Quintetto Anemos, Albin Lebossé, Filippo Mazzoli, Ivan Calestani, Nicola Zuccalà, Marika Lombardi - Incroci Musicali (20-th and 21-st Century Italian and Hungarian Music for Wind Quintet) (2020)
BAND/ARTIST: Quintetto Anemos, Albin Lebossé, Filippo Mazzoli, Ivan Calestani, Nicola Zuccalà, Marika Lombardi
- Title: Incroci Musicali (20-th and 21-st Century Italian and Hungarian Music for Wind Quintet)
- Year Of Release: 2020
- Label: Da Vinci Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 00:58:24
- Total Size: 262 mb
- WebSite: Album Preview
Tracklist
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01. Pupazzetti, Op. 27: I. Marcetta
02. Pupazzetti, Op. 27: II. Berceuse
03. Pupazzetti, Op. 27: III. Serenata
04. Pupazzetti, Op. 27: IV. Notturnino
05. Pupazzetti, Op. 27: V. Polka
06. Five Easy Dances: No. 1, Polka
07. Five Easy Dances: No. 2, Tango
08. Five Easy Dances: No. 3, Bolero
09. Five Easy Dances: No. 4, Waltz
10. Five Easy Dances: No. 5, Rumba
11. L'antico segreto dei cinque: Nulla: -273 instanti di zero assoluto (4'33'' diviso n)
12. L'antico segreto dei cinque: No. 1, Egy: unus est-il cerchio solare
13. L'antico segreto dei cinque: No. 2, Kettő: il binario-respirazioni lunari
14. L'antico segreto dei cinque: No. 3, Három: il tre perfetto
15. L'antico segreto dei cinque: No. 4, Négy: Il quadrato magico Aria Terra Acqua Fuoco
16. L'antico segreto dei cinque: No. 5, Öt: il fiore e l’essere vivente
17. Antiche danze ungheresi del sec. XVII°: I. Intrada
18. Antiche danze ungheresi del sec. XVII°: II. Lassú
19. Antiche danze ungheresi del sec. XVII°: III. Lapockás tánc
20. Antiche danze ungheresi del sec. XVII°: IV. Chorea
21. Antiche danze ungheresi del sec. XVII°: V. Ugrós
22. Nocturnal Awakened
23. Perpetuum Immobile: No. 1 (Six Pieces for Wind Quintet)
24. Perpetuum Immobile: No. 2 (Six Pieces for Wind Quintet)
25. Perpetuum Immobile: No. 3 (Six Pieces for Wind Quintet)
26. Perpetuum Immobile: No. 4 (Six Pieces for Wind Quintet)
27. Perpetuum Immobile: No. 5 (Six Pieces for Wind Quintet)
28. Perpetuum Immobile: No. 6 (Six Pieces for Wind Quintet)
The project “Incroci Musicali” (Musical Crossings) originates from a synergy between the Wind Quintets “Anemos”, the Italian Culture Institute of Budapest, and composers Alessio Elia, Salvatore Di Stefano and Marco Lombardi. All of these human resources, jointly, have invested their talents, energies and support in order to realize this recording. The repertoire offered here is (as the title suggests) a “crossing” of works belonging in the traditional repertoire for Wind Quintet (Farkas, Agay, Casella) with the creation of new projects by young Italian composers involved in this production (Elia, Di Stefano, Lombardi). There is a variety of musical languages, with different styles; all of them are significant in order to display an itinerary through more than fifty years of music for wind instruments. This is also the final result of an intense cooperation between the two countries of Italy and Hungary, including the choice of this “cross-cultural repertoire, the selection of a recording studio in Budapest with Hungarian sound engineers, and the cooperation, in the artistic direction of the project, between Alessio Elia and Andras Farkas (the son of Ferenc Farkas, one of the composers of the pieces recorded here). This entire ideal journey, from Rome to Budapest, has been made possible only thanks to the generosity and support of Dr Gian Luca Borghese, the Director of the Italian Culture Institute in Hungary.
