Name: IN UNA RADA SCIA - 2012 (rev. 2016) - Universal Edition - guitar: Andrea Dieci by MARCO MOLTENI in New UE composers and works
Duration: 3 min 52 s
Description: The piece is dedicated and performed to the italian guitarist Andrea Dieci

Here we curate works of Universal Edition's new composers

New UE composers and works

Les Mains Nues by David Chaillou played by Moises Fernandez Via

Georg Streuber-Chraniuk, baritone
Markus Syperek, piano

The 'Kaddish' prayer is one of the central and best-known texts within Judaism. It is considered as a Jewish Prayer for the Dead and for Mourners and is recited at Jewish funerals as well as at the anniversaries of a death or at memorial events. Death and Mourning do not as such appear in the text; the Aramaic and Hebrew words speak more of a glorification of God and God's forthcoming Kingdom - words which should traditionally provide comfort for the mourners and strengthen them for their continuing lives.

The Kaddish has however also  a further function and is recited more frequently in traditional Jewish services; here it serves always as a division between different sections of the service text, as the conclusion of a reflection or meditation, and also as a form of transition and division between different themes. Special about the Kaddish is that it may only be used in a liturgical context when there is a 'Minyan' present, a quorum of at least ten Jewish adult males. 

Max Doehleman has now set this multi-layered traditional mourning song with the methodology of a Lied. The basic mood is melancholy, as is appropriate to the main theme - the setting should however not illustrate total hopelessness; the listener should instead experience a communication direct to the soul despite all the sense of loss and sorrow. A Kaddish that (as the prayer text itself indicates) reflects also the continuity of life and the cycle of arrival and departure. As well as the moment of grief the music can also beas an expression of transition or change.

Max Doehlemann: Kaddisch

La composizione di “Tu così tanto nominato” versetti per organo è strutturata da un incipit (“sfondo”),  tre sezioni e una chiusa (“fondo”). Tale articolazione è scaturita dalla personale interpretazione dell’omonimo bozzetto di Andrea Pinchi ispirato al VI canto dell’Inferno della Commedia dantesca. Così lo presenta l’artista:                                                                                                             “Tu così tanto nominato”
si riferisce a Cerbero che nella mia infanzia mi colpiva molto, sia visivamente che per come gli adulti utilizzavano questo nome per definire persone terribili, oggi questo si è perso molto... Quindi si riferisce al Canto VI dell’Inferno e l’ho pensato come evocazione in un sovrapporsi della belva e di movimenti  meccanici di mascelle e denti, una visione di sintesi che richiama alla memoria le entusiasmanti grafiche delle avanguardie sovietiche. L’opera è da realizzare in pittura acrilica ed utilizzando pelli antiche e nuove.                                                                                                                                                                                                                               Musicalmente la I e la III sezione sono ampie, articolate ed eterogenee, in esse, i versetti vengono “così tanto nominati” (risuonati) mutando o ribadendo significato nonostante siano indissolubilmente legati tra loro.                                                                                                                                                                   La II sezione è sentita come una sorta di immobilità fisica apparente che in realtà cela una convulsiva emotività interiore tradotta musicalmente con un continuo cambio di registrazione fonica in punti precisi della sezione realizzata da un lento susseguirsi di accordi.
Gb
Organista: Ismaele Gatti

"Tu Cosí Tanto Nominato" Versetti per organo (2021)  Ismaele Gatti

Radmila Bocev, violina / violin
Božo Banović, klavir / piano

Recorded in 2007

Sheet music available at https://www.universaledition.com/en/Works/Robots/P0213639

Roboti / Robots

OFF (Only For Fun) - DISCO TWO

as DJ JOKE - OFF (Only For Fun) - Due finti brani Dance 1."Disco Two" - 2024

as DJ JOKE - OFF (Only For Fun) - Due finti brani Dance 2."Disco Three" - 2024

FRAME ELEVEN_FUGUE PARAPHRASE (ePWsM 21) - 2024

If you live in a box and you take a bath, when you drop your head into the water, you can hear your neighbors. Their stunning noises, their horrible music, their clumsy steps, the stupid things they are doing. They talk in any language but yours. They scream, they laugh, they fuck, they argue, they break things, they cry, they get older. You hate them because they are living with you in that bath. Sometimes, if you live in a box and you take a bath, when you drop your head into the water you can also hear your breath, your heart, your blood, your bowels.
If you lived into the sea and you dropped your head into the water you would hear silence and the noise of the chains of some distant ship. You can’t hear yourself, your breath, your heart, your blood, your bowels. You would feel fresh water with no waste of your body floating around. And, of course, you wouldn ́t hear the stupid things that your neighbors do. Those things that you hate so much because you know are the same stupid things you always do.

