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Black Pencil | Buffoni

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Classical: Contemporary Classical: Baroque Moods: Instrumental
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by Black Pencil

Contemporary Classical Music
Genre: Classical: Contemporary
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  Song Share Time Download
1. Roderik De Man (1941): Buffoni! (2013)
15:00 $0.99
2. Giovanni Battista Pergolesi (1710 – 1736): Serenata Di Polidoro (1735, Arr. Roderik De Man 2013)
4:03 $0.99
3. Unico-Wilhelm Van Wassenaer (1692 – 1766): Allegro Moderato Staccato from Concerto No. 2 in B Flat Major (Concerti Armonici, 1740, Arr. 2013)
47:56 $0.99
4. Nico Huijbregts (1961): Farfanesque (2011)
9:17 $0.99
5. Domenico Gallo (1730-1768): Moderato from Sonata Nr. 1 in G (First Publication 1780)
23:20 $0.99
6. Chiel Meijering (1954): Danzai (2011)
5:39 $0.99
7. Giovanni Giacomo Gastoldi (Ca. 1554 – 1609): Balletti a Cinque Voci (1591)
2:01 $0.99
8. Enric Monfort (1979): Bottle Battle (2011)
5:25 $0.99
9. Guus Janssen (1951): Zanni Walking (2013)
9:13 $0.99
10. B.C. Manjunath (1976): Hari-Hana-Suta (2008, Arr. 2010)
49:50 $0.99
11. Roderik De Man (1941): Fuerza Interior (2011)
142:09 $0.99
12. Georg Philipp Telemann (1681 – 1767): Mezzetin En Turc from Suite Burlesque (1717-22, Arr. 2013)
3:56 $0.99
Downloads are available as MP3-320 files.


Album Notes
The virtuosic ensemble BLACK PENCIL was founded in 2010. The ensemble’s debut concert took place in the same year at the prestigious Amsterdam Concertgebouw, followed by the world premieres of several new works at the large-scale festival Istanbul: European Capital of Culture 2010.
The name ‘Black Pencil’ stems from the ensemble’s first project, inspired by a remarkable series of miniatures by the painter Mehmet Siyah Kalem (15th century, presumably of Turkish origin). In English, ‘siyah kalem’ literally translates as ‘black pencil’.

Black Pencil focuses on new repertoire with all new works composed especially for the ensemble, as well as an adventurous range of their own arrangements, influenced by different folk cultures.

The instrumental core of the ensemble consists of blockflute, panflute, viola, accordion and percussion. The ensemble may also be expanded with live electronics and video, depending on the programme.

Black Pencil draws inspiration from the enormous contrasts within folk music and its expression: sometimes complex and powerful and sometimes subtle and soft, yet rich in its simplicity.

The mission of the ensemble is the presentation of exciting new music and sparkling improvisations, communicated through a unique instrumental setup.

About the BUFFONI project:
Commedia dell’arte is the standard name given to the Italian improvised plays of the 16th and 17th centuries, each featuring a selection of characters in masked roles. It represents the first instance of professional acting in history, and from 1545 on was performed solely by professionals.

The Commedia dell’arte staged the comic aspects of everyday life, taking its subjects from the lower classes of society. The initial concept of each play was put into a scenario upon which the actors improvised, using as many references to current events and well-known personalities as possible.

Between scenes, the actors performed humorous interruptions such as carefully planned tirades or acrobatic feats, complemented by music, dance and pantomime.
The five fixed characters from the Commedia dell’arte are Dottore, Pantalone, The Captain, Punchinello and Colombina. In late 16th century Venice, the masked plays were staged by a mixture of acrobatic dancers, actors, charlatans and buffoni.

This last group consisted of professional artists performing with an emphasis on visual humour, either as soloists or as part of a bigger ensemble in a dizzying variety of setups. They made use of musical instruments, acrobatics, dance and theatrical imitations. In short, they were artists of many talents.

The programme Buffoni! draws its inspiration from these characteristics of the Commedia dell’arte and the versatility of the buffoni: a grotesque aesthetic, constant dialogue, improvisation, hierarchy, the outlining of characters (from the farcical Scaramouche to the thoughtful Columbine), accessibility and emotion. These were also used as a guideline for all of our new compositions.

The new works in our programme are connected through interludes, short improvisations and our own arrangements of masterpieces of the past, that were in turn inspired by the Commedia dell’arte: Ouverture Burlesque by Georg Philipp Telemann (1681-1767), Suite Italienne by Igor Stravinsky (1882-1971) and Balletti a Cinque Voci for five voices by Giovanni Giacomo Gastoldi (1554-1609).

In this project, the thematic content of the Commedia dell’arte has mainly been developed through the compositions that we have commissioned. Instruments are used as props: the percussion, from actual instruments to bottles, chains, pots and pans, cups, saucers and saws, are scattered across the stage. Large recorders hang at different points over the space, and a huge bass panflute made out of carbon dominates the stage. This giant instrument is 1.5 metres across, with the lowest pipe measuring almost 2 metres. It was designed especially for this project, and is the biggest ever built!

The stage gives the musicians flexibility and suggests a spontaneous arrangement, although it is based upon a very precise setup. The performance begins with the musicians dressed in classical concert attire, but as the programme progresses, we begin to see changes. Coloured accents appear upon the black dinner jackets and even the shoes begin to change their appearance, before the performance ends in a multi-coloured finale. Instrumental music becomes a spectacle, in which no one is really as they appear and nothing is as it seems...

Buffoni! is full of contrast and diversity: adventurous, grotesque and surprising.



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