sabato 31 maggio 2014

Download Podcast : Ermanno Brignolo - The Andres Segovia Archive, Francia, Belgio e Gran Bretagna



Download Podcast

Domani sera alle 21 su Radio Voce della Speranza

Trasmettiamo la quarta e ultima di quattro puntate dedicato al cofanetto "The Andres Segovia Archive" realizzato nel 2013 dal Maestro Ermanno Brignolo, opera dedicata al repertorio composto per il grande maestro e chitarrista spagnolo, custodito dalla Fondazione Segovia. Questa puntata è dedicata ai compositori francesi, belgi e britannici.

We pass the fourth and the last of four episodes dedicated to the cd box set "The Andres Segovia Archive" recorded ​​in 2013 by Maestro Ermanno Brignolo, a work dedicated to the repertoire composed for the great Spanish guitarist and teacher, guarded by the Foundation Segovia. This episode is dedicated to the composers from France, Belgium and Great Britain.

Puntate e Podcast: III° anno

Let's remember Robert Quine!




venerdì 30 maggio 2014

Amanda Monaco's Deathblow: "A Nespresso Moment"

Interview with Amanda Monaco by Andrea Aguzzi, second part



What’s the role of the “Error” in your musical vision? For “error” I mean an incorrect procedure, an irregularity in the normal operation of a mechanism, a discontinuity on an otherwise uniform surface that can lead to new developments and unexpected surprise.

Some of the greatest discoveries are made through mistakes. I welcome them and embrace them.

I have met your drummer, Satoshi Takeishi, last here in a concert closer to my home in Mestre, he was playing with Marco Cappelli, I really enjoyed him, he is a great drummer and percussionist .. how do you met him?

I met Satoshi in 1999 through a mutual friend, guitarist Adam Levy. We played for a few years together, then life took us in different paths and we started playing together again in 2008. I'm so glad we're working together again!

I have, sometimes, the feeling that in our times music’s history flows without a particular interest in its chronological course, in our discotheque before and after, past and future become interchangeable elements, shall this be a risk of a uniform vision for an interpreter and a composer? The risk of a musical "globalization"?

I think that it's important to have a history of the music even if you're not going to play it the way it used to be played. Some of my favorite avant-garde jazz musicians are incredible straight-ahead players when asked to play that way. I love it when I can hear the entire history of the music come out of someone's horn. Otherwise it sounds like a lot of noise.

Let’s talk about marketing. How much do you think it’s important for a modern musician? I mean: how much is crucial to be good promoters of themselves and their works in music today?

Since 2012 I've been working with a business consultant named Marty Khan. He has a blog on his web site. www.outwardvisions.com, and has written a great music business book called Straight Ahead that stresses the importance of the collective as a way to move ahead in the music business as well as the 501(c)(3) non-profit organization as a vehicle for doing business (the way almost every other arts organization does it; for some reason it hasn't caught on as much in jazz).

Which composer (or which historical movement or genre) do you think is easiest for the non-musician listener to appreciate? Do you think they enjoy pieces that are more technically difficult or just more "flashy"?

This is a tough question because I think that all music is accessible, but jazz has been given a bad rap. There's been too much discussion of how "intellectual" it is, or how you have to be "sophisticated"

Please tell us five essential records, to have always with you .. the classic five discs for the desert island …

OOH! That's a tough one!
"The Bridge" - Sonny Rollins
"Extrapolation" - John McLaughlin
"Cannonball Adderley and the Poll Winners"
"Coltrane's Sound"
"James Brown's 20 All-Time Greatest Hits"

What are your five favorite scores?

Henry Mancini - Breakfast at Tiffany's
Herbie Hancock - Blow-up
String Quartet No. 5, 1st movement (Bartok)

With whom would you like to play? What kind of music do you listen to usually?

There's so many musicians I'd love to play with, but I'm really happy with the ones I'm playing with now. I am very blessed in that regard.

