ASFALTO CHE SUONA, il trailer

Il trailer di ASFALTO CHE SUONA, il 29 Febbraio 2024 in prima visione assoluta al SEEYOUSOUND Festival. Ci vediamo e sentiamo lì!

Un film di Roberto Delvoi Un viaggio romanzesco viaggio attraverso l’audace e sperimentale mondo della collana di musica (anti)classica 19'40". I fondatori Enrico Gabrielli, Sebastiano De Gennaro e Francesco Fusaro, assieme al direttore d’orchestra Marcello Corti, raccontano il proprio lavoro in un documentario on the road, il quale unisce performance dal vivo, registrazioni in studio e viaggi rocamboleschi attraverso l'Italia. Passando dal fascino delle colonne sonore dei videogiochi alla ricercatezza della notazione grafica, dalla poesia della chanson francese fino a giungere all'eleganza della musica classica, Asfalto Che Suona è l'esplorazione di un percorso musicale senza confini di genere e stili. Roberto Delvoi è un regista italiano. Nel 2017 fonda Ipnose Studio, specializzato nella realizzazione di video commerciali ed aziendali. A partire dal 2018 dirige i cortometraggi Aktionist, seguito poi da Ou Peut Le Fair - Ben Vautier Et Ses Vérités e Eric Andersen: Story of Fluxus and The Banner. Il suo primo lungometraggio è Conz - L’ultimo collezionista (2021).

19'40'' a SEEYOUSOUND w/Roberto Delvoi

Enrico Gabrielli, Sebastiano De Gennaro, Francesco Fusaro, and Marcello Corti will be at the Seeyousound Festival on February 29, 2024, for the premiere screening of "Asfalto che suona," a film by Roberto Delvoi.

When: 29th Feb. 2024
Where: Turin
Who: Enrico, Sebastiano, Francesco, Marcello, Roberto Delvoi
Why: Asfalto che suona @ Seeyousound Festival
What: music by Eastman, Reich, Cage

A movie by Roberto Delvoi

A romantic journey through the bold and experimental world of the (anti)classical music collection 19’40”. Founders Enrico Gabrielli, Sebastiano De Gennaro, and Francesco Fusaro, along with conductor Marcello Corti, share their work in a road documentary that blends live performances, studio recordings, and adventurous travels across Italy. From the allure of video game soundtracks to the intricacy of graphic notation, from the poetry of French chanson to the elegance of classical music, Asfalto Che Suona is the exploration of a musical journey without boundaries of genre and style.

Immediately following the screening, an exclusive live performance with the founders of 19’40”.

Roberto Delvoi is an Italian director. In 2017, he founded Ipnose Studio, specializing in the production of commercial and corporate videos. Starting from 2018, he directed the short films Aktionist, followed by Ou Peut Le Fair - Ben Vautier Et Ses Vérités and Eric Andersen: Story of Fluxus and The Banner. His first feature film is Conz - The Last Collector (2021).

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Enrico Gabrielli, Sebastiano De Gennaro, Francesco Fusaro e Marcello Corti sono a Seeyousound Festival il 29 Febbraio 2024 in occasione della prima proiezione di “Asfalto che suona”, un film di Roberto Delvoi.

Un film di Roberto Delvoi

Un viaggio romanzesco viaggio attraverso l’audace e sperimentale mondo della collana di musica (anti)classica 19'40". I fondatori Enrico Gabrielli, Sebastiano De Gennaro e Francesco Fusaro, assieme al direttore d’orchestra Marcello Corti, raccontano il proprio lavoro in un documentario on the road, il quale unisce performance dal vivo, registrazioni in studio e viaggi rocamboleschi attraverso l'Italia. Passando dal fascino delle colonne sonore dei videogiochi alla ricercatezza della notazione grafica, dalla poesia della chanson francese fino a giungere all'eleganza della musica classica, Asfalto Che Suona è l'esplorazione di un percorso musicale senza confini di genere e stili.

Subito dopo la proiezione un live esclusivo con i fondatori della 19’40”.

Roberto Delvoi è un regista italiano. Nel 2017 fonda Ipnose Studio, specializzato nella realizzazione di video commerciali ed aziendali. A partire dal 2018 dirige i cortometraggi Aktionist, seguito poi da Ou Peut Le Fair - Ben Vautier Et Ses Vérités e Eric Andersen: Story of Fluxus and The Banner. Il suo primo lungometraggio è Conz - L’ultimo collezionista (2021).

Léo Ferré sans mots live @BIKOclub

Definire Léo Ferré un cantautore anarchico è estremamente riduttivo: Ferré era poeta, scrittore, chansonnier e attore. Era anche compositore, arrangiatore e direttore d’orchestra: questo suo lato meno conosciuto è al centro della 22esima uscita di 19’40”: una retrospettiva sulla musica composta da Ferré. Una figura così complessa, multiforme e con così tante sfaccettature richiede ascolto, tempo, passione e curiosità. E quale persona potrebbe raccontare meglio Ferré se non proprio suo figlio Mathieu? 19’40” propone una serata di racconti, aneddoti, emozioni e di musica, naturalmente.

