Superb composition and performance! Great work!

Terraferma - Giorgio Colombo Taccani

Marco Momi - Reloading Vanishing (2012)
for solo flute

Collettivo_21:
Lorenzo Di Marco - flute

Recorded at Casa della Musica San Michele https://www.cdmsanmichele.com
12/03/2023
Sound Engineer: Davide Martini
Mix&Mastering: Luca Guidarini and Davide Martini

https://www.collettivo21.com/

Reloading Vanishing - Marco Momi

"The Secret Door Opens if You Crawl Beneath" tells of a paradoxical and hidden concept, a precious heirloom for those who own it, a nuisance for those who don't. 
"The Secret Door" is the entrance to self-discovery, which is characterized by its infinite and often bizarre facets. 
Its achievement does not follow conventional paths, and is often distrusted by those who look at it from the outside. 
But with making ourself uncomfortable, aware of possible injuries, so "if You Crawl Beneath", the secret door magically opens, without the keys.

The Secret Door Opens if You Crawl Beneath (2022-23), for Maurice Quartet and electronics

Discorsivo è il mio primo lavoro per chitarra e mi ha condotto attraverso un percorso di " esplorazione e scoperta" dello strumento che è stato entusiasmante: nel constatare le sue possibilità - in senso lato - mi sono meravigliato più e più volte, ricordandomi dell'amore per la scrittura. 
Molto tempo è stato dedicato alla selezione dei materiali strumentali e sonori, tutti accomunati da una forte gestualità, orizzontalità e da possibilità polifoniche. Per possibilità polifoniche intendo la coesistenza simultanea di più gesti. 
Il carattere di questo lavoro è discorsivo, esattamente come il titolo suggerisce.
Discorsivo vuol dire che l'avvicendarsi degli eventi musicali ha un incedere "non comandato dall'alto", bensì più istintivo: se vogliamo, più naturale e colmo di nessi di consequenzialità fra un evento e l'altro.
Questi nessi spesso sono il risultato non di calcoli ma di pura immaginazione e di un approccio alla scrittura immediato che, contrariamente a come sono solito comporre, in Discorsivo è molto evidente.

Discorsivo - for guitar - 2024

The Handmaid’s Rage is a contemporary solo cello piece inspired by Margaret Atwood’s novel The Handmaid’s Tale. The composition explores the intense emotional turmoil of people socialized as women in our society. The music captures the handmaid's inner fury and defiance, expressed through contrasts between high, fragmented harmonic sections and slow, abrasive sounds in the lower register. These musical oppositions reflect the tension between repression and rebellion, blending moments of stillness with intense outbursts.

Cellist: Claudio Pasceri
Performed at EstOvest Festival in Turin.

La Furia dell'Ancella - The Handmaid's rage

This piece is unfolding in a nearly crystalline tempo, evoking the dreamlike and ethereal qualities of the imagined cities, with a sense of stillness and contemplation.

Perfomed by NISI Orchestra in Nuovi Percorsi Sonori festival.

Città Invisibili

Geidi Prime

MIKO - Trio for Violin, Cello and Piano

Giorgio Colombo Taccani WHY EAT WHY KILL for voice and piano on a poem by Abraham Smith (2016)
dedicated to: Akiko Kozato and Adele D'Aronzo
EDIZIONI SUVINI ZERBONI - MILANO
Akiko Kozato, voice - Adele D'Aronzo, piano
More at www.colombotaccani.it/whyeatwhykill.html

"Why Eat Why Kill" for voice and piano on a poem by Abraham Smith (2016)

Giorgio Colombo Taccani CONTRORA  for piano (2014)
dedicated to: Francesco Prode
EDIZIONI SUVINI ZERBONI - MILANO
Francesco Prode,  piano
More at www.colombotaccani.it/controra.html

"Controra" for piano (2014)

1983 
4.3.3.3 – 3.4.3.1 hp, celeste, 3 perc. Strings
This early work, composed when a student at the Royal College of Music, is inspired by Lewis Carroll’s famous Jabberwocky from ‘Through the Looking Glass’. 
It is suitable for youth orchestras and presents appropriate challenges to students of c. Grade 7 and 8 standards.
This recording is of the premiere performance given by the Royal College of Music Sinfonia conducted by Christopher Adey.

