Name: Augusto Gentili RITRATTO NOTTURNO (recording version) by Augusto Gentili
Duration: 6 min 28 s
Description: From the album "Musiche per il proprio tempo"

@frank-matta: Thanx!! they are two poems of Georg Trakl. Most tracks of my new album "musica per il proprio tempo" is based on his poems..

This is a Christmas song I wrote as Lullaby for my children

Nella Notte Di Natale (Babbo Natale)

From the album "Musiche per il proprio tempo"


Augusto Gentili RITRATTO NOTTURNO (recording version)

Leadfoot’s Song is a written in a loose theme and variations form.
Contrary to standard practice, the theme (a simple song) is not presented until the final minutes of the piece. Leading up to this melancholic ending, fragments from the theme are isolated, developed, and/or layered to create several sections of unique material. Additionally, one fragment is presented as a series of interruptions (with varying orchestration) that at times disrupt the
flow of the various sections, and at other times are used as transitions.

“Leadfoot” refers to an overzealous percussionist who has a love of abusing the kick drum. This intense desire to stomp manifests throughout the piece.

This recording features West Fox, and is taken from Eclective's 5 Lenses Recital.

Leadfoot's Song

Sonata for House Band is intended to be a marriage of contemporary classical and popular music styles and aesthetics. Composed in a mobile form, many possible combinations of varying stylistic material exist, giving the performers power to choose routes and pairings that allow them to confront the audience in whatever manner they choose. Overall, the piece loosely follows the organizational scheme of classical sonata form; an exposition, a development, and a recapitulation comprise the three main sections of the piece.

The exposition states the initial musical ideas through various juxtaposed cells of material. There are five possible cells the performers can choose from, from which the performers choose three. The development uses these same three musical styles as a backdrop for several improvised solos, and the recapitulation features a return of the initial material reorganized into a sound collage. Walls of noise separate these sections and serve as transitions that allow the performers to improvise and prepare for the next section, while also emphasizing the concept that all music is just sound.

This particular recording is comprised of cells A1, B2, and A3, and is performed by Ben Ehrlich (drums), Sean Torres (guitar), and Travis Udall (bass).

Sonata For House Band

This short piece was written for the Texas Woman's University Community Dance Center and their spring 2018 showing. The piece accompanied a dance performed by members of a youth modern technique class.

The piece was produced using Logic Pro X.

Blue Flamingo

Big Boy

This is a program note. This is my chance, as the composer, to try and win you over before/after you’ve heard the piece. If I know it’s not great, I can use this time to make up some esoteric artsy stuff that justifies it after the fact. It sounded like that on purpose, The Artist says. Alternatively, if I know its a banger, I can use this time to stroke my own ego and tell you all about the cool and interesting musical, rhetorical, and narrative devices I so masterfully crafted and interweaved to create this divine artistic statement. Perhaps if I am daft and pretentious, I can do a healthy combo of both and use lots of words to marvelously describe my mediocre work while completely oblivious to its inadequacy. Either way, I am conflicted about the best approach to use in this space so I will say this: This is a string quartet. I wrote it, and the performers are insanely good at playing it. Everything else is up to you.

***

The ensemble in the recording is JACK Quartet.

String Quartet No. Who Cares

I can’t help but feel that this piece would be more interesting if someone other than me wrote it. I don’t know what that means. I don’t know what this means. 

This performance is by Quince Ensemble.

text and score: http://www.evanoadams.com/an-artistic-expression

An Artistic Expression?

The Tenderness, Light as Water was commissioned by Stephanie Patterson and Holly Roadfeldt as a duo for bassoon and piano.  Both Stephanie and Holly were looking for a lyrical work that would feature the two instruments in an equal partnership.  With this goal in mind—and some musical inspiration from the bassoon solo that opens Stravinsky’s Rite of Spring as well as various solo piano works I had heard performed by Holly (and other pianists) around the time I started composing—I wrote this duet.  When I sent them the finished piece, Holly suggested I create a solo piano version as well, so the work now exists as both a duet and a solo.  

The title comes from a line in Pablo Neruda’s gorgeous lament “Song of Despair.”  Though the poem as whole expresses the narrator’s despair at the loss of a woman he loved, this particular line is one of poignant remembrance.  It captures the love between the two using Neruda’s characteristically vivid imagery.  I happened to read the poem while I was sketching ideas for the piece, and the line seemed to capture the emotion of the music beautifully.

