Voices: Ken Hannaford - Vahagn Vardanyan - Salvo Talia
 
My idea is that music loves to visualize the deep structure and the idiosyncrasies, the uncertainties and the jolts of the music. Which at the end are those of Hamlet. Under Hamlet because everything is below, under Hamlet which is all in music. If you close your eyes you will have a reaction very similar to that of Tiresias: the blind sees further reality, different from objects (and also from emotions) that have a name.

Words are Hamlet monologue. It is the moment when he reflects on what a man is.:
" I have of late—but wherefore I know not—lost all my mirth, forgone all custom of exercises, and indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory; this most excellent canopy, the air—look you, this brave o'erhanging firmament, this majestical roof fretted with golden fire—why, it appears no other thing to me than a foul and pestilent congregation of vapors. What a piece of work is a man! How noble in reason, how infinite in faculty! In form and moving how express and admirable! In action how like an angel, in apprehension how like a god! The beauty of the world. The paragon of animals. And yet, to me, what is this quintessence of dust? Man delights not me. No, nor woman neither, though by your smiling you seem to say so."
The same monologue was read by an Italian, a Welsh and an Armenian (though always in the original language).
All sounds are derived from the voices of the three "readers", except for the use of Csound for some samples.

UNDER HAMLET FOR SF Tape Music Festival 2022 Submission

GIORGIO SOLLAZZI: "EVOKED POTENTIAL HOUR-SEA" has been composed for cellist LUCA PACCAGNELLA.  World Premiere dedicated to THE SOUND OF STONE - Architetture Sonore.
Live recording: 2021 Estense Medieval Castle Arquà Polesine - ITALY

This piece, dedicated to the cellist Luca Paccagnella, comes from the suggestion of some verses by Emily Dickinson:
"An Hour is a Sea
Between a few, and me.
With them would Harbor be. "

I declare to be the author of the piece reproduced here and to have the permission of the performer for the publication of it.

GIORGIO SOLLAZZI: "EVOKED POTENTIAL HOUR-SEA" è stato composto per il violoncellista LUCA PACCAGNELLA. Anteprima mondiale dedicata a THE SOUND OF STONE - Architetture Sonore.
Registrazione live: 2021 Castello Medioevale Estense Arquà Polesine - ITALY
Questo brano, dedicato al violoncellista Luca Paccagnella, nasce dalla suggestione di alcuni versi di Emily Dickinson:
"An Hour is a Sea
Beetween a few, and me.
With them would Harbour be."

Dichiaro di essere l'autore del brano qui riprodotto e di avere il permesso dell'interprete per la pubblicazione di esso.

EVOKED POTENTIAL HOUR-SEA. LUCA PACCAGNELLA: Cello.  World Premiere Medieval Castle

The piece is dedicated to Umberto Rossi, a dear friend who, in a certain period, taught to painting to children in front of a shopping center. Thank Josho Hoikonomou (Cello) for the friendly help he gave me.


SHOPPING CENTRE PAINTER (1999)

A description of time through space. The song, composed in 2002, was born from the desire to "scratch" sound to give it a not obvious shape but recognizable.

EFFIGIE

This song belongs to the group of evoked potentials and originates from the desire to "scratch" the collective imagination by colliding, coinciding, dialoguing,  clashing two giants, one of the fathers of modern psychology (Freud) and the Moon. The result should be a music that delves into the same matter looking for a song that does not want to impose, but rather fascinating.  No midi sounds used. Thanks to Salvatore Nicolosi and his endless patience.

FREUD AND THE MOON

This music comes from my deep love for the works of Puccini. l remember when I was playing Bohème with my son, he was only 5 or 6 years, and together we wept for the death of Mimi.
All the musical material of the piece is derived from Puccini's music. The Tribute does not want traces, nor, redo Operas that are inimitable masterpieces, but tries to show the emotions that have always aroused in the listeners.
I did not use any MIDI sound.

Questa musica nasce dal mio profondo amore per le opere di Puccini. Ricordo ancora quando suonavo a mio figlio la Bohème, lui aveva appena 5 o 6 anni, e insieme piangevamo per la morte di Mimì.
Tutta la materia musicale del brano deriva dalle musiche di Puccini. L'Omaggio non vuole ripercorre, né tantomeno, rifare le opere che sono inimitabili capolavori, ma cerca di mostrare le emozioni che hanno suscitato da sempre negli ascoltatori.
Non ho usato nessun suono MIDI.

