Japanese guitarist Shin Sasakubo will introduce the audience to the discover of the Andean world and its people, with some of its traditional musics.

Stay tuned….

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Limenmusic’s columns go on holiday…

Limenmusic’s columns: “Intersections”, by Alfonso Alberti, and “Collateral effects”, by Sonia Arienta, go on holiday until September 1st

Do you want to read all the articles?

INTERSECTIONS
english version
italian version

COLLATERAL EFFECTS
english version
italian version

See you in September with new interesting articles!!!!

Do you want to collaborate with Limenmusic, writing a new column??
Write your proposal at info@limenmusic.com

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“Art belongs to the unconscious!”

“Dear professor! Please forgive me if I write to You although I never had the pleasure of meeting You personally. I just attended Your concert, and it was a real delight for me.”

These words are the beginning of one among the most fascinating correspondences of the twentieth century arts, the one between Arnold Schoenberg and Vasilij Kandinskij. Kandinskij wrote those words the 18th of January, 1911, and the concert, whose impression is still powerful for him, was performed the second day of January in Munich: first and second Quartet, Three piano pieces op. 11 and a series of five Lieder.

“I believe that the harmony of our times should not be found along a “geometrical” path, but along an anti-geometrical, anti-logical path. This is the path of the “dissonances in the arts”, so then in painting as much as in music.”

So Kandinskij wrote to Schoenberg in his first letter, and Schoenberg, a few days later:

“The art belongs to the unconscious! It is necessary to express yourself! Express themselves with directness!”

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The program of the historical Schoenberg’s concert of January 2, 1911, will be performed again, a hundred years later, September 8, 2011, in Milan, for Mito Settembre Music and the Friends of Musica/Realtà at the San Fedele Auditorium, at 9:00 PM (GMT+2), with an introduction by Enzo Restagno, performers Quartetto di Cremona, Lorna Windsor, Alfonso Alberti.

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Alessandro Solbiati – Episode 4

From today, July 12. 2011 you’ll be able to enjoy on Limenmusic Web Tv the fourth episode of the special entirely dedicated to the renowned italian composer Alessandro Solbiati, edited by Alfonso Alberti, pianist and musicologist, and hosted by Valentina Lo Surdo.
ONLY ITALIAN VERSION!

In this episode he talks about his personal relationship with religion.

Futhermore LIMEN ensemble plays “Sette pezzi” (1995) for string quartet (string orchestra version, 1999).

LIMEN ensemble – conductor: Yoichi Sugiyama

Cristina Ardizzone (violin)
Eiichi Chijiiwa (violin)
Giorgio Casati (cello)
Matteo Del Soldà (viola)
Elitza Demirova (violin)
Arianna Dotto (violin)
Paolo Fumagalli (viola)
Luca Magariello (cello)
Saya Nagasaki (violin)
Samuele Sciancalepore (double-bass)
Livio Salvatore Troiano (violin)

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Luigi Veronesi and the chromatic visualizations

A few years ago the Catholic University of Milan hosted a symposium on Musical Visions: Relationships between Music and Visual Arts in the 20th Century. The cover of the recently published proceedings shows a very peculiar work of visual art, very wide (indeed it runs on the front and the back of the cover), made of a multitude of high and narrow rectangles, each of them filled with one of the rainbow colors, no gradations or hues. The sequence of the rectangles creates a structure, which we could easily ascribe a “musical” character to – but actually the work is “musical” not only in quotation marks, but also without them, and decidedly so.
It is the Visualization of part of the Air à faire fuir #I from Erik Satie’s piano collection Pièces froides, a work by Luigi Veronesi (1908-1988). Yes, that’s it: a “visualization” of a musical work (in this case, a part of a musical work); instead of listening to a fragment by Satie, we can “see” it. The visualizations are a prominent and significant part of Luigi Veronesi’s creative activity. They recently were the focus of the arts historian Paolo Bolpagni’s interest, who found many of them in an up to now unexplored corner of Veronesi’s studio, and analyzed them (in many cases coming to an identification of the musical works, often not explicitly declared)…
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Alessandro Solbiati, the documentary ep. 3

From today, June 29. 2011 you’ll be able to enjoy on Limenmusic Web Tv the third episode of the special entirely dedicated to the renowned italian composer Alessandro Solbiati, edited by Alfonso Alberti, pianist and musicologist, and hosted by Valentina Lo Surdo.

During this meeting, Solbiati will talk about great composers who changed his life.

Limenmusic’s Blog proposes an excerpt (in italian version) from a book written by Alessandro Solbiati. “Ah, lei fa il compositore? E che genere di musica scrive? Quattro saggi su un’esperienza.” edited by Carlo De Incontrera and published by Teatro Comunale di Monfalcone.

Molte cose potrei dire sul mio incontro con Franco Donatoni. Cercherò di non dilungarmi, ma voglio rendere omaggio, anche attraverso alcuni aneddoti, ad uno straordinario connubio in lui tra la capacità di comunicare pensiero e tecnica e l’attitudine ad entrare in contatto umano con l’allievo; tale connubio costituisce a tutt’oggi per me un modello assoluto di insegnamento.

