Diana Pagotto, Antonio Vicentini, Nadia Bortolamedi, Demetrio Bonvecchio - Demetrio Bonvecchio: Songs of the Night: Chamber Music for Wind Instruments (2025)
BAND/ARTIST: Diana Pagotto, Antonio Vicentini, Nadia Bortolamedi, Demetrio Bonvecchio
- Title: Demetrio Bonvecchio: Songs of the Night: Chamber Music for Wind Instruments
- Year Of Release: 2025
- Label: Da Vinci Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:50:01
- Total Size: 153 mb
- WebSite: Album Preview
Tracklist
01. Sonata "Espressiva": I. Moderato, canto funebre (For Alto Saxophone and Piano)
02. Sonata "Espressiva": II. Andante, espressivo e dolce (For Alto Saxophone and Piano)
03. Sonata "Espressiva": III. Lento, Tempo di Ballade (For Alto Saxophone and Piano)
04. Dark Was the Color of the Suite
05. Sonata "LOL": I. Allegro e leggero (For Clarinet And Piano, From Viii. Album De Château)
06. Sonata "LOL": II. Moderato comodo (For Clarinet And Piano, From Viii. Album De Château)
07. Sonata "LOL": III. Allegro non troppo, ben ritmato (For Clarinet And Piano, From Viii. Album De Château)
08. Ode Notturna
09. Lied senza Parole: Am Morgen, im Winter
10. Lied senza Parole: Windy Dawn
11. Lied senza Parole: Sleeping River
12. Lied senza Parole: Die Stimme Der Einfachheit
13. Porgy and Bess
The title Songs of the Night alludes to the true impetus behind Demetrio Bonvecchio’s compositional oeuvre: a meditation on the human condition, its actions and emotions, especially in the less visible facets of existence. Night becomes the metaphorical emblem of this introspective pursuit. This recording offers a novel auditory experience, presenting a distinctive instrumental vision that is both deeply personal and open to diverse influences. It stands as a testament to a creative journey articulated through a spectrum of musical languages.
Central to Bonvecchio’s artistry is his engagement with and appreciation for a wide array of composers and styles. This eclectic appreciation informs his compositional choices in both style and harmonic-melodic development. Influences range from Mahler, Strauss, and Stravinsky to Gershwin, Adams, and Ellington—composers renowned for their openness to popular genres, orchestration prowess, and fusion of jazz with classical idioms. For Bonvecchio, composition is both a necessity and a pleasure, predicated on having something meaningful to express. Musical ideas are conceived as thoughts crystallized into fragments, which are then juxtaposed like tesserae in a mosaic until the musical design is fully realized.
A thorough command of musical grammar and a clear conceptual vision are essential—knowing what one wishes to convey and how best to articulate it, often by juxtaposing diverse stylistic elements. Music, in his view, should not erect barriers but rather foster connections. The composer must yield to the creative flow without self-imposed constraints, remaining adaptable to effectively communicate personal sentiment.
Sonata “Espressiva”
This sonata serves as a compendium of the saxophone’s expressive realms. The first movement echoes Russian and French traditions: modal textures sketch a somber Russian landscape, while the cadential flourishes reflect the French inspiration that has significantly enriched the saxophone repertoire. The second movement pays homage to the Lied tradition from Schubert to Wolf, where apparent simplicity conceals intricate harmonic weavings and intertwining melodic lines that emerge and recede in a continuous kaleidoscopic interplay. The third movement transports the listener to the New World with jazz and Latin sonorities. The serenity of the initial Ballade swiftly evolves into an incessant crescendo, culminating in a frenetic finale that evokes the essence of dance and the physicality of movement.
Dark Was the Colour of the Suite
The title, a nod to Charles Bukowski, evokes a nocturnal urban landscape reminiscent of Edward Hopper’s imagery. The choice of the bass clarinet hinges on its unique timbral qualities and technical versatility. The first movement, Elegy, unfolds as a melancholic aria against the backdrop of a city skyline, narrating the inner desolation of an individual starkly illuminated by the neon lights of a seedy bar in the dead of night. The second movement, Corrupted, signifies a rupture, rendering the music fragmented and distorted, devoid of escape or redemption. The third movement, Seduced, delves into primal instincts and conscience through the bass clarinet’s evocation of multifaceted musical personas. It leaves our nocturnal wanderer in an almost deserted nightclub as the pale light of dawn begins to filter between the indifferent city’s skyscrapers.
Sonata “LOL”
Commissioned by Nadia Bortolamedi, this debut work began as a musical jest but became a cornerstone for Bonvecchio’s subsequent compositions. As the title suggests, the structure is fundamentally playful and lighthearted, offering ample room for both musical and intellectual amusement. The subtitles ADA and BAED, annotated by the composer on the manuscript, are letter games derived from the commissioner’s name and also serve as harmonic pathways.
