Assolo

Collection Contents

#		Title	Length
1		L.N. Lanner Notturno	10:15	Play
2		L.N. Lanner In limine al silenzio	8:07	Play
3		B. Maderna Serenata per un satellite	4:04	Play
4		L. Berio Lied	5:34	Play
5		K. Stockhausen Tierkreis Acquarius	1:33	Play
6		K. Stockhausen Tierkreis Pisces	2:15	Play
7		K. Stockhausen Tierkreis Aries	1:58	Play
8		K. Stockhausen Tierkreis Taurus	1:47	Play
9		K. Stockhausen Tierkreis Gemini	1:49	Play
10		K. Stockhausen Tierkreis Cancer	2:18	Play
11		K. Stockhausen Tierkreis Leo	1:33	Play
12		K. Stockhausen Tierkreis Virgo	1:24	Play
13		K. Stockhausen Tierkreis Libra	1:58	Play
14		K. Stockhausen Tierkreis Scorpio	1:36	Play
15		K. Stockhausen Tierkreis Sagittarius	1:38	Play
16		K. Stockhausen Tierkreis Capricorn	3:41	Play

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Description

About Massimo Munari
Born in rome in 1976, Munari began his clarinet studies with Maestro C. Taddei took his degree at the L'Aquila Music Conservatory studying with Maestro Ivo Meccoli. Further study with Maestro G. Arbonelli has deepened his grasp on the modern and contemporary repertoire. He began composition study with G. Gabrieli and R. Santoboni; also further study with David Macculi. Master classes in composition with F. Donatoni at the Chigian Accademy in Siena and with G. Manzoni at the Fiesole Music School have rounded out his education. He has studied Electronic Music with R. Bianchini and G. Nottoli, courses given at the Santa Cecilia Conservatory in Rome. In 1998 hi won first prize in musical composition "S. Ciani" Competition in Siena with the jury presieded on by Luciano Berio. Munari has collaborated as soloist with some of the most important musical institutions such as "Musica Verticale", "Nuova Consonanza", Musical Accademy of Pescara, and the Symphonic Orchestra in Pescara.

CD Contents:
L. Negretti Lanner
Notturno
In limine al silenzio

B. Maderna
Serenata per un satellite

L. Berio
Lied

K. Stockhausen
Tierkreis, twelve melodies of the star signs

Duration: 52 min.

About the Pieces:

Notturno
The composition method on which this piece has been based, is much different from those related to the other pieces, including the other work by the same composer presented on this CD. This work, composed using software, written by the composer, is based on an algorhythm forever recombining the series and incorporating random functions. In this case, the "alea" is not relative to the performance moment, but instead, to the production of the musical sequences. This fact, does not represent so much a novelty, thinking for example of the works of I. Xenaks but rather, the persuasion of a search, through one of the open perspectives in the second nine hundred, is given to the possibility to function by using computers tools, within the technique of the musical composition.

In limine al silenzio
This work has a structure derived from the famous numerical sequence "Fibonacci formula". This series, in which each number is the result of the addition of the two preceding numbers, (1,2,3,5,8), has been used here like a rule into closed fields defined by the musical series. This method, has been applied using some original series written by the author. In this way, the number derived from the rule, has been used as an index. This rule influences the morphology of the musical sequences ( selecting the member of the series correspondent to the value of the index ), without modifying the original values of the musical series.

Serenata per un satellite
This work is dedicate to the torinese physicists Umberto Montalenti, who in that period, was director of the ESOC ( European Space Operation Centre ). Montalenti coordinated and projected the launch of the European artificial satellite ESTRO whose mission was to study of the phenomenon related to the aurora borealis. It is clear in this piece by Maderna that this composition represent a testimony; the fascination experienced by the composer of the new horizons in scientific research and technology in those years. It assumes however, an importance much more general. In fact, it is evident that this work represent the musical world of the period; coninually projecting the cultural and social life of the country. Speaking about piece under the aspect of purely musical terms, we can say, that Maderna achieves a very interesting synthesis between the structural rigour of the material, and the "alea" concept. It writes one of the most important pages of the recent European music history. Composed of a series of fragments among which the instrumentalist chooses freely and also, decides the order of execution, this fragments of musical sequences cannot be modified. The duration is between four and the twelve minutes.

Lied
Lied is formed on three types of musical elements: melody, groups of grace notes, and rhytmic notes. This three musical figures, alternate continually for the entire duration of the piece and each one creates its own specific harmony.

Tierkreis
This work, originally written for six percussions and musical boxes, was introduced by Stockhausen in the year 1976, in a new version for any monodic instrument, here for clarinet and bass clarinet, and / or polyphonic orchestration such as vocal ensemble and keyboard, or chamber ensemble, etc.. This work represent like Maderna's "Serenata", a form of synthesis in structural rigour and the "alea" concept. It is possible, to find analogies between this two works. As in the "Serenata" this work too, has choice of performance order left to discretion of the player. What is different, however, is that, in "Tierkreis" it is possible to transpose the octaves of the sequences, to substitute repeated notes with rests and insert different values of intensity, ways of expression, for each and every melody repeat.