What I listen to depends on where I am. I commute four hours from NYC every week to teach at Berklee College of Music in Boston, so I usually listen to guitar music (Ralph Towner's new album Travel Guide with Slava Grigoryan and Wolfgang Muthspiel is amazing, you must hear it, you'll love it!) or stuff like Tony Bennett/Bill Evans. When I go for a run it has to be soul music/Motown. My husband is the Editorial Director of The New York City Jazz Record, so we listen to a lot of new jazz of all styles in the house as well as the re-issue classics

Your next projects? When we will see you playing in Italy?

Currently I am writing music inspired by Formula One racing. I am a huge F1 fan and recently discovered that my great-uncle Walter E. Monaco was heavily involved in the racing scene, as well as a good pal of Sir Stirling Moss.

I would LOVE LOVE LOVE to play in Italy! Where do I sign up?

giovedì 29 maggio 2014

Amanda Monaco "If Not Now, When?" Pirkei Avot

Interview with Amanda Monaco by Andrea Aguzzi



The first question is always the classic one: how does it start your love and interest for guitar and what instruments do you play or have you played? 

I come from a very musical family. My father played guitar, and he was in a band with his three older brothers when he was a teenager. My grandmother would book them gigs! They were called the Monacats, then they changed their name to the Pat Williams Four (my grandfather's name was Pasquale William). I come from a large Italian family, and they will spontaneously break into song at family functions. Every member of the Monaco family sings in tune! I know it doesn't sound possible, but it's true.
I played French horn in high school, but since age 12 it's been all about the guitar. I keep saying I'm going to start playing French horn again, but when I have an extra time (which is almost never) I always give that extra time to the guitar. I also play a little piano but not very well.

I know that you play a Brian Moore guitar, how is this instrument?

I love it! It's got a warm tone and it's small and light. The neck is just thick enough to have some weight to it, not too skinny.

What was your musical training, with which teachers have you studied and what impression they left in your music? I asked for it because, I don’t know if it’s true, listening to you music I immediately though about Jim Hall …

In high school I studied with a wonderful guitarist named George Raccio. He was an incredible teacher who always taught things in a very simple, accessible way; even when it was really difficult material, George had a way of making everything seem simple. In college I studied with the great Ted Dunbar, as well as pianist Kenny Barron, bassist Rufus Reid, pianist Harold Mabern and saxophonist Steve Wilson.
And I LOVE Jim Hall. I had the good fortune to attend his very last concert in November 2013 at Jazz at Lincoln Center. I must have heard him play 100 times over the years, and every time was just incredible. I once bumped into him on the street in Greenwich Village and we took a lovely, slow walk together, talking about Charlie Christian and Oscar Moore. I'll never forget it.

The first time I met you it was on Ralph Gibson’s book “State of the Axe: Guitar Masters in Photographs and Words”, there are two pictures of you on that book … how do you meet Gisbon and … do you still have problems with club’s owner who play your guitar without asking it to you?

I met Ralph Gibson through Tina Pelikan of ECM Records. He is a phenomenal photographer, taking those pictures in under five minutes during a sound check. As for my essay about being treated differently for being a woman, it still happens, but a lot less. Maybe it's because I'm 40 now. :-)

What does improvisation mean for your music research? Do you think it’s possible to talk about improvisation for classical music or we have to turn to other repertories like jazz, contemporary music, etc.?

Improvisation is everything. I'm currently serving as Artistic Director of Convergence Arts, Inc., a non-profit 501(c)(3) organization committed to sharing the art and fun of improvisation with the community at large. Classical music used to have improvisational sections - the cadenza of a concerto was traditionally used for that - and I think there's still room for that today. Improvisation is an important tool in all aspects of life; it gives you flexibility and resilience.

Your record “The Pirkei Avot Project Vol. 1” really surprised me. I like Jewish music, I’m a fan of John Zorn and Tzadik, and I really like it? Can you tell us more about this recording? How much important is your religion for you and your music?