The first movement propels forward with scales and irregular rhythms—a straightforward expression of unbridled joy. This is effectively contrasted by the dreamy harmonies of the second movement, though it is not devoid of brief moments of instrumental sparkle. The third movement reprises the cheerful and vivacious character, transporting the clarinet into uncharted territories and proposing intriguing amalgamations of past and present. A brief interlude referencing earlier movements leads to a mischievous conclusion.
Nocturnal Ode
Inspired by an evocative poem by Wendell Berry, Bonvecchio translates poetic darkness into musical form. The melody unfolds over evocative harmonies and surprising tonal progressions, echoing a mystical inspiration—organ chords fading into the distance. Amidst the perpetual navigation through somber landscapes, a glimmer of hope intermittently appears, perpetuating the interplay between light and shadow. The piece, inherently rich in tonal color, develops through multiple sections, each bearing its distinct expressive weight concentrated in the subtle beauty of sound.
Lied Without Words
Adhering to the Chicago Symphony Orchestra brass school’s dictum that one must sing to truly play, this piece pays homage to that pedagogical philosophy. Schumann, Schubert, Mahler, and Strauss serve as indispensable references for these charming musical vignettes, with Mendelssohn’s compositional legacy also profoundly influential. Beyond melodic inventiveness, these Lieder exhibit a capacity to musically encapsulate imagery, penetrate the composer’s intent, and express the ineffable. The piano’s role is pivotal—not merely providing accompaniment but acting as a genuine interlocutor with the melody.
This sonic journey comprises four “paintings”: the first depicts a wintry pastoral scene; the second captures a brisk morning breeze that sets a leaf dancing; the third portrays a river flowing placidly as a wanderer contemplates his journey; the fourth embodies the simplicity suggested by the title (a deliberate linguistic jest), manifesting in the unadorned song by a welcoming domestic hearth.
Porgy and Bess Symphonic Suite
Gershwin stands as a monumental figure in music history for his adeptness at synthesis, seamlessly integrating classical traditions with the innovations of jazz without compromising quality across compositional forms. Transposing such a complex work into the ensemble presented here poses a formidable challenge—the goal being to recreate the opera’s atmospheres while selectively focusing on its themes.
This suite amalgamates the most renowned melodies from the eponymous opera—”Jasbo Brown,” “Summertime,” “My Man’s Gone Now,” “I Got Plenty o’ Nuttin’,” “Bess, You Is My Woman Now,” and “There’s a Boat Dat’s Leavin’ Soon for New York.” It brings our exploration of Bonvecchio’s compositional endeavors to a close, uniting all participants of this recording project. The piano’s percussive qualities, the trombone’s deep sonorities, and the saxophone and clarinet’s melancholic lyricism retrace the protagonists’ emotional journeys through the tumult of their lives. This opera, which Gershwin envisioned as a wholly American work—a folk tale where it is natural for characters to sing popular music—resonates with authenticity and cultural significance.
01. Sonata "Espressiva": I. Moderato, canto funebre (For Alto Saxophone and Piano)
02. Sonata "Espressiva": II. Andante, espressivo e dolce (For Alto Saxophone and Piano)
03. Sonata "Espressiva": III. Lento, Tempo di Ballade (For Alto Saxophone and Piano)
04. Dark Was the Color of the Suite
05. Sonata "LOL": I. Allegro e leggero (For Clarinet And Piano, From Viii. Album De Château)
06. Sonata "LOL": II. Moderato comodo (For Clarinet And Piano, From Viii. Album De Château)
07. Sonata "LOL": III. Allegro non troppo, ben ritmato (For Clarinet And Piano, From Viii. Album De Château)
08. Ode Notturna
09. Lied senza Parole: Am Morgen, im Winter
10. Lied senza Parole: Windy Dawn
11. Lied senza Parole: Sleeping River
12. Lied senza Parole: Die Stimme Der Einfachheit
13. Porgy and Bess
The title Songs of the Night alludes to the true impetus behind Demetrio Bonvecchio’s compositional oeuvre: a meditation on the human condition, its actions and emotions, especially in the less visible facets of existence. Night becomes the metaphorical emblem of this introspective pursuit. This recording offers a novel auditory experience, presenting a distinctive instrumental vision that is both deeply personal and open to diverse influences. It stands as a testament to a creative journey articulated through a spectrum of musical languages.
Central to Bonvecchio’s artistry is his engagement with and appreciation for a wide array of composers and styles. This eclectic appreciation informs his compositional choices in both style and harmonic-melodic development. Influences range from Mahler, Strauss, and Stravinsky to Gershwin, Adams, and Ellington—composers renowned for their openness to popular genres, orchestration prowess, and fusion of jazz with classical idioms. For Bonvecchio, composition is both a necessity and a pleasure, predicated on having something meaningful to express. Musical ideas are conceived as thoughts crystallized into fragments, which are then juxtaposed like tesserae in a mosaic until the musical design is fully realized.
A thorough command of musical grammar and a clear conceptual vision are essential—knowing what one wishes to convey and how best to articulate it, often by juxtaposing diverse stylistic elements. Music, in his view, should not erect barriers but rather foster connections. The composer must yield to the creative flow without self-imposed constraints, remaining adaptable to effectively communicate personal sentiment.