Se ancora non avete capito cosa succede a BIKO club il 7 Febbraio, ve lo spieghiamo attraverso la voce profonda di Enrico Gabrielli: abbiamo rubato due messaggi audio dalla nostra chat associativa. Potete ascoltare tutto qui.

I biglietti sono in prevendita su DICE: cliccando sul pulsante potete accedere alla pagina di Léo Ferré sans mots. Sarannno presenti anche alcuni musicisti che hanno partecipato all’incisione.

Abbiamo inciso Leo Ferré sans mots il 24 e 25 marzo 2023 presso il Banana Studio di Milano. L’ensemble era diretto da Marcello corti. In questo piccolo cortometraggio girato da Enrico Gabrielli potete vedere alcuni dei momenti (non necessariamente dei più significativi) dell'intera sessione in studio.

Puntuale Festival 2024

Una serie di appuntamenti di ascolto, musica e divulgazione a cura della crew di 19’40”, la collana di musica (anti)classica fondata nel 2016 da Gabrielli, De Gennaro e Fusaro. Musica scritta, sabotata, trascritta e raccontata con parole semplici a chiunque sia curioso di scoprire nuove modalità di approccio alla musica classica o contemporanea. Un appuntamento mensile al BikoClub, un posto significativo per Milano con una bellissima storia di concerti e di vita culturale. Con Enrico Gabrielli, Sebastiano De Gennaro, Francesco Fusaro, Marcello Corti, gli Esecutori di Metallo su Carta e ospiti.

10 gennaio 2024 ore 21:30  Musica Partecipativa

Musica per un pubblico performativo [musiche di Belshaw, De Gennaro, Cardew, Fusaro, Gabrielli]
Musica partecipativa è una serata musicalmente democratica dove le barriere tra chi suona, chi ascolta, chi esegue, chi partecipa, chi subisce e chi critica si dissolvono. Musica partecipativa è un’esperienza sonora realizzata dal pubblico su suggerimento, forse, del compositore. In un percorso di cinque tappe, gli Esecutori di Metallo su Carta raccontano, spiegano, mostrano e si mescolano al pubblico per fare chiarezza nello straordinario universo della musica sperimentale.

7 febbraio 2024 ore 21:30  Léo Ferré sans mots con Francesca Biliotti e Mathieu Ferré

Definire Léo Ferré un cantautore anarchico è estremamente riduttivo: Ferré era poeta, scrittore, chansonnier e attore. Era anche compositore, arrangiatore e direttore d’orchestra: questo suo lato meno conosciuto è al centro della 22esima uscita di 19’40”: una retrospettiva sulla musica composta da Ferré. Una figura così complessa, multiforme e con così tante sfaccettature richiede ascolto, tempo, passione e curiosità. E quale persona potrebbe raccontare meglio Ferré se non proprio suo figlio Mathieu? 19’40” propone una serata di racconti, aneddoti, emozioni e di musica, naturalmente.

27 marzo 2024 ore 21:30  SHUT UP ‘N PLAY YER BIKE con Vincenzo Vasi e Sebastiano De Gennaro

Era il 1963 quando un giovanissimo Frank Zappa, difficilmente riconoscibile in giacca e cravatta, comparve in televisione per suonare una bicicletta. Pochi anni prima, nel 1960, John Cage in persona, tra lo stupore del pubblico presente nello studio del programma TV “I’ve got a secret”, aveva eseguito Water Walk: lo spartito consisteva in un elenco di oggetti e la disposizione di questi nello spazio. La partitura era una timeline con descrizioni e notazioni pittoriche riguardanti alcune delle azioni da compiere nell’ordine di comparsa. Cinquant’anni sono passati, e ancora oggi le potenzialità espressive di una bicicletta non sono ancora del tutto esplorate. Ci pensano Sebastiano De Gennaro e Vincenzo Vasi a continuare una storia ancora incompleta di sperimentazione e di rifunzionalizzazione di oggetti.

10 aprile 2024 ore 21:30 Arcade Music, musica analogica e videogiochi con Damiano Afrifa e Luisa Santacesaria

Esecutori di Metallo su Carta tornano in una formazione sintetica per offrire un’esperienza videoludica senza pari. Enrico Gabrielli, Sebastiano De Gennaro, Damiano Afrifa e Luisa Santacesaria eseguono la colonna sonora di Tz0, il videogioco creato da Sebastiano De Gennaro. Il pubblico avrà modo di giocare a questo semplice platform ascoltando la musica eseguita dal vivo. Non ci sarà un’orchestra, bensì un Juno, un Korg, un JEN e un Multivox. A coronare la serata, estratti da G.G.G., la 14esima uscita di 19’40” dedicata alla musica per videogiochi firmata Ayako Mori e Tim Follin.

LEO FERRE SANS MOTS

Léo Ferré Sans Mots 19m40s_22

Ferré disegnato da Enrico

Il disco numero 22 della collana 19’40’’ è figlio di una scelta emotiva.

Prima di tutto per un legame spirituale con l’attitudine autarchica dell’uomo di cui stiamo per parlare (a noi di 19’40’’ l’autarchia e l’anarchia piacciono moltissimo…). E poi perché è la prima volta in assoluto che sentirete questa musica in questa veste.

