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

This composition 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 difficulties connected to the pandemic situation, it did not take place in that occasion.
I was asked to compose a new work with some connections with his music and which could convey evidence of the influence on my music developments as a composer and, possibly, on my artistic conception.
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 creative conception.
After 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 waiting that, as in a spontaneous chemical reaction, those elements would combine together to give life to new musical forms from which I could gather the compositional matter.
The work is divided in three movements (Capriccio, Corale and Kolokol’nost’), each inspired by elements of stravinskian origin; the compositions from which I collected this generative ‘molecules’ are the Three pieces for string quartet and Agon concerning the first movement; Canticum Sacrum, Requiem canticles and the Choral from the Symphony of wind instruments concerning the second; The flood and again Requiem canticles (Postlude) for the last one.
Each section develops a specific feature of Stravinsky’s approach to composition 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 canticles 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 submitted these ideas to various procedures of parody and distorsion with a similar attiude 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 composition 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 entity, made up of ‘clockworks’ that together put in motion the mechanisms that is at the core of this music.

Clockworks for large ensemble

Clockworks for large ensemble (2021)

Born in 1971, he studied composition with Fabio Nieder after being graduated in the Conservatory of Turin under Gilberto Bosco. He attended also composition workshops with Toshio Hosokawa and Luis De Pablo.   
Several ensembles and soloists as BIT20 Ensemble, Atlas Ensemble, Orchestra Sinfonica Nazionale della Rai, Wu Wei, Michele Marelli, Orchestra di Padova e del Veneto, Ernest Rombout, Ensemble Orchestral Contemporaine, Delian Quartett, ensemble L'arsenale among others played and play his compositions.
His music was performed in italian and international festivals such as MITO Settembre Musica, Impuls Graz, Musikfest Stuttgart, Gare du nord Basel, Rai Nuova Musica, Moscow Forum Festival, Milano Musica, Konzerthaus Berlin,  Musica Nova Helsinki, Muziekgebouw aan't ij  among the others.
Some of his compositions were broadcasted by the Italian National Radio RadioRAI3, the Slovenian Radio Television, Radio 4 Holland and Radio Yle 1 Finland.
He worked with the Centre for the Electronic Music Research AGON Arsmagnetica of Milan with which he realized several multimedia projects. 
He taught composition in the ‘Scuola Civica’ of Turin and collaborates with the Orchestra Sinfonica Nazionale della Rai.

Composer, musicologist, philosopher of music, professor of Music Theory - Conservatorio J Tomadini (Udine)

Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. Initially trained as both a Classical and Jazz guitarist, Eoppolo began composing and recording electronic music in the early 1980’s shortly after the development of MIDI (Musical Instrument Digital Interface) and the introduction of affordable home computers and recording equipment. During the 1980-90’s Eoppolo’s fixed media compositions were regularly featured on university new music radio programs in the Philadelphia, Pennsylvania region. Additionally, Eoppolo’s works received recognition in music publications Keyboard Magazine and Computer Music Journal. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America.

Eoppolo’s music is available on all major streaming platforms such as Spotify, ITunes, YouTube and Amazon as well as Soundcloud.

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lo q sea en:
yelramselectah@gmail.com

Ariel González Losada. 
Composer
Visual Artist
https://linktr.ee/arielgonzalezlosada

Clockworks for large ensemble (2021)

Stefano Pierini