Primer Premio Nacional de Composición - Orquesta Sinfónica Nacional-Ministerio de Cultura de la Nación (2016)

Orquesta Sinfónica Nacional
29/09/2017. Sala Sinfónica  "La ballena azul" del Centro Cultural Kirchner.

José Luis Garabito - Distantes (Orq.)

Giuliano Bracci
Nord | for organ and electronics 2013 
Age-Freerk Bokma, organ

Commissioned by Gaudeamus Muziekweek | Nederlands Fonds Podiumkunsten
In collaboration with Royaumont Foundation (FR) | Time of Music  (FI) | Ulysses network project

Program notes
“Nord” is a solo piece for three organs: a Dutch, a Finnish and a French one. I traveled to visit them and to discover their differences and their own qualities. Every organ is unique, its sound has a strong role in the identity of the place and its huge body becomes part of the architecture.
The first time I have heard the Great Organ of Nicolaï Kerk in Utrecht, I was impressed by the fact that it looked as if it was sounding by itself and the sound filled every single corner of the church. With the electronics I wanted to create the same feeling, so “Nord”is a journey from a wide space without human presence to an intimate “chant” of the organ.

Live recording of the premiere: 
06.09.2013, Gaudeamus Muziekweek, Nicolaikerk, Utrecht
Age Freerk Bokma, organ

Nord

La pieza es el resultado de un trabajo en colaboración con los artistas Ser Jiménez (Colombia) y Luis Eduardo Orías Diz (Argentina-Francia).
Interpretan:
Sergio Catalán (flauta baja)y Luis E. Orías DIz (guitarra)

Cuando Alumbramos Cecilia Pereyra

Pinturas negras (2011)
for amplified and prepared piano
Performed and premiered by Bruno Mesz (Argentina)
Centro Cultural Cuerda Mecánica
Live performance

Pinturas negras (2011)

Giuliano Bracci
Hortense | for string trio 2013
after Carlo Gesualdo da Venosa

New European Ensemble
Rada Ovcharova, violin
Emlyn Stam, viola
Willem Stam, cello
Live recording: 30-04-2016, Orgelpark

Notes
Hortense is a transcription of “Languisce al fin”, a Madrigal from the Fifth Book by Carlo Gesualdo da Venosa (1566-1613).

Languisce al fin chi da la vita parte
E di morte il dolore
L'affligge sì che in crude pene more.
Ahi, che quello son io,
Dolcissimo cor mio,
Che da voi parto e per mia crudel sorte
La vita lascio e me ne vado a morte.

He who is slipping away from life languishes,
and the suffering of death
so afflicts him that he dies in cruel pains.
Alas, that person is me,
my sweetest love
I am leaving you,
and my cruel fate is such
that I must part from life and die.

In Hortense, Gesualdo's music appears as a memory. Figures of the original rise from the shadow in a slowered tempo. It is a time of memories, estrangement and nostalgia. It is also an homage to the music of Anton Webern and Stefano Scodanibbio.

more info:
giulianobracci.com/notes/hortense/

Hortense

Written for Goska Isphording&Maciej Frąckiewicz and commissioned by the Musical Aspiration Foundation (PL), co-financed by the Ministry of Culture and National Heritage of the Republic of Poland (programme Composing Commissions, implemented by the Institute of Music and Dance) with the support of the Lithuanian Composers’ Union.

In this piece two instruments of a very different or even opposite origin and acoustic nature are melted into a monolithic “monochrome” mechanism, as if constructing a utopian instrument with characteristics of the harpsichord and accordion. The idea of such composition came from a play on words, only changing a sequence of letters in an English name of the harpsichord: harpSIchord – harpISchord. “Harp” is being read as an arpeggio (e.g. a technique asking to play chord notes in succession upwards or downwards), while “chord” is perceived as a synchronous entrance of all the chord sounds together. In this piece the two indivisible phases of sound – sound attack and resonance – are being separated in a sense of timbre. The first one is obviously assigned to the harpsichord, which naturally has almost no resonance, and the second one clearly belongs to the accordion, dynamically raising sounds from the silence. By the way, the principle of duality/opposites is expressed also through a special use of double keyboards which both instruments have whilst the diatonic white-keys harmony comes from the “eolian (wind) harp” sound.

Justė Janulytė

At van Abbe Eindhoven

"Harp is a Chord" for harpsichord and accordion (2016)

Ahí donde la mano tiembla (2016)

Quartetto Maurice (Italia)

Georgia Privitera, violín
Laura Bertolino, violín
Francesco Vernero, viola
Aline Privitera, violoncello

Esta pieza fue escrita en el marco del 2do Workshop Internacional para Jóvenes Compositores de la Fundación Música AntiquaNova.

This piece was written for the 2nd International Workshop of Young Composers of Fundación Música AntiquaNova.

Ahí donde la mano tiembla (2016)

Giuliano Bracci
Tutto chiudi negli occhi
for string quartet
2018 | duration: 20′

Recorded live:
09.09.2018 New European Ensemble, Gaudeamus Muziekweek, Utrecht (NL)

Written for, and with the support of New European Ensemble (NL), Quartetto Maurice (ITA),
TW Classic Forst (BE), Freon Musica (ITA), Amarone String Quartet (GER).
Written with financial support of the Fonds Podiumkunsten NL in the framework of the Werkbijdrage Muziekauteur.

Program notes: http://giulianobracci.com/notes/tutto-chiudi-negli-occhi/

Ahí donde la mano tiembla (2016)

Antonela Copertari

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