I manoscritti di Léo Ferré

Stiamo parlando di una scelta di brani scritti e arrangiati dal grande Léo Ferré, in una versione “sans mots”, ovvero senza parole: a sua musica e il suo ingegno di compositore messo completamente a nudo nell’incanto della timbrica sinfonica, ridotta per l’occasione ad ensemble.

Gli Esecutori di Metallo su Carta diretti da Marcello Corti, eseguono questi dieci brani scritti in un arco di anni che vanno dal 1975 al 1992. L’excursus dell’album senza parole inizia, paradossalmente, con il brano “Des Mots” e conclude con “Words, words, words…” come a dire che le parole qui sono solo un pretesto per dire altro.

Come dice il figlio Mathieu Ferré, produttore assieme a noi in questa bellissima avventura “mio padre è stato soprattutto un compositore: la poesia, la sua parola e la sua interpretazione sono venute dopo. Se avesse potuto vivere esclusivamente della sua musica, è possibile che avrebbe composto di più e scritto molto meno.”

In questo disco vi sono anche due inediti compresi di testo e voce, composti nel 1992 che purtroppo Léo non riuscì ad incidere: “Liberté” e “Le Camelot”.

Liberté si avvale della ricostruzione della voce di Léo in AI ad opera di Francesco Fusaro, una scelta “forte” ma, a nostro avviso, musicologicamente interessante e rispettosa.

Le Camelot invece sembra un estratto della Thaïs di Massenet ed è per questo che abbiamo deciso di proporlo con l’ausilio della voce lirica del mezzo soprano Francesca Biliotti. Usando le parole di Mathieu “speriamo dal profondo del cuore che questa pubblicazione offra l’opportunità di scoprire la sua musica e che possa aprire la strada all’ascolto di queste opere ad un pubblico che ancora non le conosce.”

Tra tutti gli album prodotti sin qui da 19’40’’ questo è il disco più malinconico, sentimentale e struggente. Se “l’emozione” in questa musica fosse codificata col gesso di una formula matematica, la nostra lavagna sarebbe tutta un groviglio di segni bianchi.

Ci chiediamo se Léo, artista solitario e caparbio, capace di fronteggiare contro una tumultuosa enorme massa sinfonica avrebbe apprezzato questa veste “in miniatura” delle sue partiture.

Ma la risposta non possiamo far altro che lasciarla a voi.

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The 22nd album in the 19’40’’ series uniquely explores Léo Ferré's music, titled "Sans Mots." It presents ten wordless tracks arranged by Ferré and performed by Metallo su Carta Conductors under Marcello Corti's direction. These pieces span from 1975 to 1992, including two unreleased songs, "Liberté" and "Le Camelot," the latter featuring mezzo-soprano Francesca Biliotti's voice.

Mathieu Ferré emphasizes his father's identity primarily as a composer, noting his passion for music preceding his poetry and interpretation. This album delves into Ferré's emotional depth through melancholic, poignant melodies. However, it remains uncertain whether Ferré, a resolute artist, would have embraced this "miniature" adaptation of his compositions. The project's core aim is to introduce audiences to Ferré's remarkable music and to provide an opportunity to appreciate his compositional genius beyond words. The use of AI for certain tracks and additional voices is deemed bold yet musically intriguing and respectful. Ultimately, how Ferré would have welcomed this new interpretation is open-ended, left to individual listeners' interpretation.

BCM#8: GEORGE WALKER

In August, Black Classical Music will be released, the twenty-first release by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.

GEORGE WALKER

Di Unknown Photography Studio - Unknown, CC0, Collegamento

George Walker was a highly esteemed American composer who left an indelible mark on the classical music world. Born on June 27, 1922, in Washington, D.C., he achieved historical significance as the first African American composer to be honoured with the Pulitzer Prize for Music.

From an early age, Walker displayed exceptional talent as a pianist, which led to his admission to the prestigious Curtis Institute of Music in Philadelphia. Under the guidance of the legendary Beethoven interpreter Rudolf Serkin and the Italian composer Rosario Scalero, he honed his skills and unleashed his creative genius.

Walker’s compositional style was profoundly influenced by the likes of Johannes Brahms and Samuel Barber (who was taught by Scalero), resulting in a distinctive fusion of traditional forms with contemporary musical idioms. Notable works include the groundbreaking Lyric for Strings, the powerful Lilacs for voice and orchestra, and the last score he completed, Sinfonia No. 5 “Visions”.

Throughout his career, he received esteemed awards such as the Academy Award from the American Academy of Arts and Letters, the George Peabody Medal, and the George W. Chadwick Medal from the Boston Symphony.

Furthermore, George Walker made significant contributions as an educator, sharing his musical knowledge and passion with students at prestigious institutions such as Smith College, the Peabody Institute, and the University of Colorado. He passed away on August 23, 2018.

