venerdì 10 aprile 2015

Review of My New Adress by Stefano Scodanibbio, Stradivarius, 2006


Stefano Scodanibbio, musician and composer, was one the most interesting player connected to the double bass’s rebirth in the '80’s and '90’s and to the last tendencies of the contemporary music. Unfortunately he died at the age of 55 after a long illness the 10th January 2012. For him have written new music composers like Bussotti, Donatoni, Estrada, Ferneyhough, Frith, Globokar, Sciarrino, Xenakis.. about him Cage has said: "Stafano Scodanibbio is amazing. The haven'ts heard better double bass playing than Scodanibbio's. The wases just amazed. And I think everyone who heard him was amazed. He is really extraordinary. His performance was absolutely magic."

This record, My New Adress, was published by Stradivarius Recording in 2006and it shows us Scodanibbio not as the double bass player but as a composer., all these six passages were written between 1984 and 2003 and are destined to different (guitar, piano, low flute, violin and cello) instruments and not for the double bass.
The passages of My New Adress seem to integrate instead with what the composer has written in the initial pages of the beautiful multilingual booklet of 36 pages that accompanies the cd, this is not an integral job, with an organic idea but instead intuitions, ideas conceived in "portions of time spent, often in distant lands, to freely write music, without constraints or worries, maturities, errands, festival’s tendencies, organic, aesthetics, time impositions".
It strikes the liberty of writing and feelings that shine through the listening, exemplary under this point of view the third passage "Return to Cartagena", written for low flute and interpreted in magistral way by Mario Caroli: his instrument seems to turn into a string, into the skin of drum and allowed to wave for almost ten consecutive minutes creating intense suggestions. Other interesting passages are the ones for guitar. In this record we have in fact the presence of the three notable guitars of Magnus Andersson, Elena Càsoli and Jurgen Ruck, busy in two pieces "Quando le montagne si colorano di rosa" and "Dos abismos". Personally I have particularly appreciated the passage "Quando le montagne si colorano di rosa", that sees the presence of the duo Càsoli - Ruck, characterized by a frantic initial rhythmic line that progressively resolves itself in a more meditative and peaceful mood and that shows well in evidence the interlacements and the perfect agreement among the two guitars.
This is a record that shows continuous quotations and literary and autobiographic interlacements, "idioms, trips, musical intruments", a new side, perhaps more intimate of this great Italian musician and composer.
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