GASLINI SYMPHONY 4 - G. Gaslini, Theora, Jupiter Symphony Orchestra, Marrucino Theater Orchestra, SIG Orchestra

GASLINI SYMPHONIC 4 ( CVLD246 )

Author : GIORGIO GASLINI
Performer : G. Gaslini conductor, Angelo Teora clarinet, Jupiter Symphony Orchestra, Marrucino Theatre Orchestra, SIG Orchestra

Tracks

Concerto for Clarinet in B flat and Orchestra (2010)
01 - Sequences / Aria - 5:28
02 - Arcana / Cadenza - 6:36
03 - Ebony dance - 2:36
Jupiter Symphony Orchestra, conductor Giorgio Gaslini / Clarinet solo, Angelo Teora
Live recording at Teatro Excelsior, Cesano Maderno, Italy on February, 17th, 2011

04 - Largo for Orchestra (2010) - 18:15
Jupiter Symphony Orchestra, conductor Giorgio Gaslini
Live recording at Teatro Excelsior, Cesano Maderno, Italy on February, 17th, 2011

05 - Moto Velocetto Perpetuo for orchestra (2006) - 2:45
Orchestra of the Marrucino Theatre of Chieti, conductor Giorgio Gaslini
Live recording at Teatro Marrucino, Chieti, Italy on February, 6th, 2007

Big Bang Poem for symphony orchestra (1999)
06 - The Initial Singularity - 2:40
07 - The Spark of Nothingness - 3:36
08 - The Fireball / The Big Explosion - 4:18
09 - Cosmological Odyssey / Dark and Unknown / The Bright Scream (Death of a Star) - 7:47
10 - The chemical mixture (history of the drum) - 4:19
11 - The Current Singularity - 1:57
12 - Planetary Anthem - 5:03
International Youth Symphony Orchestra "F.Fenaroli", conductor Giorgio Gaslini
Live recording, Lanciano, Italy, on August, 22nd, 1999

Total Time: 65:26

Concerto for Clarinet in B flat and Orchestra (2010)
01 - Sequences / Aria - 5:28
02 - Arcana / Cadenza - 6:36
03 - Ebony dance - 2:36
Jupiter Symphony Orchestra, conductor Giorgio Gaslini
Clarinet solo, Angelo Teora
Live recording at Teatro Excelsior, Cesano Maderno, Italy on February, 17th, 2011
In this concert, the author intended first of all to offer the primary emotion of listening the sound of the solo instrument, the timbres, the colours, its sound ranges, high, medium, low, tracing, as in a painting, its rich tonalities, lively, strong or more nuanced.
He then entrusted the compositional fabric to the interpreter and in particular, with Angelo Teora, not only to his technical virtuosity, but also to his precious timbric sonorities, which are also an integral part of a truly other virtuosity.
All this is finally poured and distributed into the four movements and the cadence, that is, into the complete form of the composition.

04 - Largo for Orchestra (2010) - 18:15
Jupiter Symphony Orchestra, conductor Giorgio Gaslini
Live recording at Teatro Excelsior, Cesano Maderno, Italy on February, 17th, 2011
The Largo for Orchestra was born from a strong impression, from a sort of emotional Epiphany that the author felt at the sight and hearing of the Ganges, in India. The river that comes from the centuries and goes towards the centuries, an allegory of eternity and infinity.
Seen, perceived, yes, but also heard.
Its vast course is full of life submerged and on the surface, articulated in straight lines or sudden jolts and curves, a sound, listening to submerged, living polyphony. And on the banks and from the banks around come voices, distant songs, calls, falls into the water of enormous branches, which the wind has torn from the mighty trunk on the shore.
The composition here takes on the value of memory, of a first-person narrative, but in its flow, it lets the great sacred river be the absolute protagonist of its infinite story.

05 - Moto Velocetto Perpetuo for orchestra (2006) - 2:45
Orchestra of the Marrucino Theatre of Chieti, conductor Giorgio Gaslini
Live recording at Teatro Marrucino, Chieti, Italy on February, 6th, 2007
It is a rare characteristic of today's "serious" music that permeates this composition: lightness.
The Author, starting from the title, lightens the classical idea of ​​"perpetual motion" in music, introducing the term "velocetto" that plays down the creative intent of the piece. In fact, this "perpetual motion velocitto" is born as a small, precious choreographic picture: mimes and dancers intertwine and lightly punctuate the musical continuum that twice opens up to glimpses of wide melodic-harmonic breath that, however, do not slow down the incessant flow of the rhythm marked by the line of the perpetuum velocetto.
The composition seems to be an infinite "da capo"; in fact, it seems to renew the desire to listen to it again without any interruptions, as in a perfect sound circle. Lightness, yes, but also very subtle veins of tenderness and humor.

Big Bang Poem for symphony orchestra (1999)
06 - The Initial Singularity - 2:40
07 - The Spark of Nothingness - 3:36
08 - The Fireball / The Big Explosion - 4:18
09 - Cosmological Odyssey / Dark and Unknown / The Bright Scream (Death of a Star) - 7:47
10 - The chemical mixture (history of the drum) - 4:19
11 - The Current Singularity - 1:57
12 - Planetary Anthem - 5:03
International Youth Symphony Orchestra "F.Fenaroli", conductor Giorgio Gaslini
Live recording, Lanciano, Italy, on August, 22nd, 1999

Notes

The term "Poem" placed in the title, at the end of Big Bang, would seem, at a cursory glance, the declaration of "program music" as has always been the case for the famous Symphonic Poems in the history of music. Big Bang Poema is from 1999: it would thus seem a gesture of nostalgia towards a musical form that has long been obsolete.
In truth, however, the score of this work is a completely personal story of the author, of the notes and of those still mysterious events of the origin of the Universe and life on Earth. From movement to movement it reveals a passionate and at the same time light-hearted approach to scientific matter. Nothing therefore "serious" or pedantic.
It's quite a great entertainment that even features an ancient African legend "The Story of the Drum" to allude to the "Chemical Mixture"!
An entertainment that further reveals the general character of the work in the final "Planetary Hymn", in which it is not difficult to recognize the amused wink to Ravelian Bolero.
Above all, listening to it leaves one with the amazement and emotion of a type of writing that is astonishing and original in the panorama of today's symphonic music.

Production: Velut Luna
Recording: Marco Lincetto
(tracks 6-12: Angelo Venditti)
Mix and mastering: Marco Lincetto
Photo: Marco Lincetto
Critical text: Gaslini Archive
Translation: Patrizia Pagiaro
Design: L'Image
Marketing and Sales Manager: Patrizia Pagiaro
Musical publishing: Suvini Zerboni