I discovered the Pirkei Avot when reading through a prayer book at my synagogue. I looked for music that had been written to some of its verses, but found nothing, so I decided to write some, and record it with some of my favorite musicians.
Since 2000 I have been a resident musician at Congregation B'nai Jeshurun on the Upper West Side of Manhattan. Music is a very big part of the spiritual life there, and I play Shabbat services with myriad ensembles that include cello, piano, recorder, percussion and/or mandolin. There are eight resident musicians in total.



What’s the role of the “Error” in your musical vision? For “error” I mean an incorrect procedure, an irregularity in the normal operation of a mechanism, a discontinuity on an otherwise uniform surface that can lead to new developments and unexpected surprise.

Some of the greatest discoveries are made through mistakes. I welcome them and embrace them.

I have met your drummer, Satoshi Takeishi, last here in a concert closer to my home in Mestre, he was playing with Marco Cappelli, I really enjoyed him, he is a great drummer and percussionist .. how do you met him?

I met Satoshi in 1999 through a mutual friend, guitarist Adam Levy. We played for a few years together, then life took us in different paths and we started playing together again in 2008. I'm so glad we're working together again!

I have, sometimes, the feeling that in our times music’s history flows without a particular interest in its chronological course, in our discotheque before and after, past and future become interchangeable elements, shall this be a risk of a uniform vision for an interpreter and a composer? The risk of a musical "globalization"?

I think that it's important to have a history of the music even if you're not going to play it the way it used to be played. Some of my favorite avant-garde jazz musicians are incredible straight-ahead players when asked to play that way. I love it when I can hear the entire history of the music come out of someone's horn. Otherwise it sounds like a lot of noise.

Let’s talk about marketing. How much do you think it’s important for a modern musician? I mean: how much is crucial to be good promoters of themselves and their works in music today?

Since 2012 I've been working with a business consultant named Marty Khan. He has a blog on his web site. www.outwardvisions.com, and has written a great music business book called Straight Ahead that stresses the importance of the collective as a way to move ahead in the music business as well as the 501(c)(3) non-profit organization as a vehicle for doing business (the way almost every other arts organization does it; for some reason it hasn't caught on as much in jazz).

Which composer (or which historical movement or genre) do you think is easiest for the non-musician listener to appreciate? Do you think they enjoy pieces that are more technically difficult or just more "flashy"?

This is a tough question because I think that all music is accessible, but jazz has been given a bad rap. There's been too much discussion of how "intellectual" it is, or how you have to be "sophisticated"

Please tell us five essential records, to have always with you .. the classic five discs for the desert island …

OOH! That's a tough one!
"The Bridge" - Sonny Rollins
"Extrapolation" - John McLaughlin
"Cannonball Adderley and the Poll Winners"
"Coltrane's Sound"
"James Brown's 20 All-Time Greatest Hits"

What are your five favorite scores?

Henry Mancini - Breakfast at Tiffany's
Herbie Hancock - Blow-up
String Quartet No. 5, 1st movement (Bartok)

With whom would you like to play? What kind of music do you listen to usually?

There's so many musicians I'd love to play with, but I'm really happy with the ones I'm playing with now. I am very blessed in that regard.

What I listen to depends on where I am. I commute four hours from NYC every week to teach at Berklee College of Music in Boston, so I usually listen to guitar music (Ralph Towner's new album Travel Guide with Slava Grigoryan and Wolfgang Muthspiel is amazing, you must hear it, you'll love it!) or stuff like Tony Bennett/Bill Evans. When I go for a run it has to be soul music/Motown. My husband is the Editorial Director of The New York City Jazz Record, so we listen to a lot of new jazz of all styles in the house as well as the re-issue classics

Your next projects? When we will see you playing in Italy?

Currently I am writing music inspired by Formula One racing. I am a huge F1 fan and recently discovered that my great-uncle Walter E. Monaco was heavily involved in the racing scene, as well as a good pal of Sir Stirling Moss.