Bleu, for violin (Arr. for vibraphone)

George Walker's preference for the violin has a simple explanation: his son Gregory is a splendid violinist. In '58 and '79, father and son recorded together the two Sonatas for Violin and Piano. Bleu, dating back to 2012, was performed by Gregory himself at the Coolidge Auditorium in Washington DC. George Walker masterfully synthesises some of the predominant elements of the blues through highly sophisticated compositional gestures. Throughout the piece, lowered intervals of the third, fifth, and seventh are scattered. Amidst brief moments of lyricism intertwined with faster phrases, two fleeting nods to popular jazz melodies emerge. Sebastiano De Gennaro chooses to perform Bleu on the vibraphone, adding a softer glow to the cool brilliance of the metal, occasionally thawing the icy soundscape of the piece. This execution's detached colouring softens the composition’s harmonies, bringing them closer to a less academic sonic universe. Under this new light, Bleu becomes a work suitable for both grand showcases of contemporary classical music and an evening of solo vibraphone on the stage of Milan's Blue Note.

BCM#7: JULIUS EASTMAN

In August, Black Classical Music will be released, the twenty-first release by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.

JULIUS EASTMAN

By Unknown - Original publication: Unknown Immediate source: <a rel="nofollow" class="external free" href="http://www.discogs.com/artist/343937-Julius-Eastman">http://www.discogs.com/artist/343937-Julius-Eastman</a>, Fair use, Link

Julius Eastman was an American composer and pianist renowned for his pioneering work in the realm of minimalist music. Born on 27th October 1940 in New York, Eastman’s life and career were marked by artistic innovation and an unwavering pursuit of unconventional musical expression.

Eastman’s musical style was characterised by what Alex Ross has described as “guerrilla minimalism.” He shook up traditional composition norms by incorporating elements of improvisation and experimentation into his works. In the 1970s, Eastman became closely associated with the influential Downtown New York music scene, collaborating with notable figures such as Meredith Monk. He even took on the uproarious role of George III in Peter Maxwell Davies’s Eight Songs for a Mad King, showcasing his versatility and captivating stage presence.

However, as an openly gay Black man in the predominantly white and heteronormative classical music world, Eastman faced an uphill battle. His career began to decline in the 1980s due to personal struggles, and he grappled with marginalization, financial difficulties, and homelessness, tragically resulting in the loss and destruction of a significant portion of his work.

Eastman’s life was cut short at the age of 49. He passed away on 28th May 1990, under circumstances that added to this remarkable musical talent’s tragic and untimely end.

Macle (Live version for five voices)

Alternative notations play an important role within the work of Esecutori di Metallo su Carta, both live and in the studio: Cardew's Treatise, Filidei's Toccata for Piano, and Della Marina's Fades/Constellations are some of the most visually intriguing pages tackled in recent years by our in-house ensemble. Julius Eastman's Macle fits perfectly within this departure from traditional notation. The score consists of only seven pages divided into rectangles and squares, which, when aligned, seem to recall an old Mickey Mouse comic: instead of ducks and mice, each panel is filled with lines, symbols, and texts. The ensemble consists of four voices: the performers must simultaneously read the panels and perform what is indicated within them. The performance is built by collectively deciding how to approach and interpret the graphic symbols, which are clear enough (there is only an autograph version for Macle), but not always unambiguous. The score indicates a duration of approximately 33 minutes; we present a version lasting only 11 minutes, performed live at Santeria during the ContempoRarities Festival on 5th December 2021. The performers, in this case, five members of Esecutori, were coordinated and guided by Francesco Fusaro, who also performs in it. Macle is simultaneously an exercise in style, avant-garde theatre, and a fascinating journey through new languages and sounds.

BCM#6 JOHN WESLEY WORK III

In August, Black Classical Music will be released, the twenty-first release by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.

JOHN WESLEY WORK III

John Wesley Work III was a prominent African American composer, scholar, educator, and folklorist who made significant contributions to preserving and promoting African American music. Born on 15th September 1901 in Tullahoma, Tennessee, Work came from a distinguished musical family.

With a celebrated Fisk University Jubilee Singers member, John Wesley Work Jr., as his grandfather, and John Wesley Work II as his father, he inherited a treasured musical heritage firmly rooted in his family's distinguished lineage. Work's passion for music led him to become a versatile musician proficient in various instruments, including the violin, piano, and trombone.

Work's scholarly pursuits were equally remarkable. After completing his undergraduate studies at Fisk University, he pursued a master's degree in music from Northwestern University in 1927. He went on to earn a doctorate in musicology from the University of Chicago in 1941, becoming one of the first African Americans to achieve this distinction.

Work's compositions encompassed choral music, orchestral works, and solo pieces. His most notable composition, "Go Down, Moses," became an iconic spiritual arrangement, earning him widespread recognition.

Work was also an esteemed educator. He served as a faculty member at Fisk University for over forty years.

At A Certain Church & Ring Game

Out of the three movements comprising Scuppernong, "At A Certain Church" and "Ring Game" truly capture the essence of John Wesley Work III's microcosm. "Ring Game" is a concise composition that tips its hat to Béla Bartók's piano albums for small hands, an exceptional exemplar of ethnomusicology, harmonic exploration, rhythmic mastery, and pedagogy in the annals of human history. "Ring Game" is a simple and delicate solo piano piece, enriched with folk-inspired material and intriguing modal choices which evoke a profound sense of nostalgia. In "At A Certain Church," folk melodies make a comeback, intricately intertwined with one of the defining threads in Wesley Work III's oeuvre: choral music. The commencement of a prayerful moment is heralded by a recurring minor seventh interval. The non-religious activities transpiring outside the sacred confines, portrayed by a brief folk melody, are abruptly interrupted by the resonating call of the bell. As the congregation gathers within the hallowed space, they raise their voices in a harmonious chorus. Work III's evocative portrayal of religious devotion is subtly veiled with a touch of poignant affliction.