HOMAGE TO PUCCINI

G. SOLLAZZI:  INTERLUDE TO THE BOMB
for electronics (2000).
As title says I composed the piece thinking not only to the Hiroshima bomb but to all bombs. Men use their fantasy to create sophisticated weapons of war with particular care to children. This is horrible.
I used samples, worked with my software, CSound for generating sounds.
Ken Hannoford says:"Interlude def. an intervening period of time, a short dramatic piece of music performed in the interval. The interval suggests a period of time between events, two bombs fell on Japan...
...the sounds are evocative and there is no doubt that there is a message in the music.
The use of electronics is perfect for the subject matter, a dehumanizing process is being worked, and the image perfectly suits the idea. 
The metallic distortions of the opening section perfectly suggest the shells of homes remaining like grotesque statues to the events. 
Gradually a pulse emerges under music and then most surprisingly... a parody of brass instruments; perhaps there is a kinship with Stockhausen, the marching 4/4 beat is too painful to have a place in new music and has to be reworked.
Dramatic, certainly."

Come dice il titolo ho  composto il pezzo pensando non solo alla bomba di Hiroshima, ma a tutte le bombe. Gli uomini usano la loro fantasia per creare sofisticate armi da guerra, con particolare attenzione per le mine contro i bambini. Questo è orribile.
Ho usato campioni, elaborati con il mio software, e CSound per la generazione di suoni. 
Ken Hannaford scrive:"definizione di Interludio: un periodo intermedio di tempo, un breve pezzo drammatico della musica eseguita nell'intervallo. L'intervallo suggerisce un periodo di tempo tra gli eventi, due bombe sono cadute sul Giappone e altrettanto micidiali ne sono cadute altre.
...i suoni sono evocativi e non c'è dubbio che ci sia un messaggio nella musica.
L'uso dell'elettronica è perfetto per l'oggetto, un processo di disumanizzazione si è iniziato, e l'immagine si adatta perfettamente all'idea.
Le distorsioni metalliche della sezione di apertura suggeriscono perfettamente i gusci delle case rimanenti come statue grottesche degli eventi.
A poco a poco emerge un impulso sotto la musica,: sorprendentemente una parodia di ottoni; forse c'è una parentela con Stockhausen, quando dichiara che il ritmo di marcia 4/4 è troppo doloroso per avere un posto nella nuova musica e deve essere rielaborato.
Drammatico, certamente."

G. SOLLAZZI: Interlude to THE BOMB

Players:
Piano - Vahagn Vardanyan
Cor anglais (English horn) - Roberto Giulio Manilla
Home recording 2016

VARDANYAN ANDANTE FOR PIANO AND COR ANGLAIS

The last movement of my Piano sonata (2000).
Revision and performance by Salvatore Nicolosi
Image: Paola Sollazzi . Gran Sasso d'Italia, L'Aquila - Abruzzo

G: Sollazzi: Piano Sonata The Third Mouvement

I found a piece of paper belonging to a project from when I was either 16 or 18. We understand that it had to have a "before" and an "after". Perhaps it served as a theatrical action to be staged with the help of the Chorus I accompanied (1974). I could also think of a group of piano compositions prepared (I had just discovered Cage) and this around 1972. When played with difficulty, it moved me and in fact has, for me, a great emotional value.
I entrusted it to the loving hands of Alessandro Viale who gave it a magnificent interpretation and I say it because thanks to him it seems that the piece is autonomous.

Ho ritrovato un foglio appartenente a un progetto di quando avevo 16 o 18 anni. Doveva avere un "prima" e un "dopo". Forse serviva a un'azione teatrale da mettere in scena con l'aiuto del Coro che accompagnavo (1974). Potrei pensare anche a un gruppo di composizioni per pianoforte preparato (avevo appena scoperto Cage) e questo intorno al 1972. Suonato a fatica mi ha commosso e infatti ha, per me, un grande valore affettivo.
Alessandro Viale ne ha dato una magnifica interpretazione e lo dico perché grazie a lui sembra che il brano sia autonomo.

Giorgio Sollazzi

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