Roberto Fabbriciani - Mario cesa, Vol. III (2021) Hi-Res

The works featured in this double CD cover Mario Cesa's wide chronological compositional span between the 1980s and today.
The flute is the protagonist of the first CD and, with the passage through different soundscapes, despite its peculiar monodic simplicity, it expands its expressive possibilities in a refinement of the playing technique.

The program of the second CD is dedicated to the disklavier, an instrument in which Mario Cesa became interested in virtue of a commission from the Venice Biennale. The choice of the pieces represents a significant portrait of Mario Cesa's artistic sensitivity and poetics as well as being a moment of reflection on his past production and at the same time reworking and reinterpreting his repertoire. This takes place through a combinatorial constructive logic and modular overlapping which opens up to innovative solutions and which also becomes a sort of didactically thought-out compositional method.

Mus-ges-tea, one of Mario Cesa's first works, was written in the 1980s and dedicated to Roberto Fabbriciani. At that time, a group of intellectuals, of which Cesa was a part, organized music meetings in Avellino as part of a project entitled "Musica Incontro". Great artists participated including Roberto Fabbriciani, Bruno Canino, The Italian Quartet, Luigi Nono. Nono particularly liked this work by Cesa in which, as expressed by the title, a synergy of arts was created according to the ancient conception of the Greek term "mousikè": music, dance and poetry. Music, gestures, theater (Mus-ges-tea). Originally the piece was also thought with the presence of a dancer and the declamation of a text.

Yet another version was composed in the summer of 2020 for 4 flutes: flute in C, flute in G, piccolo and bass flute. The work comes to life from 4 previously engraved tiles, 4 independent pieces, each of which represents a different expressive moment, like the 4 tiles of an enigma. The 4 tiles are variously combined, reiterated, superimposed, counterpointed, mixed in a creative and research experimental path whose synthesis becomes the umpteenth version. A new piece with a new meaning which, by its intrinsic nature, is not confined to a specific historical time but projected into the future.

According to this creative modality, Migra Migrantes is the logical consequence of Ennesima version. The piece, recently composed, begins with one of the 4 tesserae performed by the flute, to which are added other tesserae performed by different instruments. Enter the bass clarinet, three types of saxophone, a choir that sings, talks and marches (you can hear the footsteps of people marching). The dynamic superimposition and combination of the different timbral tiles generates the narration of a path, almost an image of a journey of migrating peoples, who eternally go from one place to another, a metaphor of the human living always and in any case tending to change, to research and innovation.

At the end of the 90s, the Venice Biennale commissioned Mario Cesa to do what later became the first piece of Mura Murales. The work was expressly requested for disklavier and dedicated to Bruno Canino. From this first step, according to the constructive logic of the other pieces on this CD, a series of combinations and overlaps develop that generate different expressive situations up to the grand finale, a kind of primordial chaos, a sonic magma made illusory almost by seven pianists playing in a virtuosity. Everything then stops returning to the initial piece which assumes the closing role. In this sound path also Cesa's biographical experiences converge. For example, in the seventh module the presence of syncopated proceeding refers to jazz and an American artistic experience of the composer, always attentive and sensitive to the value of interculture. [Luisella Botteon]