I would LOVE LOVE LOVE to play in Italy! Where do I sign up?

mercoledì 28 maggio 2014

Guitfest Conservatorio Santa Cecilia Roma Omaggio a Sylvano Bussotti



Sabato 31 Maggio alle 19.00, nell'ambito dell'ultima giornata del Guitfest, il Festival Internazionale di Chitarra del Conservatorio di Santa Cecilia,  si terrà nella Sala Accademica del Conservatorio, alle 19.00, un omaggio a Sylvano Bussotti che sarà presente alla serata.
Sarà presentato il libro di Luigi Esposito Un Male Incontenibile; a conclusione della serata il Maestro Arturo Tallini eseguirà di S. Bussotti, Nuvola Barocca e Ultima Rara, nella sua versione per un chitarrista recitante.

martedì 27 maggio 2014

Guitars Speak terzo anno : Ermanno Brignolo - The Andres Segovia Archive, Francia, Belgio e Gran Bretagna



Domani sera alle 21 su Radio Voce della Speranza

Trasmettiamo la quarta e ultima di quattro puntate dedicato al cofanetto "The Andres Segovia Archive" realizzato nel 2013 dal Maestro Ermanno Brignolo, opera dedicata al repertorio composto per il grande maestro e chitarrista spagnolo, custodito dalla Fondazione Segovia. Questa puntata è dedicata ai compositori francesi, belgi e britannici.

Tomorrow night at 9 PM on Radio Voce della Speranza

We pass the fourth and the last of four episodes dedicated to the cd box set "The Andres Segovia Archive" recorded ​​in 2013 by Maestro Ermanno Brignolo, a work dedicated to the repertoire composed for the great Spanish guitarist and teacher, guarded by the Foundation Segovia. This episode is dedicated to the composers from France, Belgium and Great Britain.


FORLÌ: 104,5 Mhz

(Forlì, Cesena e Ravenna)

Via Curiel 53 - 47100 Forlì
Telefono & Fax 0543 414312
forli@radiovocedellasperanza.it



lunedì 26 maggio 2014

Giovedì 29 Maggio ore 20.30 Recital del chitarrista MARCO PIPERNO

 
 

"9° Rassegna Chitarristica Internazionale della Puglia"
Stagione  2014 organizzata dalla
Associazione Culturale e Musicale De Falla - Bari
 
 
Giovedì 29 Maggio ore 20.30

Recital del chitarrista  
MARCO PIPERNO 
musiche di   J. Dowland 2)    J.K. Mertz -   M. Castelnuovo-Tedesco -   L. Legnani - D. Bogdanovic  
presso Auditorium Chiesa di Gesù Cristo
Via Sangiorgi n. 4 (traversa di Viale Pasteur), BARI

 
- ingresso libero -

 ASSOCIAZIONE CULTURALE E MUSICALE DE FALLA - BARI
Info Tel :  347.60.52.769Visita il Sito : www.orchestradichitarredefalla.it   
direzione artistica M° Pasquale Scarola

MARCO PIPERNO
 Molto importanti nella sua formazione i corsi di alto perfezionamento presso l’ “Accademia Musicale Chigiana” di Siena negli anni 2010,  2012 e 2013 sotto la guida del M° Oscar Ghiglia e quelli di Gargnano negli anni 2010 e 2011 sempre con il M° Ghiglia, il M° Elena Papandreou e il M° Massimo Leonardi. È vincitore di numerosi primi premi in concorsi nazionali e internazionali tra i quali: 
Concorso Nazionale di Musica - Città di Brindisi 2002, Concorso Nazionale di Musica - Città di Brindisi 2003,Festival Internazionale della Chitarra – Mottola 2003,
Concorso Europeo di Musica – Città di Altamura 2004, Concorso Nazionale di Musica “Fratres” – Monteroni 2004, Concorso Nazionale - Città di Ruffano 2004, Concorso Internazionale “A. Diaz” – Taranto 2005, nei concorsi chitarristici senza limiti di età ottiene il 2° premio Concorso Internazionale Riviera Etrusca – Piombino (LI) 2014, ed il 1° premio Concorso Giulio Rospigliosi – Lamporecchio (PT) 2014.