BCM#5: ROBERT NATHANIEL DETT

In August, Black Classical Music will be released, the twenty-first release by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.

ROBERT NATHANIEL DETT

Robert Nathaniel Dett was a highly accomplished African-American composer, pianist, and choral conductor. Hailing from Drummondville, Ontario, Canada, Dett exhibited prodigious musical talent from a tender age. He honed his musical skills at the prestigious Oberlin Conservatory of Music in Ohio, graduating with honours in 1908, becoming the first black individual to receive a music composition degree from the institution.

Dett held esteemed professorships at several educational establishments, including the Hampton Institute and Bennett College. At the core of his teaching philosophy was the belief in integrating African-American musical traditions into the academic curriculum, nurturing cultural pride and identity among his students.

Beyond his compositional achievements, Dett commanded great demand as a sought-after pianist and conductor. His captivating piano performances and masterful leadership of choral ensembles during extensive tours left audiences spellbound.

Throughout his illustrious career, Dett garnered numerous accolades for his remarkable contributions to the music world. His compositions, such as the acclaimed "The Chariot Jubilee" and "Listen to the Lambs," resonated deeply with audiences and critics alike. Dett's innovative musical style and his unwavering commitment to preserving African-American musical heritage firmly established him as a trailblazing figure in the annals of American music history.

Desert Interlude & Barcarolle of Tears (Arr. for vibraphone and piano)

Eight Bible Vignettes is a collection of short solo piano compositions with a religious theme: each number's title page bears a precise biblical reference. The first three vignettes recount and depict episodes from the Old Testament. In "Desert Interlude" Robert Nathaniel Dett captures a very specific moment told in Genesis. Sarah, wife of Abraham, decided to give her slave Hagar to her husband with the intention of adopting her child. However, when the child is born, Sarah begins to resent Hagar's presence. Abraham is forced to cast out Hagar, leaving her and their son Ishmael in the desert. Desperate, Hagar becomes lost in the wilderness of Beersheba. As provisions run out, she finds herself lost in a moment of contemplation, reminiscing with nostalgia about the home from which she was banished and shedding tears of maternal love for her son's uncertain future. These are the evocative impressions that Dett captures on paper in writing "Desert Interlude." On the other hand, "Barcarolle of Tears" is a piece without direct references to biblical events, serving as a separator between the compositions related to the Old Testament and those that recount stories from the New Testament.

BCM#4: WILLIAM GRANT STILL

In August, Black Classical Music will be released, the twenty-first release by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.

WILLIAM GRANT STILL

William Grant Still was a prominent African-American composer and conductor who left an indelible mark on classical music.

Still’s compositions, spanning symphonies, operas, chamber music, and choral works, were characterised by a fusion of Western classical traditions and African-American musical elements. This unique blend showcased his rich cultural heritage, incorporating spirituals, jazz, and folk tunes.

In 1931, Still made history as the first African-American composer to have a symphony performed by a major American orchestra. His Symphony No. 1, “Afro-American Symphony,” premiered with the Rochester Philharmonic Orchestra, captivating audiences by incorporating blues themes and rhythms.

Beyond his musical achievements, Still made significant strides in breaking racial barriers. In 1936, he conducted the Los Angeles Philharmonic Orchestra, becoming the first African American to lead a major American orchestra. He also worked as the first African-American composer at 20th Century Fox in the 1940s, contributing to the film industry.

William Grant Still actively advocated for the recognition of African-American composers, making invaluable contributions to their inclusion in the classical music canon. His compositions often reflected the struggles and aspirations of African-Americans, serving as a catalyst for social change.

Summerland for piano (Arr. for alto sax and piano)

Summerland is the second of the Three Visions composed by William Grant Still for solo piano. It is also the only one that exists in a different form, as the composer turned it into a version for solo violin and small orchestra. Three Visions was composed for Verna Arvey, Grant Still's wife, who first performed this work in 1936. The composition is divided into three parts: the same melody introduces and concludes the entire movement, encompassing a central section where melody and counterpoint captivate the listener with its intensity and beauty. Catherine Parson Smith, an American writer who has followed Grant Still's work, states that "The harmonies in these Visions are strange," but we do not share the same opinion. Grant Still depicts the vision of paradise using harmonies that are extremely soft, deep, and rich, drawing from a blues and jazz-inspired sonic universe while also bearing the marks of his academic training. The melodic character of Summerland becomes even more apparent through the instrumentation chosen by Enrico Gabrielli.

Black Classical Music on Sette by Il Corriere della Sera

Black Classical Music is featured in Sette by Il Corriere della Sera. Thanks to Gian Luca Bauzano.

Black Classical Music on il venerdì di Repubblica

Black Classical Music is on il venerdì di Repubblica. Thanks to Gregorio Moppi.

BCM#3: SAMUEL COLERIDGE-TAYLER

In August, Black Classical Music will be released, the twenty-first release by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.

