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Marcello Fera, Gabriele Mirabassi, Alberto Casadei, Nathan Chizzali, Silvio Gabardi & Francesco Dillon - Marcello Fera: Piccoli Arcani, Chamber Music 2003 - 2023 (2024)

Marcello Fera, Gabriele Mirabassi, Alberto Casadei, Nathan Chizzali, Silvio Gabardi & Francesco Dillon - Marcello Fera: Piccoli Arcani, Chamber Music 2003 - 2023 (2024)
  • Title: Marcello Fera: Piccoli Arcani, Chamber Music 2003 - 2023
  • Year Of Release: 2024
  • Label: Da Vinci Classics
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 1:13:03
  • Total Size: 382 MB
  • WebSite:
Tracklist:

1. Marcello Fera, Gabriele Mirabassi & Alberto Casadei – Diaphonia, for Violin, Clarinet and Cello (06:22)
2. Marcello Fera, Nathan Chizzali & Silvio Gabardi – No. 1 (00:50)
3. Marcello Fera, Nathan Chizzali & Silvio Gabardi – No. 2 (02:18)
4. Marcello Fera, Nathan Chizzali & Silvio Gabardi – No. 3 (02:11)
5. Marcello Fera, Nathan Chizzali & Silvio Gabardi – No. 4 (02:33)
6. Marcello Fera, Nathan Chizzali & Silvio Gabardi – No. 5 (03:04)
7. Marcello Fera, Nathan Chizzali & Silvio Gabardi – No. 6 (04:44)
8. Marcello Fera & Nathan Chizzali – In risposta, for Violin and Cello (02:55)
9. Aframunda, for Violin (03:10)
10. Marcello Fera, Nathan Chizzali & Silvio Gabardi – Ode, for Violin, Cello and Double-Bass (04:12)
11. Marcello Fera, Nathan Chizzali & Silvio Gabardi – Lidia Spina, for Violin, Cello and Double-Bass (04:16)
12. Interludio alla voce, for Violin (04:03)
13. Marcello Fera, Nathan Chizzali & Silvio Gabardi – Selvagia Fera, for Violin, Cello and Double-Bass (04:49)
14. Marcello Fera & Gabriele Mirabassi – Hi Jack, for Violin and Clarinet (01:25)
15. Marcello Fera & Alberto Casadei – Perdue, for Violin and Cello (04:10)
16. Sensa Sciou, for Violin (03:23)
17. All'intorno, for Violin (02:26)
18. Marcello Fera, Nathan Chizzali & Silvio Gabardi – Siebzieg Karat, for Violin, Cello and Double-Bass (02:30)
19. Marcello Fera, Nathan Chizzali & Silvio Gabardi – That's it, for Violin, Cello and Double-Bass (03:34)
20. Segno, for Violin (02:36)
21. Marcello Fera & Francesco Dillon – La sacra conversazione, for Violin and Cello (07:22)

‘Music,’ said Claude Debussy, ‘is that thing that is born from silence, pauses for a few moments in front of us and then returns again to silence’. Sound, in other words, is nothing more than a pause, a brief appearance, enclosed between two silences: first it is only expectation, later it is only nostalgia. And it is in that momentary pause, in that lingering that possesses no time of its own, but only the time of perception, that it acquires its own precarious, fragile, transient meaning. This tripartite architecture, made up of a slender central body (the sound) and two very long, immense lateral wings (the silences), also seems to represent, faithfully enough, the recent itinerary of Marcello Fera’s musical writing. Some of the pieces featured in this new album entitled Piccoli Arcani actually come from an earlier work entitled Canti dal silenzio (Songs from Silence): a cycle, but above all a recital, that brings together twelve pieces for solo violin composed within a short space of time, between 2020 and 2022. The composer himself recounts the genesis of these pieces in a recent interview: ‘In 2020 (during the pandemic, ed.) I found a way, every morning, for a month and a half, to give a short half-hour concert in Meran inside a church that I discovered was open. No publicity, no advertising. A meditation, or if you prefer a practice. This is how Songs from Silence was born’. An individual, private silence, therefore, preceding the act of composition and performance: ‘The encounter with silence,’ says Marcello Fera, ‘is invariably the experience that one has, that I have, at the act of composing. To be faced with this dense core of silence, even quite frightening, from which you begin to extract something that then expands and becomes a piece’. But the silence of that suspended time also acquired – given the ‘historical’ circumstances in which the cycle was born – a collective dimension, that which extinguished the vox publica of the national community during the harshest months of confinement. And it is perhaps no coincidence that it was precisely the conjunction of these two silences that led Marcello Fera to finally reunite, in his arms, the figure of the composer with that of the performer. This was common practice, almost the only one, in seventeenth century (his favourite); later it disappeared, between the end of the eighteenth century and the beginning of the nineteenth, due to the performer’s increasingly cumbersome presence.



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