Living in a Box (2023) for flute, clarinet, saxophone, violin, cello, and piano was premiere by the Barcelona Modern Ensemble in the Sala Cambra of the Conservatori Superior Liceu at the Festival de Música Contemporània i Nova Creació on June 22nd of 2023 in Barcelona, Spain.
This work was composed in the framework of the International Course of Composition Barcelona Modern 9º edition and is especially composed for the Barcelona Modern Ensemble.
Living in a Box is the third and last part of what I denominated "Set of Houses" and it is inspired in the apartment I lived in the United States: 1133 Ashland Road, apartment 911, MO.

Link concert video:
https://www.youtube.com/watch?v=vcCtkfpTl3w

"Living in a Box" (2023) for ensemble

ePW with:

* FRAME FOUR (ePWsM 15)
* FRAME NINE (ePWsM 19) and
* FRAME ELEVEN_FUGUE PARAPHRASE (ePWsM 21)

THREE FRAMES (ePWsM 15 - 19 - 21) - 2024

FRAME TWELVE (ePWsM 22) - 2025

TEN FRAMES (ePWsM 24) - 2025

FOLIO QUINDICI (Just a Funny Fake Funky) - 2025 - Universal Edition - fake piano: Lacrimo Monet

as DJ JOKE - OFF (Only For Fun) - JUST A FUNNY FAKE FUNKY - 2025

The piece is dedicated and performed to the italian guitarist Andrea Dieci

IN UNA RADA SCIA - 2012 (rev. 2016) - Universal Edition - guitar: Andrea Dieci

For Flute, Clarinet in Bb, piano, violin, cello

Unknown album (7/4/2016 2:41:3

Reverie(2014) Op.7  Mohammadreza Azin

Composed by Juan Arroyo and played by Omar Nicho.
Live at Quipu 2019, Paris

1. Evil Man

Marco Molteni ha studiato composizione con Luciano Chailly e con Giuseppe Giuliano presso il Conservatorio  G.Verdi di Milano, diplomandosi nel 1985.
Nello stesso istituto ha poi studiato musica elettronica con Riccardo Sinigaglia, diplomandosi a pieni voti nel 1988.
Nel 1983 e 1984 ha frequentato i corsi di perfezionamento in composizione tenuti da Franco Donatoni presso l’Accademia Musicale Chigiana di Siena e l’Associazione francese MC2 Musique Contemporaine di Avignone.
Nel 1985 ha frequentato l’Atelier de Recherche Instrumental organizzato da Pierre Yves Artaud presso l’Ircam di Parigi.
Dal 1986 al 1992 ha preso parte ai Ferienkurse fur Neue Musik di Darmstadt.

Ha vinto o è stato segnalato in numerosi concorsi nazionali ed internazionali, tra cui:
"Icoms" Torino
"Alfredo Casella" Siena
"Concorso Internazionale Guido D’Arezzo"
"International Review of Composers" Belgrado
"Festival WNMD 2010" Sydney
"IBLA Grand Prize (23rd Annual World Music Competition)" NY
"International Festival MUSLAB", Messico
NY City Electroacoustic Music Festival 2016
etc.

La sua musica, pubblicata da Arspublica, è stata suonata in importanti festivals  internazionali da numerosi e prestigiosi interpreti ed inserita nei programmi d'esame per il conseguimento di masters di perfezionamento musicale.

Suoi interventi critici sono stati pubblicati dalla rivista 1985 La Musica (Roma-1989).

A Milano, nel 1988 è andato in scena il suo lavoro di teatro musicale Zwei Szenen uber Paul (su testo da Eliot, Jabes e Pasolini) con la regia di Giovanni Carluccio, commissionato dal CRT – Centro di Ricerca Teatrale e dalla Civica Scuola di Musica di Milano.

DISCOGRAFIA

Confiteor – flauto in sol – PY. Artaud – CD PAN 3034 – Edipan Roma 1992

Prologo (dall’operina di teatro musicale “Zwei Szenen uber Paul” 1988) – nastro magnetico – CD 003 G Pagano Editoriale – Napoli 1999

Zig Zag Bubble – pianoforte solo – Neda Hofman – Association of Serbian Composer – 2002

Come Frisso perse Elle, la viva luce – pianoforte solo – Neda Hofman – Association of Serbian Composer – 2003

Come Frisso perse Elle, la viva luce / AElia Minimix2 / Folio uno (valzer lento) / Zig Zag Bubble / Three Pills (n.1 memory Walk / n.2 Dance) – Alfonso Alberti – Guido Boselli – DOUBLE NATURE – CD Ars Publica ARS 141-014 – 2011









IN UNA RADA SCIA - 2012 (rev. 2016) - Universal Edition - guitar: Andrea Dieci

MARCO MOLTENI

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