In nomine for harpsichord (by JOHN BULL) transcribed for string trio (1994)
The bells for harpsichord (by WILLIAM BYRD) transcribed for percussion ensemble (1994)
Piano Sonata op.1 (by ALBAN BERG) transcribed for string quintet/orchestra (1996) play
Cantatas for choir and piano (by HANNS EISLER)
transcribed for choir and chamber orchestra (2001)
Sonata op.58 (first mov.) for piano (by FREDRYCK CHOPIN) transcribed for chamber orchestra (2001)
Stranizza d’amuri una canzone (by FRANCO BATTIATO)
transcribed for voice and chamber orchestra (2001)
Almen se non poss’io arietta da camera for soprano and piano (by VINCENZO BELLINI)
transcribed and arranged for soprano and eight instruments (2002)
Two Ouvertures for orchestra (by VINCENZO BELLINI)
transcribed and revised by the original manuscripts (2002)
Senza nube for orchestra (from “Casta Diva” by V. Bellini) (2002) play
The bells for harpsichord (by WILLIAM BYRD) transcribed for percussion ensemble (1994)
Piano Sonata op.1 (by ALBAN BERG) transcribed for string quintet/orchestra (1996) play
Cantatas for choir and piano (by HANNS EISLER)
transcribed for choir and chamber orchestra (2001)
Sonata op.58 (first mov.) for piano (by FREDRYCK CHOPIN) transcribed for chamber orchestra (2001)
Stranizza d’amuri una canzone (by FRANCO BATTIATO)
transcribed for voice and chamber orchestra (2001)
Almen se non poss’io arietta da camera for soprano and piano (by VINCENZO BELLINI)
transcribed and arranged for soprano and eight instruments (2002)
Two Ouvertures for orchestra (by VINCENZO BELLINI)
transcribed and revised by the original manuscripts (2002)
Senza nube for orchestra (from “Casta Diva” by V. Bellini) (2002) play
PIANO SONATA op. 1 by Alban Berg (1909)
String orchestra version by Angelo Sturiale (1996)
String Orchestra of Teatro Massimo Foundation (Palermo)
conducted by Augusto Vismara
A sonata in a one movement: complete with contrasts, developments, bridges, death. Such as not to need the composition of the other movements, as tradition dictates, and as perhaps Alban Berg himself would have wanted. His master Schoenberg, father of the post-tonal revolution, loved it.
An internal sound to the notes that already intuitively smells of strings, alterations with flats and sharps finally returned to their natural intonation. The only piano sonata in the history of music that - as Heinz Klaus Metzger once said - contains no pause: continuous flow of sensuality and drama, lyricism and melancholy, extreme and functional metronomic fluctuations, but always within an unchanged 3/4 and paradoxically insistent to perception.
From the very beginning listened by me and therefore conceived for strings, also thanks to the piano interpretation naturally orchestrated by Glenn Gould, here is a memory of a version for string orchestra by the orchestra of Fondazione Teatro Massimo of Palermo conducted by Augusto Vismara, who a few years before performed the first performance of my original version for string quintet.
An internal sound to the notes that already intuitively smells of strings, alterations with flats and sharps finally returned to their natural intonation. The only piano sonata in the history of music that - as Heinz Klaus Metzger once said - contains no pause: continuous flow of sensuality and drama, lyricism and melancholy, extreme and functional metronomic fluctuations, but always within an unchanged 3/4 and paradoxically insistent to perception.
From the very beginning listened by me and therefore conceived for strings, also thanks to the piano interpretation naturally orchestrated by Glenn Gould, here is a memory of a version for string orchestra by the orchestra of Fondazione Teatro Massimo of Palermo conducted by Augusto Vismara, who a few years before performed the first performance of my original version for string quintet.
SENZA NUBE from Bellini's "Casta Diva" for orchestra
Music Academy Orchestra of Plovdiv (Bulgaria) conducted by Dario Grasso
I figured out a space of sounds over the sea: archipelago of five isles around which the Aria has been transfigured and dismembered by waves and silence.
Pace che regnar tu fai nel ciel
peace that you rule over the sky
A noi volge il bel sembiante senza nube
turn towards us the cloudless beautiful countenance.
It is like wandering between firm memory and lacerating precariousness.
Between sea and isle, sound and silence, waking and sleep.
The proposed recording, more than a sound document, is a study-demo of a version of the composition for a short film that has long been conceived, but never made. Sea, wind, night, darkness, drama. A "Norma" condensed through one of Vincenzo's most famous and emblematic opera arias. To be shot in Sicily, from the sea to the island, from the island to the sea. Tempest and silence, and again the sea, supreme element, undisputed symbol of the passage of time, precariousness. Recurring themes in my aesthetic and sound obsessions.