Continua i suoi studi frequentando il biennio di II livello presso il Conservatorio Musicale “Niccolò Piccinni” di Bari con i Maestri Flavio Sala e Nando Di Modugno.

domenica 25 maggio 2014

Let's remember Sonny Sharrock




Download Podcast : Ermanno Brignolo - The Andres Segovia Archive, Spagna e Colombia



Download Podcast

Trasmettiamo la terza di quattro puntate dedicato al cofanetto "The Andres Segovia Archive" realizzato nel 2013 dal Maestro Ermanno Brignolo, opera dedicata al repertorio composto per il grande maestro e chitarrista spagnolo, custodito dalla Fondazione Segovia. Questa puntata è dedicata ai compositori spagnoli e colombiani.

We pass the third of four episodes dedicated to the cd box set "The Andres Segovia Archive" recorded ​​in 2013 by Maestro Ermanno Brignolo, a work dedicated to the repertoire composed for the great Spanish guitarist and teacher, guarded by the Foundation Segovia. This episode is dedicated to the spanish and colombian composers..

Puntate e Podcast: III° anno

sabato 24 maggio 2014

Forum Gitarre Wien 2014

Forum Gitarre Wien 2014


Click for more info:
Contact us
24th International Guitar Festival
Forum Gitarre Wien
24.08. - 30.08.2014
Courses - Concerts - Competitons - Lectures - Exhibition
Jeseok BANGSouth Korea
Hans-Werner HUPPERTZGermany
Antun IVEKOVIĆCroatia
Ekachai JEARAKULThailand
Omán KAMINSKYMexico
Leon KOUDELAKCzech Republic
Carlo MARCHIONE, Italy

Yorgos NOUSIS, Hellas
Jorgos PANETSOS, Hellas / Austria
Alvaro PIERRI, Uruguay / Austria
Thomas OFFERMANN, Germany
Hedvika SVENDOVÁ, Czech Republic


View more information and register as an active, passive or competition participant.
19th International Competiton (28.08.-30.08.2014)
1st Prize: Concert guitar by CONSTANTIN DUMITRIU & 9 concerts in Europe
All active participants and competition participants born after 28.08.1982 can participate.
1st Round (28.08.) Free program from different styles (10-12 Min)

2nd 
Round (29.08.) Free program from different styles (15-18 Min)

Final (30.08.) Free program from different styles (25-30 Min)

17th International Youth Competition (30.08.2014)
1st Prize: YAMAHA Pocketrak PR7 recorder & concert at Forum Gitarre Wien
All active participants and competition participants born after 1.1.1997 can participate.
A freely chosen program from different styles (10-12 min) has to be played on 30.08.2014
Courses
Hans Werner HUPPERTZ
Ekachai JEARAKUL
Omán KAMINSKY
Leon KOUDELAK
Carlo MARCHIONE
Yorgos NOUSIS
Thomas OFFERMANN
Jorgos PANETSOS
Alvaro PIERRI
Guitar Orchestra
with Thomas OFFERMANN

In a relaxed atmosphere, pieces for both beginners and advanced players will be studied in continuous work and performed at the final concert on 30.08.2014.

The guitar orchestra is especially aimed at children, youths and everybody who wants to enjoy playing in an ensemble.
Lecture
“Playing with ease – thoughts and ideas for a healthy playing technique”
with Hans-Werner HUPPERTZ


Exhibition
Participants and visitors are invited to browse through the exhibition during the whole festival week. Following luthiers and publishers will participate:
Kazuo Sato (Japan / Germany)
Daniel Zucali (Austria)
Claudio Lazcano Del Castillo (Venezuela)
Parnters & Sponsors
wienkultur_kl.jpg sav_klein.jpg UE_Logo.jpg esta_klein.jpgfoundation_klein.png
Doblinger.jpg yamaha.jpg klangfarbe.jpg  haid.jpgtrekel.jpgguitarissimo.jpg
Forum Gitarre Wien
Obere Weissgerberstr
asse 10-2/12
1030 Wien

venerdì 23 maggio 2014

Let's remember Joe Pass!




