GASLINI SINFONICO 3 - GASLINI

GASLINI SINFONICO 3 ( CVLD197 )

Author : GIORGIO GASLINI
Performer : GIORGIO GASLINI

Available in: CD

Notes

Classical: original compositions by Giorgio Gaslini, lyrics by D. Margheriti, M. Bagnoli, W. Shakespeare. 01: Tomsk Russian National Philharmonic Orchestra; 02 Icarus Ensemble, G. Gaslini Conductor, G. Mareggini flute solo; 03-05 A. Caiello soprano, A. Braga violin,, J. Imperial viola, S. Scotto cello, A. Teora clarinet, G. Gaslini conductor; 06 V. Jansons baritone, G. Ubaldi chorus conductor, Oak Ensemble, R. Bonati conductor; 07 Orchestra Internazionale d'Italia conductor L. Jia, M. Mazzoni solo sax; 08-12 C. Cely flute and song, G. Gaslini piano; 13 International Symphony Orchestra “ F. Fenaroli” , G. Gaslini conductor.

We leave the musical presentation of this stimulating latest work by Giorgio Gaslini to the words of the well-known musicologist Quirino Principe, taken from his more detailed critical introduction present in the booklet:

“The compositions presented on this CD are an overwhelming confirmation of the qualities of Maestro Gaslini, always recognized in an artist whose style is above any critical reservation, and in whose catalogue there are no “minor” works. But the works that are heard here are also something more: they are great intellectual conceptions, which aspire to the construction of a “macroform”. In Sinfonia breve per orchestra, which opens the CD, the incipit is already a trauma: the raw irruption of sound, the oxymoron between the fanfare blast and the mysterious aura of whose sonority Gaslini seems to possess the exclusive secret, lead towards a path full of unexpected twists and turns, through the unfolding of 12 sequentiae in which the composer asks for the deepest meaning of that scansion of time and nature that are the four seasons. They are explicitly declared not on the front of a section (as happens in other works of the great tradition that are too well known to need mentioning), but rather in internal zones: spring in the third sequence, summer in the seventh, autumn in the tenth, winter in the twelfth and final, perhaps with the enunciation of a subtle and resistant link between Gaslini's Largo (preceded by a cadence full of tension) and the slow tempo of Vivaldi's Winter.
Naturally it is a triptych that unites (effortlessly, indeed, “naturaliter” and “iuxta naturam”) three works close in time, born in the short span of two years. Beyond the river (2007), a score for flute and 10 instruments that strikes us with the composer's miraculous ability to analyze and blend sounds, themes and motifs according to rapid and elusive metamorphoses, opens with a fascinating archaism: the enunciation of the late-medieval melody known in Italy as Tristan's Lament, immediately dressed in iridescent colors, brought back to its nakedness, then rewrapped in polychrome clothes. The central section of the triptych, Ter (2008), for soprano voice, violin, viola and clarinet, develops, in an atmosphere comparable to the poetry of a Hellenistic idyll, along three lyrics on the classically clear verses of the Umbrian poet Daniela Margheriti: “For centuries I have endured”, “And I think of my rest”, “Here I come to the forest”. The concluding section, Il bosco di Beuys (2008), prepared, in the composer's strategy and métis, by the third and last of Ter's lyrics, has a sung text, taken from an interview by Marco Bagnoli with the sculptor and painter Joseph Beuys (Krefeld, Thursday 12 May 1921 – Düsseldorf, Thursday 23 January 1986). The figure of Beuys is, among other things, one of the symbolic experiences of art and thought that motivated the research on Gaslini's music carried out over the years by the aforementioned Lucrezia De Domizio Durini, the scholar who, as we know, dedicated a fundamental book to the Milanese composer. The instrumentation chosen for Il bosco di Beuys is: baritone voice, small female choir, clarinet, cello, piano, percussion. The degree of transfiguration of the word achieved by Gaslini through highly original sounds in his work explains the great emotion that this composition has aroused since its first performance.
The world premiere of Silver Concert (1992), which took place at the Teatro Rossini in Pesaro on Sunday 6 September 1992 as part of the 10th World Saxophone Festival, is the one that in this CD offers us the singular “concerto for saxophone, baritone and orchestra”, where the dialectic between jazz tradition and classical-romantic tradition is addressed according to the compositional criteria and poetic style of Gaslini: through a sublimation of the respective connotations, in a summit meeting. The Elizabethan Suite, for transverse flute, voice and piano, is a tribute, in the “Brittenian” manner, to music by British court composers of the Tudor era (16th century). The CD ends with a very luminous page for 16 string instruments: Adagio is beautiful, here recorded live and conducted by Gaslini himself, in Lanciano, Sunday 22 August 1999.”

The recordings were made in different Italian theaters and historical places over the last 20 years and Marco Lincetto, who is also the author of one of these recordings, “Il bosco di Beuys”, carried out a long and meticulous work of remixing and mastering to assemble all these different works in this album.