Credo infatti che nel campo delle creatività l’insegnamento richieda, da parte del docente, un particolare e difficilissimo equilibrio tra il rispetto per le attitudini dello studente da un lato e la necessità di formarlo tecnicamente dall’altro, ben sapendo che una tecnica non è mai neutra e che veicola sempre un’impostazione di pensiero.

Sebbene normalmente si pensi il contrario, Donatoni possedeva in pieno tale equilibrio.

Entrai nella su aula un giovedì pomeriggio, giorno nel quale la sua classe non era aperta solo agli allievi, ma a tutti i giovani interessati al comporre. In quel caso non si parlava di nozioni storiche di armonia e contrappunto ma solo, e con tutti, di composizione: era il clima liberatorio, un po’ confuso, ma certo stimolante, della metà degli anni ’70.
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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

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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)
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Alessandro Solbiati, the documentary ep. 2

From wednesday, May 18.2011 you’ll be able to enjoy on Limenmusic Web Tv the second episode of the special entirely dedicated to the renowned italian composer Alessandro Solbiati, edited by Alfonso Alberti, pianist and musicologist.

During this meeting, Solbiati will talk about his poetry and the beginning of his personal path into the the world of musical composition.

Furthermore you will be able to enjoy a beautiful concert: Dies for clarinet and piano (from “Pour Ph.B.” per clarinet, violin, cello and piano), written by Solbiati in 2005 and interpreted by Selene Framarin and Aska Carmen Saito.

Limenmusic’s Blog proposes an excerpt (in italian version) from a book written by Alessandro Solbiati. “Ah, lei fa il compositore? E che genere di musica scrive? Quattro saggi su un’esperienza.” edited by Carlo De Incontrera and published by Teatro Comunale di Monfalcone. Here he talks about his first experiences with the music and the art of composition.

Che genere di musica scrivo.

Curiosità incosciente.

Non sono mai stato davvero interessato all’esecuzione musicale, nemmeno nei lunghi anni in cui il pianoforte ha, molto tardivamente (tra i 18 e i 24 anni), preso buona parte della mia giornata. Non che io non sappia quanta creatività ci possa essere nell’interpretazione musicale, ma semplicemente quel tipo di creatività non mi appartiene. La mia vocazione è quella di sporcarmi le mani per trovare “il mio suono”.Nel 1961 o ’62, quando avevo 5 o 6 anni, regalarono a mio padre uno dei primi organi elettrici. Tutta la mia famiglia, pressoché priva di ascendenze musicali, giocava talvolta a suonacchiare qualche canzone, seguendo una guida numerica su uno pseudo-spartito. Una manopola, se situata in una certa posizione, permetteva di ottenere accordi maggiori e minori premendo un solo tasto della parte sinistra della tastiera, consentendo così di armonizzare le melodie. Io non ero affatto attratto dall’esecuzione delle canzoni, che trovavo gesto stupido e ripetitivo.Giocavo con la manopola, la giravo e rigiravo, perché capivo che, mettendola in un certo modo, ottenevo un suono semplice e, nell’altro, un suono complesso (sono parole di oggi e non di allora, ovviamente) e con la mano destra cercavo di ricostruire nella parte acuta la somma di suoni equivalenti al risultato magico della manopola. Evidentemente dovevo “fare mio” il suono, cercando di smontarlo, di rimontarlo, di penetrare il mistero degli accordi e non di riprodurre qualcosa di già confezionato. I miei genitori cercarono allora di farmi studiare musica, ma il risultato fu pessimo: dopo poche lezioni, mi rifiutai di continuare, perché trovavo tutto freddo e incomprensibile. Preferivo giocare con la manopola.
Si trattava quindi di un’attitudine “al fare più che all’apprendere”, che è poi sempre rimasta in me, seppur, spero, nella forma più matura dell’ “apprender attraverso il fare”…

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Music for starry skies, by Alfonso Alberti

John Cage was an ingenious master of intersections. Once he was also on the verge of a very peculiar intersection with gastronomy, when he dreamed of composing a piece where he was cooking notes and the audience were eating them. That piece, clearly, remained in the world of dreams, but there are many notable cases where his music is intertwined with a variety of other disciplines.Astronomy, for example – or, better, astral geography. In the Seventies, when many composer were still creating post-serial composition rules, he used to take maps of the starry sky, lay on them transparent music paper and “compose”. A star is a tone, a constellation becomes a series of tones. And then, with a number of details in need of specification (should this celestial body match with a single tone or a chord? A chord of how many tones? Natural or altered tones?) he used to browse the I Ching, the popular Chinese oracle, and through its responses refine the whole. A “whole” that was the Etudes Australes for solo piano, thirty-two pieces collected in four books, totaling many hours of music, where the star map becomes phantasmagorical tones constellations, the two hands restlessly swirling across the keyboard…
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