Filigrana
for flute, clarinet, piano, violin, cello, home made instruments and instrumentalist's voices - 2022
commissioned by Festival Milano Musica
07.06.22, world premiere
Festival Milano Musica 
Auditorium San Fedele - Milan
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ENSEMBLE INTERFACE
- Bettina Berger, flutes 
- Andrea Nagy, clarinets
- Anna D’Errico, piano
- Georgia Privitera, violin
- Christophe Mathias, cello

00:00 - Attesa
04:30 - Senza peso
11:25 - Fiato
17:09 - Meccanica
20:38 - Nenia
25:04 - Filigrana

Filigrana, ensemble - 2022

Giorgio Colombo Taccani
IL MARE IMMOBILE
version for two bass recorders, bass clarinet and marimba (2001/05)

dedicated to: "Les Trois En Bloc" - Berlin (original version)

EDIZIONI SUVINI ZERBONI - MILANO

(Eero Saunamäki, Anna Lehto, bass recorders, Tamas Paraczky, bass clarinet, Aki Virtanen, marimba).

More on www.colombotaccani.it/mareprog.html

"Il mare immobile" - version for two bass recorders, bass clarinet and marimba (2001/05)

Giorgio Colombo Taccani
CANTI DEL DISGELO
for double bass and piano (2022)
dedicated to: Andrea Grossi e Gledis Gjuzi

EDIZIONI SUVINI ZERBONI - MILANO

Andrea Grossi, double bass - Gledis Gjuzi, piano

More on www.colombotaccani.it/cantideldisgeloprog.html

"Canti del disgelo" for double bass and piano (2022)

Recorded on July 5, 2023 at Studio kHz on a vintage MACKIE 1604 mixing desk, patched as a no-input mixer. In this final piece I used 5 channels with internal audio feedback, controlled by faders and knobs with amazing resolution. A fantastic playing experience, where the slightest movement of your fingers can drastically change the sound.

Studies for No-Input Mixer

Study for No-Input Mixer #7

Info

Study for No-Input Mixer #7 (2023)- five voices with happy end

RAI NUOVA MUSICA 2023
02.05.2023
Auditorium 'A. Toscanini, Torino
Ensemble Geometrie Variabili della OSN Rai
cond. Francesco Pomarico

This composi􏰁on is born as a part of a project dedicated to Igor Stravinsky that should have been realised to celebrate the 50th Anniversary of his death but, due to the difficul􏰁es connected to the pandemic situati􏰁on, it did not take place in that occasion.
I was asked to compose a new work with some connec􏰁tions with his music and which could convey evidence of the influence on my music developments as a composer and, possibly, on my ar􏰁tisti􏰁c concepti􏰁on.
This opportunity pushed me to read and listen again his scores, to reflect on what I have assimilated from them and finally to get directly in touch once more with his music world which, even if almost always there, was a bit more in the background of my research, with the opportunity to (re)discover works which I know less and going deeper in his crea􏰁ve concep􏰁on.
A􏰂fter a moment of preparatory study I left􏰂 what I have absorbed to sediment in me and allowed myself to be carried away from that sound flux waiti􏰁ng that, as in a spontaneous chemical reac􏰁tion, those elements would combine together to give life to new musical forms from which I could gather the compositi􏰁onal matt􏰀er.
The work is divided in three movements (Capriccio, Corale and Kolokol’nost’), each inspired by elements of stravinskian origin; the composi􏰁ons from which I collected this genera􏰁ve ‘molecules’ are the Three pieces for string quartet and Agon concerning the first movement; Canti􏰁cum Sacrum, Requiem canti􏰁cles and the Choral from the Symphony of wind instruments concerning the second; The flood and again Requiem can􏰁ticles (Postlude) for the last one.
Each secti􏰁on develops a specific feature of Stravinsky’s approach to composi􏰁tion transforming and transfiguring it; for instance Capriccio draws its character from the ‘montage’ technique while Kolokol’nost’ (which is the Russian word that describes the sonority of the ringing bells) is linked to specific episodes as the end of Requiem can􏰁ticles or Svadebka but also to the polyrhythmic structures more or less evident which are the grounding level of many other works by him.
Then I submi􏰀tted these ideas to various procedures of parody and distorsi􏰁on with a similar a􏰃ttiude to that Stravinsky had towards the music or the techniques of other composers (see Cajkovskij, Pergolesi, Gesualdo da Venosa etc. but also the mechanisms of the serial composi􏰁tion or the ancient polyphony) when he used and transformed some elements making them part of his background and, through the use other tools as the spectral analysis or the microtonality, I transformed and absorbed them in my turn in a new music enti􏰁ty, made up of ‘clockworks’ that together put in moti􏰁on the mechanisms that is at the core of this music.

Clockworks for large ensemble

Clockworks for large ensemble (2021)

The Order of Things
for 3 voices, 3 ensembles and electronics
2023

texts by Nastya Rodionova, Jakob Franz Sambeth, Ella Franziska Stürzenhofecker, Nicola Julia Grieser & Anaximander

Lara Morger – Stimme, 
Coco Lau – Stimme, 
Ingvill Statle Skjørten – Stimme, 
Hwajune Kim – Flöte, 
Vera Gassmann – Oboe, 
Maïwenn Bachmann - Klarinette, 
Mariana Rüegg – Klarinette, 
Oktay Duman – Klavier, 
Pava Tausan – Klavier,  
Alexey Potapov – Gitarre, 
Marta Lucjan – Violine, 
Lukas Stubenrauch – Bratsche, 
Richard Ander-Donath – Cello, 
Cassandra Hutsteiner – Cello, 
Christopher Mui – Cello

curator - Daniel Gloger

Dmitri Kourliandski - live electronics

commissioned and realised by Hochschule der Künste Bern
im Rahmen des internationalen Kooperationsmasters für Neue Musik
first performance Kulturzentrum Reitschule, Grosse Halle, Bern
recorded 16.06.2023 in Solitär, Mozarteum Salzburg
recording engineer Sascha Tekale

The Order Of Things

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

Pinturas negras (2011)

live @ the Kitchen, MATA festival 2018, April 18

Miranda Cuckson, vln 1. 
Pauline Kim Harris, vln 2;.
Hannah Levinson, vla.
Mariel Roberts, vc.

Filigrana, ensemble - 2022

Filippo Perocco

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