Alfredo Casella: Pupazzetti op. 27
The Turin-born composer Alfredo Casella spent several years in Paris, studying and finishing his education there during the Belle Époque. He was fascinated by modernity and by the most experimental kinds of musical languages; thus he soon abandoned Gabriel Fauré’s sphere of influence (while never denying its importance), and befriended Satie and the musicians of the Group of Six. Thus, it became unavoidable for him to encounter the music and personality of Igor Stravinsky. Listening to his Pupazzetti, here performed in a transcription for wind quintet by flutist Filippo Mazzoli, Casella’s love for Stravinsky’s music and the influence it had on him become apparent. The piece, in a typically Neoclassical style, was composed by Casella during the First World War, and was conceived for the theatre of the Balli Plastici – a performance of mechanical puppets created by artist Fortunato Depero. This work was originally written for piano duet (four hands), but was transcribed by the composer himself for a large instrumental ensemble or for a chamber orchestra.
Denes Agay: Five Easy Dances
Denes Agay was born in Budapest, in a family of Jewish-Hungarian descent. Following the occupation of Hungary by the Nazi troops, and the racial laws they promulgated, Agay was forced to emigrate to the United States during the Second World War. He had studied music at the Ferenc Liszt Academy, and shortly after landing in New York he entered the world of cinema. He produced a very large number of soundtracks and film music, together with pedagogical methods for learning the piano. His Five Easy Dances for wind quintets faithfully mirror the nature of entertainment music for all kinds of audiences. Through their creative simplicity, they transmit countless feelings, raging from the tender nostalgia to the simple amusement, sometimes with a hint of sensual exoticism.
Salvatore Di Stefano: L’ancien secret des cinq
The “Ancient Secret of the Five” is a piece rooted in geometry, physics and mathematics, in their most ancient form. The knowledge of the Greek philosophers transmitted us their multifaceted vision, at the crossroad where many disciplines meet; here, an arithmetical number became harmony (music), geometry, astronomy and mathematics, in a straightforward and ideal philosophical vision, very different from Galilei’s modern science. This piece is a homage to this encounter of numbers, geometry, music and astronomy, transmitted to us through history up to the Renaissance, in a myriad disciplines. This piece, written in a single movement, is articulated in a sequence of episodes evoking the archetypal numbers one to five, preceded by a prelude, Nothing, suggesting the idea of zero through the metaphor of the absolute zero of matter. Each episode begins with the announcement of the corresponding number and develops around its own discourse.
Album notes by Salvatore Di Stefano
Ferenc Farkas: Antiche danze ungheresi
The Ancient dances by Hungarian composer Ferenc Farkas are a sequence of pieces constituting a Suite in the Old Style. While each dance is perfectly self-standing, their alternation of quick and slow paces creates a successful emotional growth, culminating in the enthusiastic concluding Saltarello. Farkas’ compositional mastery allows all five wind instruments to display their technical and expressive skills. There are several instrumental versions of this piece, but doubtlessly the version for wind quintet can be counted among the best.
Alessio Elia: Nocturnal Awakened
Night spreads itself, with its own times, in three different places: the park in front of the home, the working studio, and the interior dimension of aural perception. These three spaces have each its own features, and they are offered to the listener at first in their distinctive elements, and later (mixing them in a sound texture which integrates them together) in a dimension showing their resonances and their assonances, as if wishing to reveal the mystery of their secret unity. Starting from a single sound, articulated through diverse timbral nuances, the piece unfolds in increasingly complex sections, crossed by melodic veinings, which are very simple at first, and then expand themselves in the global spectrum of the instruments’ registers, integrating various tuning systems in a compositional process called polysystemism.
The physical dimension of sound is highlighted by a particular kind of instrumentation, through complex psycho-acoustic phenomena, through which instrumentation itself becomes the generating force of unusual timbres.
Album notes by Alessio Elia
Marco Lombardi: Perpetuum Immobile
This piece is made of six independent and neatly separated movements. Each has technical and expressive features of its own. The title, Perpetuum Immobile, refers to a poem by the Hungarian poet János Pilinszky (1921-1981), which has been read in an Italian translation. Each movement is tenuously connected (without any descriptive intention) with the idea expressed in its title, and, partly, with the poem’s content. This creates a continuous movement, a kinetic energy coming back on itself again and again, in a mechanism which ultimately works for no purpose.
In the first movement, the five instruments emerge in turn from a sequence of fixed notes, constantly repeated and rigorously homorhythmic. In the last bars, the ostinato bows to gestures almost reminiscent of a Waltz. The second piece evokes the famous Habanera from Bizet’s Carmen. The famous sequence, sustained by the bassoon’s ostinato, is repeated by and divided among the instruments on different octaves, until it dives in the horn’s low register. In the third piece, an initial area of stasis is followed by an insistence on the upper layers of the flute, oboe and clarinet, in counterpoint with the interventions of bassoon and horn. The fourth piece is built on the slow and gradual thickening of sounds, up to the concluding frenzy. In the fifth piece, which is very rhythmical and nervous, as if in swing, each instrument comes to the fore in turn, like in a jazz quintet. The sixth and last piece alternates the repetition of five-note fragments with zones of absolute silence.