SAMUEL COLERIDGE-TAYLOR

Born in London in 1875 to a Sierra Leonean father and an English mother, Coleridge-Taylor's mixed heritage significantly shaped his musical perspective and personal identity. Raised by his mother and her extended family, he displayed exceptional musical talent from a young age.

Recognising his potential, his family supported his musical education, and he began studying at the Royal College of Music. There, he honed his skills as a violinist, but his compositional abilities truly set him apart. Coleridge-Taylor’s music drew inspiration from various sources, including African American spirituals, British folk melodies, and classical European traditions.

In 1904, Coleridge-Taylor embarked on a tour of the United States. His visit to America solidified his reputation as an internationally recognised composer and strengthened his connections with African American musicians and activists. Outside of his compositions, Coleridge-Taylor actively participated in the Pan-African movement, advocating for the rights and representation of black people. He embraced his African heritage and sought to elevate the status of black musicians and artists.

Tragically, his life was cut short when he succumbed to pneumonia in 1912 at 37. His legacy endures as organisations like the Black Cultural Archives in London strive to preserve his heritage and promote awareness of his significant role in shaping black cultural history.

Clarinet Quintet in F sharp minor, Op. 10

Clarinet, two violins, viola, and cello: Mozart had thought of inaugurating this unusual formation back in 1789. Over a hundred years later, starting in 1891, composers began systematically tackling the clarinet quintet: the turning point being Johannes Brahms' Op. 115. A few years later, in 1895, Samuel Coleridge-Taylor composed one of his early works: the Quintet for Clarinet and Strings in F-sharp minor, Op. 10, is of an almost staggering beauty. Coleridge-Taylor revealed himself to be one of the most promising composers of his generation. Unfortunately, the young musician was destined to die at the young age of 37, leaving behind a significant number of works, over eighty in total. Coleridge-Taylor's writing is highly mature and perfectly embedded within the European Romantic aesthetic in terms of form, harmony, and thematic material. The three movements presented here were recorded in Milan at the ContempoRarities Festival. The fourth movement, which was not performed, is omitted from the recording.

BCM#2: THOMAS 'BLIND TOM' WIGGINS

In August, Black Classical Music will be released, the twenty-first release by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.

THOMAS ‘BLIND TOM’ WIGGINS

Thomas Wiggins, also known as Blind Tom, was a remarkable 19th-century pianist and composer. Born in 1849, he was blind from birth and enslaved in Georgia. Despite no formal music education, he had a prodigious memory and could effortlessly play tunes he had just heard.

His extraordinary piano skills and versatile musical style garnered him fame as he toured extensively throughout the United States and Europe. Despite facing racism and discrimination, Wiggins captivated audiences incorporating classical, folk, and original compositions in his performances. Some of his original work was transcribed by a series of tutors who joined him on tour.

Though his annual salary as a touring musician was estimated at $100,000 at his peak, Wiggins was unable to fully benefit from his earnings due to his status as an enslaved individual. After emancipation, he continued to be in a dependent position, essentially serving as an indentured servant to Bethune, who eventually became Wiggins’ legal guardian.

He suspended his performing career for nearly two decades, from 1881 to 1904. During this period, he resided in Hoboken, New Jersey, under the care of his new guardian, Eliza Bethune, General Bethune’s son John’s widow.

He passed away on 13th June 1908 at 59.

The Battle of Manassas for piano (Arr. by S. De Gennaro for percussion and double bass)

Assignment: Describe The Battle of Manassas by Thomas "Blind Tom" Wiggins in less than 1000 characters. Development: A 14-year-old African American slave, blind from birth, possesses the remarkable ability to reproduce entire musical compositions on the piano after a single listen. He channels this talent into composing a symphonic poem that recounts the significant first battle of the American Civil War. Astonishingly, Wiggins’ composition predates by several decades the innovative techniques embraced by early 20th-century composers. His pioneering use of Tonale Clusters, which would later be associated with ragtime and adopted by classical musicians such as Charles Ives and Béla Bartók, defies the conventions of his time. With a clever blend of popular melodies like "The Girl I Left Behind" and "Yankee Doodle," Wiggins injects a whimsical touch of programmatic music. Sebastiano De Gennaro, accompanied by Simone Beneventi, pushes the boundaries further by incorporating surprising sounds and blends. Meanwhile, Francesco Fusaro's voice, in harmony with Roberto Benatti's double bass, shatters the fourth wall, tearing the captions inserted by the composer from the silence of the printed page.

BLACK CLASSICAL MUSIC #01: JOSEPH BOLOGNE, CHEVALIER DE SAINT-GEORGE

In August, Black Classical Music will be released, the twenty-first album by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.

JOSEPH BOLOGNE, CHEVALIER DE SAINT-GEORGE

Joseph Bologne, Chevalier de Saint-George, was born in 1745 in Guadeloupe, a French colony in the Caribbean. He was the son of a wealthy plantation owner and an enslaved woman.

He received an elite education in France, excelling in academics, music, and fencing. He became a highly skilled violinist and composer, earning recognition for his virtuosity and innovative compositions. Bologne’s talent as a musician gained him entry into the court of King Louis XVI, where he performed and composed music for the royal family.

