gaslini sinfonico 4 g gaslini teora orchestra sinfonica jupiter orchestra del teatro marrucino orchestra s i g

gaslini sinfonico 4 g gaslini teora orchestra sinfonica jupiter orchestra del teatro marrucino orchestra s i gGASLINI SYMPHONIC 4 ( CVLD246 ) Author : GIORGIO GASLINI Performer : G. Gaslini conductor, Angelo Teora clarinet, Jupiter Symphony Orchestra, Marrucino Theatre Orchestra, SIG Orchestra Available in: HD File, CD Traces Concerto for Clarinet in B flat and Orchestra (2010) 01 Sequences Aria 5: 28 02 Arcana Cadenza 6: 36 03 Ebony Dance 2: 36 04 Largo for Orchestra (2010) 6: 15 PM 05 Moto Velocetto perpetuo for orchestra (2006) 2: 45 06 The Initial

GASLINI SYMPHONIC 4 ( CVLD246 )

Author : GIORGIO GASLINI
Performer : G. Gaslini conductor, Angelo Teora clarinet, Jupiter Symphony Orchestra, Marrucino Theatre Orchestra, SIG Orchestra

Available in: HD File, CD

Traces

Concerto for Clarinet in B flat and Orchestra (2010)
01 - Sequences / Aria - 5:28
02 - Arcana / Cadenza - 6:36
03 - Ebony Dance - 2:36
04 - Largo for Orchestra (2010) - 6:15 PM
05 - Moto Velocetto perpetuo for orchestra (2006) - 2:45
06 - The Initial Singularity - 2:40
07 - The Spark of Nothingness - 3:36
08 - The Fireball / The Big Explosion - 4:18
09 - Cosmological Odyssey / Dark and Unknown / The Bright Scream (Death of a Star) - 7:47
10 - The Chemical Mixture (History of the Drum) - 4:19
11 - The Current Singularity - 1:57
12 - Planetary Anthem - 5:03
Total Time: 65:26

Concerto for Clarinet in B flat and Orchestra (2010)
01 - Sequences / Aria - 5:28
02 - Arcana / Cadenza - 6:36
03 - Ebony Dance - 2:36

Jupiter Symphony Orchestra, conductor Giorgio Gaslini, solo clarinet Angelo Teora - Live recording at Teatro Excelsior, Cesano Maderno, Italy on February 17, 2011 - In this concert, the composer primarily sought to offer the primary emotion of listening with the sound of the solo instrument, its timbres, its colors, its ranges—high, medium, and low—outlining, as in a painting, its rich tonalities, whether lively, strong, or more nuanced. He then entrusted the compositional fabric to the performer, and in particular, with Angelo Teora, not only to his technical virtuosity, but also to his precious timbral sonorities, themselves an integral part of a truly different virtuosity. All of this is finally poured and distributed throughout the four movements and the cadenza, that is, the complete form of the composition.

04 - Largo for Orchestra (2010) - 6:15 PM

Jupiter Symphony Orchestra, conductor Giorgio Gaslini - Live recording at Teatro Excelsior, Cesano Maderno, Italy on February 17, 2011 - The Largo for Orchestra was born from a powerful impression, a sort of emotional epiphany the composer experienced upon seeing and hearing the Ganges in India. The river that comes from the centuries and flows toward the centuries, an allegory of eternity and infinity. Seen, perceived, yes, but also heard. Its vast course is full of life both submerged and on the surface, articulated in straight lines or sudden jolts and curves, a sound, when listened to, of submerged, living polyphony. And on and from the banks around it come voices, distant songs, calls, the falling of enormous branches into the water, torn by the wind from the mighty trunk on the bank. The composition here takes on the value of memory, of a first-person narrative, but in its flow, it allows the great sacred river to be the absolute protagonist of its infinite story.

05 - Moto Velocetto perpetuo for orchestra (2006) - 2:45

Orchestra of the Marrucino Theatre of Chieti, conductor Giorgio Gaslini - Live recording at Teatro Marrucino, Chieti, Italy on February 6, 2007 - It is a rare characteristic of today's "serious" music that permeates this composition: lightness.
The composer, starting with the title, lightens the classical idea of ​​"perpetual motion" in music, introducing the term "velocetto" (speed), which plays down the piece's creative intent. In fact, this "perpetual motion" begins as a small, precious choreographic tableau: mimes and dancers intertwine and lightly punctuate the musical continuum, which twice opens up into sweeping melodic-harmonic passages that, however, do not slow the incessant flow of the rhythm, punctuated by the perpetuum velocetto line. The composition seems like it could be an infinite "da capo"; indeed, it seems to renew the desire to listen to it again without any interruptions, as if in a perfect sonic circle. Lightness, yes, but also subtle veins of tenderness and humor.

Big Bang Poem for symphony orchestra (1999)
06 - The Initial Singularity - 2:40
07 - The Spark of Nothingness - 3:36
08 - The Fireball / The Big Explosion - 4:18
09 - Cosmological Odyssey / Dark and Unknown / The Bright Scream (Death of a Star) - 7:47
10 - The Chemical Mixture (History of the Drum) - 4:19
11 - The Current Singularity - 1:57
12 - Planetary Anthem - 5:03
International Youth Symphony Orchestra "F. Fenaroli", conducted by Giorgio Gaslini
Live recording, Lanciano, Italy, on August, 22nd, 1999

Notes

The term "Poem" in the title, after Big Bang, might seem, at a cursory glance, to be a declaration of "program music," as has always been the case with the famous Symphonic Poems throughout the history of music. Big Bang Poema dates back to 1999: thus, it might seem like a gesture of nostalgia for a long-abandoned musical form.
In truth, however, the score of this opera is a completely personal account of the author, of the notes and those still mysterious events of the origin of the Universe and life on Earth. From movement to movement, it reveals a passionate yet light-hearted approach to the scientific subject. Nothing "serious" or pedantic, therefore.
It's quite a great entertainment that even features an ancient African legend "The Story of the Drum" to allude to the "Chemical Mixture"!
An entertainment that further reveals the general character of the work in the final "Planetary Hymn", in which it is not difficult to recognize the amused wink to Ravelian Bolero.
Above all, listening to it leaves one with a sense of wonder and emotion at a type of writing that is astonishing and original in the panorama of today's symphonic music.

Production: Velut Luna
Recording: Marco Lincetto
(tracks 6-12: Angelo Venditti)
Mix and mastering: Marco Lincetto
Photo: Marco Lincetto
Critical text: Gaslini Archive
Translation: Patrizia Pagiaro
Design: L'Image
Marketing and Sales Manager: Patrizia Pagiaro
Musical publishing: Suvini Zerboni