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01. Pupazzetti, Op. 27: I. Marcetta
02. Pupazzetti, Op. 27: II. Berceuse
03. Pupazzetti, Op. 27: III. Serenata
04. Pupazzetti, Op. 27: IV. Notturnino
05. Pupazzetti, Op. 27: V. Polka
06. Five Easy Dances: No. 1, Polka
07. Five Easy Dances: No. 2, Tango
08. Five Easy Dances: No. 3, Bolero
09. Five Easy Dances: No. 4, Waltz
10. Five Easy Dances: No. 5, Rumba
11. L'antico segreto dei cinque: Nulla: -273 instanti di zero assoluto (4'33'' diviso n)
12. L'antico segreto dei cinque: No. 1, Egy: unus est-il cerchio solare
13. L'antico segreto dei cinque: No. 2, Kettő: il binario-respirazioni lunari
14. L'antico segreto dei cinque: No. 3, Három: il tre perfetto
15. L'antico segreto dei cinque: No. 4, Négy: Il quadrato magico Aria Terra Acqua Fuoco
16. L'antico segreto dei cinque: No. 5, Öt: il fiore e l’essere vivente
17. Antiche danze ungheresi del sec. XVII°: I. Intrada
18. Antiche danze ungheresi del sec. XVII°: II. Lassú
19. Antiche danze ungheresi del sec. XVII°: III. Lapockás tánc
20. Antiche danze ungheresi del sec. XVII°: IV. Chorea
21. Antiche danze ungheresi del sec. XVII°: V. Ugrós
22. Nocturnal Awakened
23. Perpetuum Immobile: No. 1 (Six Pieces for Wind Quintet)
24. Perpetuum Immobile: No. 2 (Six Pieces for Wind Quintet)
25. Perpetuum Immobile: No. 3 (Six Pieces for Wind Quintet)
26. Perpetuum Immobile: No. 4 (Six Pieces for Wind Quintet)
27. Perpetuum Immobile: No. 5 (Six Pieces for Wind Quintet)
28. Perpetuum Immobile: No. 6 (Six Pieces for Wind Quintet)
The project “Incroci Musicali” (Musical Crossings) originates from a synergy between the Wind Quintets “Anemos”, the Italian Culture Institute of Budapest, and composers Alessio Elia, Salvatore Di Stefano and Marco Lombardi. All of these human resources, jointly, have invested their talents, energies and support in order to realize this recording. The repertoire offered here is (as the title suggests) a “crossing” of works belonging in the traditional repertoire for Wind Quintet (Farkas, Agay, Casella) with the creation of new projects by young Italian composers involved in this production (Elia, Di Stefano, Lombardi). There is a variety of musical languages, with different styles; all of them are significant in order to display an itinerary through more than fifty years of music for wind instruments. This is also the final result of an intense cooperation between the two countries of Italy and Hungary, including the choice of this “cross-cultural repertoire, the selection of a recording studio in Budapest with Hungarian sound engineers, and the cooperation, in the artistic direction of the project, between Alessio Elia and Andras Farkas (the son of Ferenc Farkas, one of the composers of the pieces recorded here). This entire ideal journey, from Rome to Budapest, has been made possible only thanks to the generosity and support of Dr Gian Luca Borghese, the Director of the Italian Culture Institute in Hungary.
Alfredo Casella: Pupazzetti op. 27
The Turin-born composer Alfredo Casella spent several years in Paris, studying and finishing his education there during the Belle Époque. He was fascinated by modernity and by the most experimental kinds of musical languages; thus he soon abandoned Gabriel Fauré’s sphere of influence (while never denying its importance), and befriended Satie and the musicians of the Group of Six. Thus, it became unavoidable for him to encounter the music and personality of Igor Stravinsky. Listening to his Pupazzetti, here performed in a transcription for wind quintet by flutist Filippo Mazzoli, Casella’s love for Stravinsky’s music and the influence it had on him become apparent. The piece, in a typically Neoclassical style, was composed by Casella during the First World War, and was conceived for the theatre of the Balli Plastici – a performance of mechanical puppets created by artist Fortunato Depero. This work was originally written for piano duet (four hands), but was transcribed by the composer himself for a large instrumental ensemble or for a chamber orchestra.