Aside from his musical pursuits, Bologne was an exceptional fencer, becoming one of the most celebrated swordsmen of his time. He trained and led a renowned fencing school, attracting students from all walks of life, including nobility and military officers.

As with many details of his life—now the subject of a film by Stephen Williams—a famous encounter with another music prodigy of his time, Wolfgang Amadeus Mozart, remains shrouded in mystery. When Mozart visited Paris in 1778, it is believed that he had the opportunity to witness Bologne’s exceptional musical talent firsthand. Impressed by his violin skills, Mozart allegedly proposed a musical contest to test their abilities.

Despite the scarcity of detailed documentation, it is generally accepted that the encounter between Bologne and Mozart took place. This meeting between two influential musicians of their time likely impacted both individuals and further contributed to Bologne’s reputation as a highly-skilled musician.

Bologne’s compositions span various genres, including symphonies, string quartets, and operas. Unfortunately, many of his works have been lost.

Sonata for keyboard with violin, Op. 1, No. 3 in G minor

Alberti bass, rapid succession of scales and arpeggios, a solid tonal framework, well-proportioned forms – all these elements seem to lead to the height of the classical period, those approximately fifty years of history that still – excessively? – encapsulate the entire repertoire of art music today. Joseph Bologne, Chevalier de Saint-George perfectly embodied the spirit of the era, both in music as in life. Mannerism, you say? Absolutely not. The classical style was the prevailing fashion, and its structural characteristics were the expression of a society, not an academic imposition or a mere exercise in music writing. The Sonata for keyboard with violin is divided into two movements: an Allegro in sonata form and a Rondeau gracioso [sic!].

Back to Radio Raheem

Francesco Fusaro was on Radio Raheem to present our next release, “Black Classical Music”, out on the 21st of August! Here you can find his guest slot, which also features the voice of Esecutori di Metallo su Carta’s Damiano Afrifa. Enjoy!

Francesco Fusaro, Radio Raheem, 26/07/2023, live

19+1 on The Wire

Abbiamo fatto un concerto davvero speciale!

Venerdì 24 Febbraio 2023 siamo andati al Teatro Munari per eseguire Sinfonia Casalinga di Sebastiano Cognolato. Il foto-racconto di Camilla Canalini racchiude le emozioni di un pomeriggio dedicato ai bambini!

Sinfonia Casalinga è un brano inclusivo e partecipato, sovversivo ed immersivo. I bambini hanno portato da casa dei veri e propri strumenti musicali realizzati da loro con materiali di riciclo. Insieme hanno preso parte ad un progetto unico ed irripetibile: l’incisione per la Universal di Sinfonia Casalinga (non è vero, eh!).

Sebastiano De Gennaro ha realizzato un set di percussioni unico: oltre a casse, tamburi, tamburelli, piatti, piattini e woodblock, Seba ha portato una enorme sospensione dal suono davvero straordinario.

“Era più di due anni che non costruivo un set: mi sono divertito un sacco a realizzarlo!” ha detto Seba mentre riempiva la moquette con una batteria improvvisata.

Gli Esecutori di Metallo su Carta si sono presentati con la medesima formazione di Call for Scores: Yoko e Camillo rispettivamente al violino e violoncello, si sono incontrati a quasi un anno di distanza dall’incisione della 18esima uscita di 19’40’’. Enrico, al clarinetto e clarinetto basso, era affianco a Carlotta Raponi, flauto traverso.

Maxine Rizzotto era al pianoforte… e che pianoforte! Al Teatro Munari si trovano infatti gli strumenti di Ten Pianos Street, una istallazione-concerto ideata da Cognolato nel 2013. Il pianoforte è stato accordato da Ulisse. Appena concluso il lavoro, Ulisse si è congedato dicendo “Ho dato una sistemata al registro grave: speriamo che tengano perché il piano è messo un po’ male”. Quarantacinque secondi dopo il sol della prima ottava è sceso di quasi un semitono.

Seba ed Enrico hanno esplorato la struttura del Munari e sono rimasti colpiti dal pianoforte all’ingresso del teatro. Abbiamo immortalato questo incontro con uno scatto straordinario.

Marcello Corti è riuscito a intrattenere per un’ora intera più di cento bambini leggendo indicazioni dettagliate da un foglio completamente bianco. Qualcuno ha sospettato qualcosa ma ci ha pensato Gabrielli a dire “ma perché è scritto con inchiostro simpatico!” Sempre per citare Enrico “Marce, sei il più grande imbonitore di bambini vivente!”

Sinfonia Casalinga è stata un’esperienza splendida: saremo di nuovo in concerto con lo stesso programma nel mese di Maggio con le scuole primarie di Paderno Dugnano. Per ora chiudiamo le note di Cognolato e ci prepariamo ad una trasferta in Sardegna.

Cosa?

Sì, in Sardegna.

Carnevale con gli Esecutori di Metallo su Carta al Buratto

Enrico Gabrielli e il Carnevale.

Gli Esecutori di Metallo su Carta tornano a Milano per fare musica dedicata alle piccole orecchie: al Teatro Bruno Munari, aka Teatro del Buratto, è in scena Sinfonia Casalinga di Sebastiano Cognolato.