The solo piano version was created for Holly, and this recording features her performing.

Lafayette College Recital 4-18-19

The Tenderness, Light as Water

남(南) : C   
for Daegeum and Cello

Compose: Dasom Baek
Cello: Violeta Garcia
Daegeum: Dasom Baek

남(南) : C   for Daegeum and Cello

#대금 x 첼로 즉흥
DAEGEUM x CELLO Improv. 
Daegeum: Dasom Baek
Cello: Violeta Garcia

DAEGEUM x CELLO Improv.

Augusto Gentili (1970)Bachelor of Arts in Modern Music at the Middlesex University. Composer, bassist, and multi-instrumentalist, studied the piano with various teachers and the flute with Pier Angelo Prandoni. He then attended music courses at the University of Cremona and the Ruprecht Karls University of Heidelberg.
He studied composition with Luca Fabbri and then took courses with Franco Donatoni at the Roman Romanici Accademy of Brescia and participated in seminars at the Institut für Neue Musik of Darmstadt.
For more than fifteen years he has dedicated himself to musical education: he teaches musical culture at the University del Melo in Gallarate, and electric bass and music theory at different music schools in Northern Italy including the Centro Espressione Musicale of Gallarate.
Since 1998 he has worked with Polverfolk to broaden the appreciation and development of Celtic music; this collaboration has given him the opportunity to be the artistic producer of the latest disc “sunflowers”, has allowed him to travel to many countries, and to focus his efforts on the study of the flutes typical to those Celtic nations (wooden flute, whistle and low whistle).
Since 1988 he has played bass in several musical projects including a folk rock trio (Steel and Voice, Noise Market), a rock quartet (Zenyatta Mondatta, a Police tribute band), a couple of gospel choruses (Joyful Singers and coro InCanto), the Microkosmos Orchestra and the percussion group Danno Compound (conducted by Massimiliano Varotto).
As a composer and performer he is now dedicating his time to promoting his solo disc “Musiche per il Proprio Tempo”, a project that was selected for the “Festival delle 5 Giornate di Milano” of 2009, and collaborating with Massimiliano Varotto on a drum and bass project called “Musiche per il Tempo Condiviso”.His name is mentioned in various productions, as well as several nation and international festivals, as a soloist, composer, or band member.


Compositore, bassista e polistrumentista,  Bachelor in Music Performance presso la Middlesex University, dopo aver studiato nell’infanzia pianoforte con vari insegnanti e flauto traverso con Pier Angelo Prandoni ha frequentato i corsi di musicologia presso l’università di Cremona e la Ruprecht Karls Universität di Heidelberg.

Ha studiato composizione con il Luca Fabbri per poi seguire i corsi di Franco Donatoni presso l’accademia Romano Romanici di Brescia e i seminari dell'Institut fuer neue musik di Darmstadt.

Con il basso elettrico ha approfondito alcuni aspetti specifici del repertorio moderno pop, rock e jazz studiando con Alberto Viganò, Massimo Moriconi e Riccardo Fioravanti. Da oltre quindici anni si dedica ad una intensa attività didattica a divulgativa: è insegnante di culture musicali presso l'università del Melo di Gallarate, e di basso elettrico e teoria della musica presso diverse scuole di musica del Nord Italia tra cui il Centro Espressione Musicale di Gallarate.

Dal 1998 collabora con il c.m. Polverfolk per la ricerca la valorizzazione la diffusione e l'esecuzione di musiche del repertorio scoto-irlandese e bretone; questa collaborazione lo ha portato oltre che ad essere produttore artistico dell'ultimo progetto discografico del gruppo "Sunflowers", a compiere diversi viaggi nelle terre di origine del repertorio e a concentrare i suoi sforzi sullo studio dei flauti presenti in quelle terre (travreso in legno, whistle e low whistle).
In qualità di compositore ed esecutore è adesso impegnato nella promozione del suo disco solista "musiche per il proprio tempo" nato da un progetto selezionato per il Festival delle 5 giornate di Milano del 2009. E nel duo Drum & Bass "musiche per il tempo condiviso" con Massimiliano Varotto.

AUGUSTO plays Helios Bass Guitars
www.heliosguitars.com

Augusto Gentili RITRATTO NOTTURNO (recording version)

Augusto Gentili

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