Denes Agay: Five Easy Dances
Denes Agay was born in Budapest, in a family of Jewish-Hungarian descent. Following the occupation of Hungary by the Nazi troops, and the racial laws they promulgated, Agay was forced to emigrate to the United States during the Second World War. He had studied music at the Ferenc Liszt Academy, and shortly after landing in New York he entered the world of cinema. He produced a very large number of soundtracks and film music, together with pedagogical methods for learning the piano. His Five Easy Dances for wind quintets faithfully mirror the nature of entertainment music for all kinds of audiences. Through their creative simplicity, they transmit countless feelings, raging from the tender nostalgia to the simple amusement, sometimes with a hint of sensual exoticism.
Salvatore Di Stefano: L’ancien secret des cinq
The “Ancient Secret of the Five” is a piece rooted in geometry, physics and mathematics, in their most ancient form. The knowledge of the Greek philosophers transmitted us their multifaceted vision, at the crossroad where many disciplines meet; here, an arithmetical number became harmony (music), geometry, astronomy and mathematics, in a straightforward and ideal philosophical vision, very different from Galilei’s modern science. This piece is a homage to this encounter of numbers, geometry, music and astronomy, transmitted to us through history up to the Renaissance, in a myriad disciplines. This piece, written in a single movement, is articulated in a sequence of episodes evoking the archetypal numbers one to five, preceded by a prelude, Nothing, suggesting the idea of zero through the metaphor of the absolute zero of matter. Each episode begins with the announcement of the corresponding number and develops around its own discourse.
Album notes by Salvatore Di Stefano
Ferenc Farkas: Antiche danze ungheresi
The Ancient dances by Hungarian composer Ferenc Farkas are a sequence of pieces constituting a Suite in the Old Style. While each dance is perfectly self-standing, their alternation of quick and slow paces creates a successful emotional growth, culminating in the enthusiastic concluding Saltarello. Farkas’ compositional mastery allows all five wind instruments to display their technical and expressive skills. There are several instrumental versions of this piece, but doubtlessly the version for wind quintet can be counted among the best.
Alessio Elia: Nocturnal Awakened
Night spreads itself, with its own times, in three different places: the park in front of the home, the working studio, and the interior dimension of aural perception. These three spaces have each its own features, and they are offered to the listener at first in their distinctive elements, and later (mixing them in a sound texture which integrates them together) in a dimension showing their resonances and their assonances, as if wishing to reveal the mystery of their secret unity. Starting from a single sound, articulated through diverse timbral nuances, the piece unfolds in increasingly complex sections, crossed by melodic veinings, which are very simple at first, and then expand themselves in the global spectrum of the instruments’ registers, integrating various tuning systems in a compositional process called polysystemism.
The physical dimension of sound is highlighted by a particular kind of instrumentation, through complex psycho-acoustic phenomena, through which instrumentation itself becomes the generating force of unusual timbres.
Album notes by Alessio Elia
Marco Lombardi: Perpetuum Immobile
This piece is made of six independent and neatly separated movements. Each has technical and expressive features of its own. The title, Perpetuum Immobile, refers to a poem by the Hungarian poet János Pilinszky (1921-1981), which has been read in an Italian translation. Each movement is tenuously connected (without any descriptive intention) with the idea expressed in its title, and, partly, with the poem’s content. This creates a continuous movement, a kinetic energy coming back on itself again and again, in a mechanism which ultimately works for no purpose.
In the first movement, the five instruments emerge in turn from a sequence of fixed notes, constantly repeated and rigorously homorhythmic. In the last bars, the ostinato bows to gestures almost reminiscent of a Waltz. The second piece evokes the famous Habanera from Bizet’s Carmen. The famous sequence, sustained by the bassoon’s ostinato, is repeated by and divided among the instruments on different octaves, until it dives in the horn’s low register. In the third piece, an initial area of stasis is followed by an insistence on the upper layers of the flute, oboe and clarinet, in counterpoint with the interventions of bassoon and horn. The fourth piece is built on the slow and gradual thickening of sounds, up to the concluding frenzy. In the fifth piece, which is very rhythmical and nervous, as if in swing, each instrument comes to the fore in turn, like in a jazz quintet. The sixth and last piece alternates the repetition of five-note fragments with zones of absolute silence.
Year 2020 | Classical | FLAC / APE
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