Venerdi 24 febbraio alle ore 18.15 è in scena SINFONIA CASALINGA secondo appuntamento di Allegro Sostenibile, rassegna di concerti interattivi e partecipati per bambini e famiglie incentrato sul tema della sostenibilità e condivisone.

Il tintinnio di quelle posate della nonna, che solo tu sai far risuonare, o il suono misterioso dell’anfora portaombrelli; la nota acuta dello spazzolino elettrico o lo schiocco del posacenere di plastica. In ogni casa c’è una sinfonia nascosta che adulti e bambini intonano ogni giorno passando dalla cucina o dal bagno, uscendo di casa o rientrando, alzandosi al mattino o prima di andare a letto la sera. Metti il costume di carnevale, porta i tuoi oggetti sonori al concerto e suonali nella prima sinfonia originale per orchestra e oggetti di casa.

Sinfonia Casalinga è un divertimento in tre movimenti per orchestra da camera e oggetti domestici, musica di Sebastiano Cognolato, Marcello Corti direttore ed Ensemble Esecutori di Metallo su Carta. Il pubblico viene invitato a portare in teatro oggetti di casa che possano essere usati come strumenti musicali e partecipa all’esecuzione seguendo le indicazioni del direttore.

Gli oggetti possono essere i più vari: l’idea più fantasiosa viene premiata con un invito a teatro e con la partecipazione all’esecuzione sul palcoscenico, e quest’anno anche i costumi di carnevale più rumorosi (sonanti? Musicali? Fragorosi?) saranno premiati. Sinfonia Casalinga aiuta così i ragazzi a guardare ciò che hanno intorno in un’ottica di riciclo e sostenibilità.

Il concerto è a cura del Teatro del Buratto e Serate Musicali. Il progetto Allegro sostenibile si realizza con il contributo di Fondazione Banca del Monte di Lombardia e di Fondazione di Comunità Milano.

INFO E PRENOTAZIONI Tel. 02.27002476 - prenotazioni@teatrodelburatto.it - www.teatrodelburatto.it

La biglietteria del Teatro Bruno Munari è aperta con i seguenti orari:
Dal lunedì al venerdì dalle 9.00 alle 13.00 e dalle 14.00 alle 18.00
Sabato dalle 14.30 alle 18.30 Domenica dalle 10.00 alle 13.00 e dalle 14.30 alle 18.30

TEATRO BRUNO MUNARI Via Giovanni Bovio 5 | Tel. 02.27002476 - www.teatrodelburatto.it
MM3 fermata Maciachini o Dergano – Bus 70 Park auto coperto (ATM – a pagamento) adiacente al Teatro

Prove al Black_Bear_Studio per l'Auditorium di Milano

Enrico a fine prova presso il Black Bear Studio

Come vi abbiamo anticipato qui, il 10 Febbraio calchiamo il palco dell’Auditorium di Milano per raccontare una storia musicale al pubblico migliore del mondo: i bambini. Il programma prevede una selezione di brani inediti di Enrico Gabrielli, un Valzer di Brighi, Spooky Scary Skeletons di Andrew Gold, 2nd Stage da Ghosts Goblins Ghouls.

La formazione è ridotta anche se articolata:

Enrico Gabrielli, autore della maggior parte delle musiche, è al clarinetto e clarinetto basso.
Maxine Gloria Rizzotto è invece alle tastiere: questa volta suonerà pianoforte e clavicembalo.
Marcello Corti alla tromba, all’euphonium e al pianoforte (anche se impropriamente).
Sebastiano De Gennaro, in forma smagliante, ha un set talmente ampio da richiedere un elenco a parte.

Suonerà: xilofono, vibrafono. glockenspiel, cassa, rullante, hi-hat, woodblock e triangolo. A questi si aggiungono: sonagli, pezzi di metallo, legnetti, richiami, tubi, tuoni, scricchiolii e una serie di rumori inclassificabili.

Lo spettacolo non è accessibile al pubblico, ma solo alle scuole dell’infanzia e primaria. Cercheremo comunque di farvi avere qualche ricordo della mattinata spaziale che stiamo preparando!

Lo spettacolo si intitola Chi vuole entrare in una storia di paura? ed è liberamente tratto da Voglio entrare in una storia di paura.

Le percussioni che contornano Seba

Abbiamo registrato tutta la prova con l’intento di condividere con voi una piccola anteprima dei brani di Gabrielli: tanti piccoli ritratti in musica di personaggi fuoriusciti da chissà quale racconto distopico. Purtroppo, dopo circa quattro ore di registrazione, abbiamo scoperto di aver completamente sbagliato i volumi di ingresso. La registrazione è sostanzialmente inutilizzabile. Sarà per la prossima volta.

In scaletta

Mr. Luchini (detto il Merda) di Enrico Gabrielli (2022)
Adventure March di Enrico Gabrielli (2022)
Grotèsque di Enrico Gabrielli (2022)
Grotèsque Arpege di Enrico Gabrielli (2022)
2nd Stage di Tim Follin trasc. Enrico Gabrielli (1988)
Spooky Scary Skeletons di Andrew Gold elab. Corti
Valzer di Carlo Brighi elab. De Gennaro/Corti

Maxine a fine prova.