Classical Music

Classical Music

Those who have seen the Quartetto Maurice play live have seen this on their faces, in their gestures: the long sweetness and the angry acceleration, the smile and the serenity, the eurhythmy and the euphoria. The latter has often accompanied their wish that everything should change. We know that when we want everything to change, we evoke fire. Flame, Bachelard writes in an essay, is of all the objects that evoke reverie, one of the greatest operators of images: flame forces us to imagine. This is a truth that Fausto Romitelli knew well. Referring precisely to the synthetic work Natura morta con fiamme (1991), for string quartet and electronics, he explicitly refers to an imaginary scale, to an extremity which has a language without words, purely of relations, of which the essential elements are conventional and abstract, implemented by algebraic and combinatory processes. Dedicated to the memory of Fausto Romitelli, the piece by Mauro Lanza, The 1987 Max Headroom Broadcast Incident (2017), for "augmented" string quartet, reflects precisely on what lies beyond what we always see - on the eye forced to watch and the ear forced to listen - we could almost say on the reverie that admires interference. Andrea Agostini conceived Legno, sabbia, vetro, cenere (2009-10), for quartet and electronics. The composer formed the idea of using additive and deferred synthesis- a technique that the composer is pleased to describe as "very old" - to pursue an ideal he never then abandoned. This was writing electronics with a degree of control over detail and articulation of sound that aspires, one could say, to a very marked musical determinism. Silvia Borzelli searches for a profound explanation with Earwitness (familiar 2) (2017), for string quartet and stereo soundtracks. The earwitness of the title is the person described by Elias Canetti in that strange collection of stories that take their name exactly from the story of that name.

Classical Music

On reflected fragments: an invitation to the music of Giovanni Bertelli. “Dear listener, if you wish to prepare yourself to the listening of this album, may I thus be of advice: think of a boundless dump, a world of garbage, where waste is organized and sorted out in a way you couldn't have possibly imagined. Among the piles, you should be able to see busy crowds of people moving constantly, in waves. A group is building pavements, houses, trees, benches etcetera with the surrounding garbage; another one solemnly destroys whatever the first group has built and them another one reconstructs, and et cetera...” Giovanni Bertelli was born in Verona, Italy. He studied piano and composition at the conservatory of his hometown, graduating respectively in 2003 and 2007. From 2008 to 2010 he studied with Stefano Gervasoni at Paris' Conservatoire National Supérieur (CNSDMP). He is currently a PhD candidate for the SACRe program at PSL Research University in Paris. His research, supervised by Marc Battier and Frédéric Durieux, concerns the theatrical potential of performers physical gestures. In 2016 he was composer in residence of Divertimento Ensemble. This album is the culmination of that experience.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music