The artist mingles electronics with percussive and environmental sounds to create Zen-like moods.
Usually there are only one or two things going on at a time, generating a pastoral, relaxed state, but the electronics and/or percussion may briefly surprise or raise a clamor. Imagine sitting by a lake in the Rockies in spring while watching the movie Tron on your portable TV, with your Tibetan monk who likes the sound of reverberant bass drums, bells, and thumb pianos.
Luckily, Sinigaglia organizes the sounds in way not too disjointed to form a mildly dramatic trance experience. The experiences are intensified by the superb recording so that the storm, ducks, water, etc. are very vivid.
Tom Grove (Option Jul/Aug 87)


Fluttuazioni

Violin: Maurizio Dehò
Oboe: Mario Arcari
This piece is based on a numerical structure in which there are nine instrumental parts. The rhythm starts in 1/4 and every 9 beats increases by 1/4 until it reaches 9/4 . The instrumental part increase by the same method from 1 to 9 . After reaching the central section there is series of 9 beats of 9/8 as time signature. Then the rhythm decreases forming a thomboid structure. This piece has also been issued on Auditorium CD, but in an electronic version only. The instrumental parts were partially improvised and added in September 1992.

evon

Opal
26'
Flute in C and Bass flute: Emilio Galante

Opal is in four movements, its basic tonality is E with a minor Pythagorean scale.

1) Entirely written with orchestration which could also be performed by traditional instruments. After an introduction of 2O bars starting from 9/8 up to 15/8.

2) Slow movement, with bell chimes and other metallic percussion. A vocal sample is inserted taken from the song of the monks at the Tibetan Monastery at Gyuto.

3) A dialogue between real and synthetic winds, written in atonal language.

4) Starting with slow sounds recalling the second movement, with some rhythmical parts with different stresses, recalling an ethnic sonorous ambience that creates a complex tissue of sound. Over this, the flutes improvises a solo part.

opal first movement

From the LP Riflessi made by ADN Recomended Records

Riflessi

from the CD Dimensions
whit the soprano Rossana Maggia

celesta

From the ADN Recommanded Records LP: Riflessi

Riccardo Sinigaglia keyboard and Maurizio Dehò violin.

Incontro Maurizio Dehò, Riccardo Sinigaglia

Orat
20'20"
Oboe, soprano sax: Mario Arcari
Soprano: Rossana Maggia

1) In a kind of language which recalls early twentieth-century avant-garde: there is a dialogue between the real oboe and synthetic flute, with some orchestral comments.

2) Electronic sound to slow tangle with Rossana's voice as soloist in a monovowel rhythm.

3) Starting with a melody on a Middle-Eastern scale, it goes on breaking.

4) Partially recalling the first movement.

5) This piece has a mirror structure, and halfway through, all the parts turn over. Complex polyrhythms and free improvisation on the soprano sax.

Orat

Quert
11'36"
Violin: Maurizio Dehò
Soprano sax: Mario Arcari

Quert is structured as four principal movements.

1) Orchestral, with a minimalist structure and intersections in different rhythms: a soprano sax improvised solo at the end.

2) Conversation among three instruments (dialogue à trois).

3) Electronic sound to slow tangle and slow transformations. Solo improvisation on the oboe elaborated on the harmonizer.

4) Orchestral, with a complex rhythm made up of three bars of 3/4 plus 5/4 and 7/8.

A modified version of Quert is used in the video Il ventre della montagna, by Italo Bertolasi.	

quert

you can visit my site:
http://www.riccardosinigaglia.com/

In my music I have sought to integrate those element that together formed my musical identity, and which at times I have lived with some difficulty, as they derived from different, and conflicting cultures.
That is the reason why some parts of the record have been written out note, and other parts were improvised. There is a continuous mix of languages, from electronic music and avant-garde to minimalism, jazz, Arabic and Hebrew music, the polyrhythmic of the Far East and the classical symphonic style, which has been my first love.
The pieces are conceived for soloists and computerized orchestra: the soloists have a varied experience, from the Futurism of Rossana Maggia to the Jazz of Arcari and the Jewish music of Dehò. They are not just the instrumentalists, but close collaborators and friends, and often interpret on a musical base as in jazz.
From 2007 I start the Ensemble Elettroacustico, a group for improvisation music with electronic with Sergio Armaroli, Claudio Guida and Danilo Zaffaroni.

Riccardo Sinigaglia

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