Jabberwocky (1983)

Wilde Blume

Homework - 2018 - 22

[This music benefits from a full-sized loudspeaker.  Headphones will typically lack the requisite low-frequency response.] 

Artists interested in formal methods tend to get advice of two quite opposite sorts.  Purists urge presenting the structure objectively, so not gilding the lily.  Hedonists see structure as merely a spur to creativity, and thus, in the final product, best hidden (if not simply erased or discarded) by subjective, emotive elaborations.

Curiously, purity itself sometimes distracts from that kept pure.  Perception can get dominated by very general notions of rigidity, regularity, (near) repetition, and in the case of music, fatigue to the ear.  

The title advertises a middle course.   The structural idea involves Egyptian fraction decomposition of unity: ways to segment a monochord into distinct lengths to that each one vibrates as a harmonic of the unstopped string.   Using 6 segments, there exist 2320 ways to do this (ignoring the ordering of the segments).  Some of these involve segments so short that they vibrate so high that the tones will span an interval wider than the range of human hearing.  This piece enumerates the musically useful quarter of the catalog.  The sets of tones get applied both melodically and for building the timbres that project the melodies.  

 Sorted in one obvious way, the catalog has a particular natural large-scale harmonic logic.

The catalog gets embellished with rubato - changes in attack, decay, tempo, rate of tempo change and the use of repetition.   These non- structural details actually seem to make easier concentrating on the subtle particulars of the emergent microtonal harmonic progressions and the voice leading.  Despite zero connection to traditional music theory here, the C major prelude in the WTC might seem a distant ancestor.

Not Quite Gilded Lily On A Not Quite Barren Trellis (electronic)

25Jun18

Heavily influenced by the the excellent dark ambient soundscapes created by Dimensional (https://soundcloud.com/dimensionalsound)

:D

Boson Spin - Toward the Elder Sign

Giorgio Colombo Taccani was born in Milan in 1961. He pursued a classical education, graduating from the University of Milan with a thesis in Music History devoted to Bruno Maderna's Hyperion.
At the same time he also studied music, earning a degree in Piano and in Composition at the "G. Verdi" Conservatory in Milan, studying with Pippo Molino and Azio Corghi. He subsequently earned a diploma from the two-year advanced program in Composition taught by Franco Donatoni at the Santa Cecilia Academy of Rome, where he won a S.I.A.E. fellowship; he also took advanced courses with Azio Corghi and György Ligeti and in 1995 was chosen to attend a Summer workshop organized by IRCAM and dedicated to electronic music.
Colombo Taccani's music has won awards and honorable mentions in competitions of both national and international scope, has been regularly presented in concert seasons and music Festivals, has been broadcast by National Radios, and is published by Edizioni Suvini Zerboni, Milan.
Since 1991 to 2001 he has been working with electronic music at AGON acustica informatica musica. 
He assisted Azio Corghi during the advanced course of Composition at the "A. Toscanini" Academy in Parma. Since 1992 to 1999 he taught Composition at the "Civica Scuola di Musica" in Milan. 
Since 2005 he collaborates with the Conducting course (that focuses primarily on contemporary repertoire) taught by Giorgio Bernasconi and Arturo Tamayo at the Conservatorio della Svizzera Italiana, Lugano.
He teaches Composition at the G. Verdi Conservatory in Turin. 

Curly Compositions from a German Composer.

"Controra" for piano (2014)

Giorgio Colombo Taccani

Recent comments

WalkingEars

Agustín Calabrese

Franck Douvin | Composer

Related tracks