Alfonso Alberti is a pianist and author of music books. His great passion is the music of today, believing that it is a formidable opportunity to understand the time in which we are living. His recital programs marry together music of today and yester-year, showing the unity of the musical historical path. Pianist Anna D’Errico is also an artist dedicated to the music of our time. She enjoys close working relationships with established and young composers, sharing ideas, premiering new works, and devoting herself to exchanges between art forms and interdisciplinary projects. She is a member of Ensemble Interface. For this release, Alberti and D’Errico explore music for two pianos by such composers as Salvatore Sciarrino, Gyorgy Ligeti, Georges Aperghis, Hugues Dufourt, and Niccolo Castiglioni. Three of these pieces, the Sciarrino, Aperghis, and Castiglioni, are receiving here their world premiere recordings.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Physics, chemistry, biology, culture, history: the inextricable interweaving between all these faces of the prism called man (and music) seem to be captured in the six compositions - spanning a period of twenty years, from 1996 to 2015 - collected on this album. The constant projection towards the immensity of time and it's unfolding in boundless space is the ground zero for the musical thought of Nicola Sani, who is perfectly familiar with the cosmic visions and tensions that, starting from different assumptions and tending towards different aims, pervade the work of Luigi Nono, Giacinto Scelsi and Karlheinz Stockhausen. A thought that is at the same time permutating and persistent, attentive to micro variations and sensitive to the sudden cataclysms of sound. It's material aspect, of physical energy, is confronted with chemistry: a particular type of chemistry, electronic chemistry, that is, the informed use of contemporary technology as a support and extension of the possibilities of instruments, their dilation in the space/time of listening. A space that is both interior and external; enclosed within a perceptual intimacy, projected into a sensory and visual dimension, indispensable to imagine and to which all traditional architectonic limits are bound.

The cycle Systema natur� includes four pieces. It's main feature is the use of acoustic instruments together with computer-controlled physical objects placed in a specific spatial organization. Two references are at the base of the whole cycle. The first is the Medieval tradition of bestiaria, herbaria and lapidaria intended as multi-faceted catalogues of miscellaneous beings, among which different relations can be defined. The variety and heterogeneity of these collections is strikingly evident in early literary examples, that are bizarre lists of fantastic creatures, existing animals, stones and plants. A second reference for the work is taxonomy, that is, the systematic description of living organisms that dates back to Linnaeus' Systema Natur� (hence the name of the whole cycle) as the rationalistic possibility of ordering the polymorphous (and many times teratomorphic) appearance of nature. One of the foundational aspects of taxonomy in the so-called "binomial nomenclature", that provides for each organism a name specifying it's place in relation to other organisms by means of the couple genus et species. Each piece is organized following the model of the catalog, as a collection of short pieces each one receiving an invented Latin name.

Amaya Fern�ndez Pozuelo writes of her new release: "In front of a score, the performer - as in a play of shadows - is always and unfailingly faced with difficult interpretative choices between appearance, reality and imagination. Domenico Scarlatti's language in it's simplicity and immediacy goes beyond the direct meaning of notation. What should be read according to convention for other authors, in Scarlatti's pieces a potential changeable meaning is to be sought, never exactly the same. Everything becomes more understandable if one thinks of Scarlatti as a composer who performed his sonata before noting it on paper. The development and the definitive draft have always perfectly blended the alea of improvised execution and formal completeness. The limits of notation, almost perfect for those times, lie in the performer's profound understanding of the author style and of the relationship intertwining structural rigor, stylistic-formal perfection, and free inventiveness. For this to occur, the musician-performer's intuition is to transcend and make the written signs meaningful and make them his or her own. Only in this way can the non-writable, the unsaid but thought of, the changeable meaning, emerge as well as the allusion to and participation in the vast panorama of human emotions. In my interpretation of Scarlatti sonatas and of his imitators and epigones on the album, I intended to make these hidden elements audible, palpable: it's effects and affects, which are rich, varied and manifold."

Giorgio Gaslini (1929-2014) was truly a remarkable artist. With five Diplomas from the Conservatorio "G. Verdi" of Milan, the composer, pianist, and conductor began his concert career very early and began performing in the most prestigious venues and festivals across the world. In his book Musica totale, Gaslini explores the connection between the language of jazz and other cultures and the language of contemporary European music. Classical music and jazz are parallel paths, according to Gaslini. His 2008 composition Murales Promenade is a symphonic work for piano and orchestra which was inspired by his earlier jazz experience, Murales.