Corsi musicali estivi presso l'albergo Pineta in località Nevegal (Belluno)



Il corso prevede almeno una lezione di strumento al giorno, e gli allievi avranno modo di esibirsi in saggi pubblici per provare i pezzi in vista di eventuali esami in Conservatorio. Eventuali genitori o accompagnatori possono soggiornare presso Hotel Pineta godendo dello stesso trattamento economico privilegiato riservato agli studenti del corso.

I corsi si terranno dal 24 luglio al 1 agosto, e tra gli insegnanti conteranno anche il sottoscritto. Oltre alla chitarra (Miriam Loro, Davide Nicolosi, Dario Pisasale e Carlo Mattiuzzo), saranno attivati anche corsi di Violino (Alessandra Scatola),Flauto (Gabriele Guglielmi) e Clarinetto (Silvia Dell'Agnolo).

Per i chitarristi che lo desiderano è prevista anche una lezione con il M° Florindo Baldissera, che sarà nostro ospite per una giornata.

Le iscrizioni terminano il 20 giugno, ma è preferibile iscriversi prima, per avere la precedenza sulla scelta delle stanze dell'albergo ed eventualmente dell'insegnante (io ho ancora due, forse tre, posti disponibili).

Nel sito troverete tutte le informazioni necessarie (prezzi, modalità organizzative, sede...), mentre nella pagina Facebook verranno riportate tutte le novità riguardanti il corso.

mercoledì 21 maggio 2014

Happy Birthday Marc Ribot!




Guitars Speak terzo anno : Ermanno Brignolo - The Andres Segovia Archive, Spagna e Colombia



Questa sera alle 21 su Radio Voce della Speranza

Trasmettiamo la terza di quattro puntate dedicato al cofanetto "The Andres Segovia Archive" realizzato nel 2013 dal Maestro Ermanno Brignolo, opera dedicata al repertorio composto per il grande maestro e chitarrista spagnolo, custodito dalla Fondazione Segovia. Questa puntata è dedicata ai compositori spagnoli e colombiani.

This night at 9 PM on Radio Voce della Speranza

We pass the third of four episodes dedicated to the cd box set "The Andres Segovia Archive" recorded ​​in 2013 by Maestro Ermanno Brignolo, a work dedicated to the repertoire composed for the great Spanish guitarist and teacher, guarded by the Foundation Segovia. This episode is dedicated to the spanish and colombian composers..


FORLÌ: 104,5 Mhz

(Forlì, Cesena e Ravenna)

Via Curiel 53 - 47100 Forlì
Telefono & Fax 0543 414312
forli@radiovocedellasperanza.it



martedì 20 maggio 2014

Intervista al Maestro Umberto Cafagna con Andrea Aguzzi, seconda parte



Ho, a volte, la sensazione che nella nostra epoca la storia della musica scorra senza un particolare interesse per il suo decorso cronologico, nella nostra discoteca-biblioteca musicale il prima e il dopo, il passato e il futuro diventano elementi intercambiabili, questo non può comportare il rischio per un interprete e per un compositore di una visione uniforme? Di una “globalizzazione” musicale?