Sonata “Espressiva”
This sonata serves as a compendium of the saxophone’s expressive realms. The first movement echoes Russian and French traditions: modal textures sketch a somber Russian landscape, while the cadential flourishes reflect the French inspiration that has significantly enriched the saxophone repertoire. The second movement pays homage to the Lied tradition from Schubert to Wolf, where apparent simplicity conceals intricate harmonic weavings and intertwining melodic lines that emerge and recede in a continuous kaleidoscopic interplay. The third movement transports the listener to the New World with jazz and Latin sonorities. The serenity of the initial Ballade swiftly evolves into an incessant crescendo, culminating in a frenetic finale that evokes the essence of dance and the physicality of movement.
Dark Was the Colour of the Suite
The title, a nod to Charles Bukowski, evokes a nocturnal urban landscape reminiscent of Edward Hopper’s imagery. The choice of the bass clarinet hinges on its unique timbral qualities and technical versatility. The first movement, Elegy, unfolds as a melancholic aria against the backdrop of a city skyline, narrating the inner desolation of an individual starkly illuminated by the neon lights of a seedy bar in the dead of night. The second movement, Corrupted, signifies a rupture, rendering the music fragmented and distorted, devoid of escape or redemption. The third movement, Seduced, delves into primal instincts and conscience through the bass clarinet’s evocation of multifaceted musical personas. It leaves our nocturnal wanderer in an almost deserted nightclub as the pale light of dawn begins to filter between the indifferent city’s skyscrapers.
Sonata “LOL”
Commissioned by Nadia Bortolamedi, this debut work began as a musical jest but became a cornerstone for Bonvecchio’s subsequent compositions. As the title suggests, the structure is fundamentally playful and lighthearted, offering ample room for both musical and intellectual amusement. The subtitles ADA and BAED, annotated by the composer on the manuscript, are letter games derived from the commissioner’s name and also serve as harmonic pathways.
The first movement propels forward with scales and irregular rhythms—a straightforward expression of unbridled joy. This is effectively contrasted by the dreamy harmonies of the second movement, though it is not devoid of brief moments of instrumental sparkle. The third movement reprises the cheerful and vivacious character, transporting the clarinet into uncharted territories and proposing intriguing amalgamations of past and present. A brief interlude referencing earlier movements leads to a mischievous conclusion.
Nocturnal Ode
Inspired by an evocative poem by Wendell Berry, Bonvecchio translates poetic darkness into musical form. The melody unfolds over evocative harmonies and surprising tonal progressions, echoing a mystical inspiration—organ chords fading into the distance. Amidst the perpetual navigation through somber landscapes, a glimmer of hope intermittently appears, perpetuating the interplay between light and shadow. The piece, inherently rich in tonal color, develops through multiple sections, each bearing its distinct expressive weight concentrated in the subtle beauty of sound.
Lied Without Words
Adhering to the Chicago Symphony Orchestra brass school’s dictum that one must sing to truly play, this piece pays homage to that pedagogical philosophy. Schumann, Schubert, Mahler, and Strauss serve as indispensable references for these charming musical vignettes, with Mendelssohn’s compositional legacy also profoundly influential. Beyond melodic inventiveness, these Lieder exhibit a capacity to musically encapsulate imagery, penetrate the composer’s intent, and express the ineffable. The piano’s role is pivotal—not merely providing accompaniment but acting as a genuine interlocutor with the melody.
This sonic journey comprises four “paintings”: the first depicts a wintry pastoral scene; the second captures a brisk morning breeze that sets a leaf dancing; the third portrays a river flowing placidly as a wanderer contemplates his journey; the fourth embodies the simplicity suggested by the title (a deliberate linguistic jest), manifesting in the unadorned song by a welcoming domestic hearth.
Porgy and Bess Symphonic Suite
Gershwin stands as a monumental figure in music history for his adeptness at synthesis, seamlessly integrating classical traditions with the innovations of jazz without compromising quality across compositional forms. Transposing such a complex work into the ensemble presented here poses a formidable challenge—the goal being to recreate the opera’s atmospheres while selectively focusing on its themes.
This suite amalgamates the most renowned melodies from the eponymous opera—”Jasbo Brown,” “Summertime,” “My Man’s Gone Now,” “I Got Plenty o’ Nuttin’,” “Bess, You Is My Woman Now,” and “There’s a Boat Dat’s Leavin’ Soon for New York.” It brings our exploration of Bonvecchio’s compositional endeavors to a close, uniting all participants of this recording project. The piano’s percussive qualities, the trombone’s deep sonorities, and the saxophone and clarinet’s melancholic lyricism retrace the protagonists’ emotional journeys through the tumult of their lives. This opera, which Gershwin envisioned as a wholly American work—a folk tale where it is natural for characters to sing popular music—resonates with authenticity and cultural significance.
| Classical | FLAC / APE
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