Ensemble Novecento

Maria Cama - flute
Maria Preziosa - oboe
Sara Eliana Dellaria - clarinet
Lorenzo Drago - bassoon
Francesco Ulivi - trumpet
Antonio Rispoli - percussions
Jacopo Petrucci - piano
Roberta Lioy, Emanuele Andreatta - violins
Eleonora De Poi - viola
Federico De Zan - cello

Pasquale Corrado - conductor

Recorded on June 9th 2022, Auditorium E. Morricone - Parco della Musica, Teatro Studio Borgna, Rome

Yakuyoke (2022) - for ensemble

per orchestra 

Diego Matheuz 
Orchestra del Teatro la Fenice di Venezia
07/06/2014

L'anatra digeritrice (in francese Le Canard Digérateur) era un automa con sembianze d'anatra progettato da Jacques de Vaucanson nel 1739.
Questo prodigio della meccanica, che impressionò Voltaire e i contemporanei, riproduceva con minuzia iperrealista i movimenti dell'animale. La sua peculiarità più sorprendente, la capacità di ingerire, digerire e defecare cibo, era però soltanto apparente. Nessun reale processo digestivo avveniva all'interno dell'automa, ma un semplice scambio di cibo con feci (dovranno passare quasi tre secoli prima che un vero sistema digestivo meccanico, la Cloaca Machine di Wim Delvoye, veda il giorno). Al pari del celebre "turco" di von Kempelen (l'automa che giocava a scacchi, in realtà azionato da un nano), ci troviamo di fronte ad una frode. Non si tratta però del gioco delle tre carte. Il fatto che i più geniali inventori del tempo ricorsero alla truffa non è nient'altro che l'espressione dell'impasse del riduzionismo meccanicista di fronte alla simulazione dell'intelligenza logico-associativa (nel caso del "turco") o delle parti molli (il cosiddetto "wetware") della fisiologia animale. È la netta presa di coscienza di un limite.
Parlare di automi e di ozio è quasi una tautologia. A differenza di Golem e Robot, infaticabili lavoratori subordinati all'uomo (almeno finché non sopraggiunge l'ammutinamento), l'automa non ha alcun lavoro da portare a compimento. Vive una vita tranquilla, esibendo i suoi meccanismi e anelando ad un irraggiungibile modello organico. È sostanzialmente inutile.

"Anatra digeritrice" vuole essere una piccole collezione di questi meccanismi che girano a vuoto.

Il pezzo, commissionato nell’ambito del progetto «Nuova musica alla Fenice», è dedicato a Giovanni Morelli.

Mauro Lanza - "Anatra digeritrice (piccola Wunderkammer di automi oziosi)" (2014)

Khamsin (2023) for ensemble
Accademia Nazionale di Santa Cecilia - Roma

Ensemble 900
Conductor: Pasquale Corrado

Live recording on October 5 2023 
Sala Sinopoli, Auditorium Parco della Musica - Roma

https://www.youtube.com/watch?v=04crAeqHrnk

Khamsin (2023) - for ensemble

Anatide acousmonium è il racconto di tre personaggi rinchiusi nel ventre di un'anitra cotta.

A.I. - Otto Marco Mercante
Minnie - Silvia Lodi
Guardiano notturno - Francesco Cabras
Gordon - Stanislao Rollo

sonoro Elena Ghigas
testo Andrea Inglese

Anatide acousmonium. Stralci di un racconto incomponibile. N°3

Anatide acousmonium è il racconto di tre personaggi rinchiusi nel ventre di un'anitra cotta.

A.I. - Otto Marco Mercante
Minnie - Silvia Lodi
Guardiano notturno - Francesco Cabras


sonoro Elena Ghigas
testo Andrea Inglese

Anatide acousmonium. Stralci di un racconto incomponibile. N°2

Anatide acousmonium è il racconto di tre personaggi rinchiusi nel ventre di un'anitra cotta.

A.I. - Otto Marco Mercante
Minnie - Silvia Lodi


sonoro Elena Ghigas
testo Andrea Inglese

Anatide acousmonium. Stralci di un racconto incomponibile. N°1

Yu Kuwabara | Falling Leaves Moon Steps (2023) for shakuhachi, shamisen, and orchestra
commissioned by Suntory Foundation of the Arts after winning The 31st Competition of Yasushi Akutagawa Suntory Award
recorded live at Suntory Hall (Main Hall), Tokyo, Japan on 26 August 2023
premiered by Reison Kuroda (shakuhachi), Hidejiro Honjoh (shamisen), and New Japan Philharmonic conducted by Seitaro Ishikawa

桑原ゆう｜葉落月の段 (2023) 尺八、三味線とオーケストラのための
第31回芥川也寸志サントリー作曲賞受賞による、サントリー芸術財団委嘱作品
演奏｜黒田鈴尊（尺八）、本條秀慈郎（三味線）、石川征太郎（指揮）、新日本フィルハーモニー交響楽団
2023年8月26日 @サントリーホール大ホール
サントリーホールサマーフェスティバル2023 第33回芥川也寸志サントリー作曲賞選考演奏会

SSF2023_芥川作曲賞選考演奏会

Falling Leaves Moon Steps (2023) for shakuhachi, shamisen, and orchestra

Lamiere, for ensemble and electronics (2024).
Composer: Matteo Tundo
Performed by Concrete [Lab] Ensemble
Directed by: João Quinteiro.