Esiste certamente un fattore tempo ad influire sulla percezione di noi stessi, figuriamoci per un linguaggio.
Il problema tuttavia non risiede però solo e soltanto nella nostra capacità di percepire una storia in successione di stili, linguaggi evolventi in nuovi idiomi lessicali, ma ripeto, nella capacità di ogni singolo di trovare al centro dell'opera composta un nucleo di pensiero che attualizzandosi continuamente in nuove riletture non perda il suo potenziale di comunicazione.
Io credo che le opere di valore per loro natura creino una rete di relazioni attraverso il loro potenziale espressivo in cui rivive continuamente un intero mondo di rimandi semantici comune a Bach come a Beethoven , Telemann o Schoenberg , Vivaldi o Berio e che attraversa il tempo e lo spazio perché profondamente radicato nell'essere.

Come vede la crisi del mercato discografico, con il passaggio dal supporto digitale al download in mp3 e tutto questo nuovo scenario? A volte ho la sensazione che la possibilità di scaricare tutto, qualunque cosa da internet gratis abbia creato una frattura all’interno del desiderio di musica, una sorta di banalizzazione: insomma dov’è la spinta per un musicista a incidere un disco che con pochi euro riesci da solo a registrare e stampare quello che vuoi e chiunque può farlo? Alla fine diventa quasi un gesto quotidiano che si perde in un mare di download dove scegliere diventa impossibile … stiamo entrando in un epoca radicalmente diversa da quella che abbiamo vissuto finora? Come poter scegliere?

E' per me molto difficile rispondere.
La scelta consapevole presuppone conoscenza.
Forse ,comunque, bisogna distinguere tra la necessità dell'artista di lasciare un segno, e la tendenza bulimica del mercato globale in cui il rischio che tutto sia banalmente uniformato è ormai una dolorosa realtà!
Ognuno , a maggior ragione, deve fare le sue scelte e militare nel campo cui appartiene con convinzione, consapevole che ,se il senso di ciò che si fa non è fuori da sè, qualcosa rimane , negli altri, tanti o pochi che siano , nell'aria che ci circonda , a coltivare le nostre e le altrui vite.


Il Blog viene letto anche da giovani neodiplomati e diplomandi, che consigli si sente di dare a chi, dopo anni di studio, ha deciso di iniziare la carriera di musicista?

Dare consigli è cosa assai complicata…..!
Forse l'unica raccomandazione che mi sento di fare è di pesare molto bene le proprie motivazioni e procedere solo se proprio in fondo non se ne può fare a meno, ben consci che questo purtroppo non rappresenta una polizza contro gli inevitabili alti costi della scelta.

Con chi le piacerebbe suonare e chi le piacerebbe suonare? Che musiche ascolta di solito?

Mi piace moltissimo suonare con i miei colleghi e con gli allievi. Trovo la situazione del duo molto stimolante per un interprete, perché non è priva di impegno ed apre all'altrui mondo artistico permettendo di percepirsi con gli occhi dell'altro.

Quali sono i suoi prossimi progetti? Su cosa sta lavorando?

E' mia consuetudine lavorare su più idee contemporaneamente finchè non giungo ad una sintesi convincente.
Al momento ho in ballo un nuovo progetto cameristico , la prosecuzione dell'integrale per chitarra e violino di Mauro Giuliani e un nuovo lavoro sul 900 Chitarristico.

Ultima domanda, proviamo a voltare verso la musica le tre domande di J.P.Sartre verso la letteratura: Perché si fa musica? E ancora: qual è il posto di chi fa musica nella società contemporanea? In quale misura la musica può contribuire all’evoluzione di questa società?

1-Perché non se ne può fare a meno.
2- Al di là di ogni attributo con il quale amiamo contraddistinguere generi e funzioni, credo che all'uomo di ogni tempo la musica parli con le stesse parole e che il ruolo del musicista , se pur connotato e declinato secondo le forme della modernità ,sostanzialmente e per fortuna conservi, all'artista , intatto il suo ruolo di sempre, cioè di farsi mediatore tra il concreto e l'intangibile.
3-La musica è pensiero , linguaggio, arte, quindi agisce in profondità dando forma continua al vivere.

lunedì 19 maggio 2014

Ensemble Phoenix Basel in concert

Ensemble Phoenix Basel                                                    logo phoenix  
phoenix
PHYLUM, Ensemble Phoenix Basel plays Alex Buess& Natasha Anderson
Sonntag, 1. / Montag, 2. Juni 2014, 20.30 Uhr, SUD Basel (Burgweg 7, 4058 Basel)  

Natasha Anderson (*1968): Zone für Ensemble (Auftrag des Australian Council for the Arts für das Ensemble Phoenix Basel, 2013/14, UA)

Alex Buess (*1954): Phylum für Solo Perkussion, Ensemble und Live-Elektronik (2005)


Rege Kontakte nach Australien pflegen Mitglieder des Ensemble Phoenix Basel nicht erst seit dem JOLT Swiss Australian Sonic Festival im November 2011. Seit dem Festival und dem dortigen Einsatz des Schlagzeugers Daniel Buess gilt Basel aber als offizieller kleiner Hub der australischen Künstlerorganisation. Mit einer in Australien typischen Selbstverständlichkeit bewegt sich die Melbourner Klangkünstlerin Natasha Anderson zwischen elektroakustischen Genres und audiovisuellen Installationen und Performances. Nicht weniger grenzüberschreitend mutet die Liste von Konzertprojekten und Festivalpräsenzen der 1968 geborenen Komponistin an; in Europa gastierte sie in den letzten Jahren häufig mit neuen Projekten. Im Auftrag des Australian Council for the Arts entsteht 2013 - für das Ensemble Phoenix Basel - ein neues Werk für grosse Ensemblebesetzung und Tape.
Ebenfalls für das Ensemble Phoenix Basel geschrieben ist das 2005 entstandene Stück Phylum des Basler Komponisten Alex Buess. Sind Buess' musikalische Anregungs- und Metaphernbereiche die Grenzen und Übergänge zwischen Maschinellem und Biologischem, so entstammt der Titel hier der zoologischen Klassifikation von Lebendigem. Auf der Ebene des Stammes (Phylums) gehört etwa der Mensch zu den Chordata. Buess legt allerdings nicht offen, wie, ja ob der Aspekt dieser Systematik überhaupt eine Rolle spielt; nennt aber als Kompositionsvorlage einige Filmsequenzen, etwa aus L'année dernière à Marienbad (1960) von Alain Resnais oder Tetsuo - The Iron Man (1988) von Shinya Tsukamoto. Der Part für Solo-Schlagzeug und Solo-Elektronik ist auf das Duo Cortex (Daniel Buess, Alex Buess) abgestimmt. Zu Phylum existiert das "Schwesterwerk" Phylum II (Ghosts of Schizophonia), das als Auftrag des Lucerne Festival ebenfalls 2005 uraufgeführt wurde und mit der Idee von Klang-Spaltung (Schizophonia) im Rückblick auch das erste Stück erhellt. Zugrunde liegen ihr die Reflexe unserer Wahrnehmung, die auf Einheit abzielen und auf Abspaltungen unserer Sinne, wie schon die einfache Trennung von optischer und akustischer Klangquelle etwa, irritiert reagieren.
André Fatton  

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Ensemble Phoenix Basel:

Flöte: Christoph Bösch
Oboe: Petar Hristov
Klarinette, Bassklarinette: Toshiko Sakakibara
Horn: Heiner Krause
Trompete: Jens Bracher
Posaune: Michael Büttler
Tuba: Heléne Berglund
Schlagzeug: Daniel Buess (Solo in "Phylum")
Schlagzeug: Daniel Stalder
E-Gitarre: Maurizio Grandinetti
E-Bass: Marino Pliakas
Violine 1: Friedemann Treiber
Violine 2: Mirka Sćepanović
Viola: Jessica Rona
Violoncello: Beat Schneider
Kontrabass: Aleksander Gabrys
E-Kontrabass: Daniel Sailer
Elektronik: Thomas Peter

Leitung: Jürg Henneberger
Ensemble Phoenix Basel Website
Website SUD