Live Recorded at O'culto da Ajuda, Lisbon (PT).
30 July 2024.

Lamiere, for ensemble and electronics (2024)

East St. Louis Blues for piano and electronic - live at 22.Biennale Aktuelle Musik in Bremen, 2024
Robert Fleitz, piano
Alessandro Ratoci, live electronics
Mattia Bonafini, sound engineer

East St. Louis, Illinois, is today a limbo suspended in between the status of city and the condition of desert. Once upon a time a rich and florid county, avant-garde of American economy and culture, it has been the birthplace of important artists (Miles Davis, Tina Turner, etc..) and his name remains linked to many masterworks of Afro-American music. After the crisis of Midwest rail economy and the decline of the “Rust Belt” area it has been considered one of the poorest and dangerous urban area of the world. Nowadays this process of social degradation has gone so far that that today it represents a “non-lieu” where nature is slowly retaking the control of the urban space, obliterating any trace of human presence. 
East St. Louis Blues is a work for piano and live electronics inspired by a physical journey in this waste-land in the tradition of “psycogeographical” experiences of situationist avant-garde held by the author during a 2015 residence at Missouri University searching for the ruins of Miles Davis’ birth house.  The score of the piece is partly generated by “Computer Assisted Composition” (CAO) processes, especially by spectral analysis of a series of ancient jazz vinyl recordings (principally the six earliest versions of East St. Louis Toodle Oo by Duke Ellington). This choice is poetically and aesthetically motivated by the exigency of “grabbing” the secret of a familiar and emotionally connoted music thru its physical objective dimension and filtering it thru a different rational distance. 
The margin-of-error, impossible to avoid while doing computer statistical analysis is here not minimized but actively employed as a mean of musical re-elaboration of pristine musical motifs and gestures. In the continuous sound-flux of the piano, often used as a percussion instrument, it is maybe possible to find references to American blues and folk marks like the washboard percussion, the slide guitar or the banjo. But first of all, the listener is invited to “lose his track” into an inorganic soundscape, trying to find a way-out following suggestion that are brought by ghosts of an ancient expression. With a good luck and good ears someone could find beauty where others see only ruins. 


East St. Louis Blues - Live in Bremen 2024 - Robert Fleitz

Segni di passaggio (2023) for string quartet


Arsenal-Jean-Marie-Rausch - Cité musicale-Metz 
Académie Diotima édition 2025
Concert de restitution

Live performance at 14.02.2025

Quatuor Sol 

Capucine de Bellefroid 
Julie Brau
Iris de Sousa
Léo Lena

Segni di passaggio (2023)

Segni di passaggio (2023) for string quartet

ATTAN’DATTE - 在ったんだって (2020)

Daniele Vulpiani was born in Rome in 1989.
His musical ideas are connected with architecture, philosophy and studies on perception.
​
Daniele studied composition with Marialuisa Balza at PIMS in Rome and with Daniele Bravi at “U. Giordano” Conservatoire in Foggia. He also graduated in philosophy at “Roma Tre” University in Rome. He then studied at “Accademia Nazionale di Santa Cecilia” (Rome) with Ivan Fedele (composition) and Michelangelo Lupone (electronic music). Daniele enhanced his studying experiences by attending several masterclasses with Stefano Gervasoni, Eero Hämeenniemi, Mauro Lanza, Marco Stroppa and Francesca Verunelli.
​
Among some of the remarkable ensembles and soloists that have performed his music are Quatuor Diotima, Concrète [Lab] Ensemble, Blow Up Percussion, Kuopio Symphony Orchestra's Brass, Echéa Quartet, Quartetto Sincronie, Arrigoni String Orchestra and Ensemble Novecento conducted by Pasquale Corrado, h[t] DUO, Duo Dubois, pianists Anna D'Errico and Maurizio Paciariello, harpsichordist Davide Cicconi, euphonist Marina Boselli, cellist Helena Švigelj, saxophonist Alberto Napolitano and flutists Keiko Murakami, Renata Guzik and Iwona Glinka.
His music is published by Stradivarius Edizioni (Milan) and Da Vinci Publishing (Osaka).
​​
Daniele's work has been performed at major festivals and venues like Impuls Festival (Graz), Miso Music Portugal (Lisbon), Auditorium E. Morricone - Parco della Musica (Rome), Festival ArteScienza (Rome), Signal to Noise (Trento), Teatro Politeama Garibaldi (Palermo), Castello Sforzesco (Milan), Kaivos-festivaali (Outokumpu), Španski Borci Cultural Center (Ljubliana), An Art Artistry (Athens), Narnia Festival (Narni), Teatro Concordia (San Marino), Festival Spazio Freon (Rome), San Vito Musica Contemporanea (Pordenone), Festival Rumore Bianco (Foggia), Pontifical Institute of Sacred Music (Rome).
​
He won First Prize at the VI International Competition “SIMM 2021 – nuove musiche per clavicembalo” (Milan), Second Prize (First Prize not assigned) at the “2021 Busan Maru International Music Festival Composition Competition” (Busan, KR), and Third Prize at the “ICU International Composers Contest” (Odessa).
​
He is currently teaching composition at "N. Sala" Conservatoire in Benevento (Italy).

Yakuyoke (2022) - for ensemble

Daniele Vulpiani

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