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Various Artists | Gian Piero Cartocci: Irony and Lightness

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Avant Garde: Modern Composition Electronic: Experimental Moods: Type: Live Recordings
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Gian Piero Cartocci: Irony and Lightness

by Various Artists

Music by Gian Piero Cartocci is full of irony and he thought irony was the antidote for bad mood, grunts, psychological anorexia, for the 21st century “mental desertisation”, both for the arts and the everyday life.
Genre: Avant Garde: Modern Composition
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  Song Share Time Download
1. Quadroph(R)oenia per 4 pianoforti e sintetizzatore
Aurora Cogliandro, Rosabianca Rachel, Emilio Capalbo, Marcella Murgia & Anna Sanfilippo
10:40 $1.20
2. Paris Suite per quattro pianoforti: I. Montmartre
Aurora Cogliandro, Anna Sanfilippo, Rosabianca Rachel & Marcella Murgia
1:06 $0.99
3. Paris Suite per quattro pianoforti: II. L'ile Saint-Louis
Aurora Cogliandro, Rosabianca Rachel, Anna Sanfilippo & Marcella Murgia
1:52 $0.99
4. Paris Suite per quattro pianoforti: III. Montparnasse
Aurora Cogliandro, Rosabianca Rachel, Marcella Murgia & Anna Sanfilippo
2:36 $0.99
5. Paris Suite per quattro pianoforti: IV. Bateaux-Mouches
Aurora Cogliandro, Rosabianca Rachel, Marcella Murgia & Anna Sanfilippo
2:08 $0.99
6. Paris Suite per quattro pianoforti: V. Longchamps
Aurora Cogliandro, Anna Sanfilippo, Rosabianca Rachel & Marcella Murgia
1:05 $0.99
7. 4&4 per quattro pianoforti e percussioni
Aurora Cogliandro, Rosabianca Rachel, Roberto Migoni, Anna Sanfilippo & Marcella Murgia
7:25 $1.20
8. Canzone su 12 note (Sul Nome Lenny)
Orchestra Da Camera, Gian Piero Cartocci & Ennio Porrino
4:55 $0.99
9. Aeolian: I. Vivo
Mauro Tortorelli & Walter Agus
3:44 $0.99
10. Aeolian: II. (No Title)
Mauro Tortorelli & Walter Agus
3:00 $0.99
11. Aeolian: III. Grazioso
Mauro Tortorelli & Walter Agus
2:35 $0.99
12. Voli di fantasia: I. Introduzione
Orchestra Di Fiati, Ennio Porrino & Giacomo Medas
1:14 $0.99
13. Voli di fantasia: II. Andante lamentoso
Orchestra Di Fiati, Ennio Porrino & Giacomo Medas
3:13 $0.99
14. Voli di fantasia: III. (No Title)
Orchestra Di Fiati, Ennio Porrino & Giacomo Medas
6:19 $0.99
15. Voli di fantasia: IV. Ritmico
Orchestra Di Fiati, Ennio Porrino & Giacomo Medas
3:07 $0.99
16. Voli di fantasia: V. Finale
Orchestra Di Fiati, Giacomo Medas & Ennio Porrino
3:22 $0.99
Downloads are available as MP3-320 files.


Album Notes
Irony and lightness. The music of Giampiero Cartocci.
This CD is the result of a beautiful and great friendship , unfortunately too much short. After a rehearsal Giampiero and I were strolling among the trees of Giardini Pubblici in Cagliari. I was cheerful, as usual when we were together, while he was harmless and playful………….The Piano player :” Do you see that tree over there? It’s beautiful, I think it is a ficus, it looks like a man opening his arms in a big hug. I would like to perform a concert, there, one day…. Twelve pianos… to celebrate the first spring or summer day…. Why don’t you write something ? It could be fantastic…. I can imagine the audience listening , bewitched, in this natural concert hall…” The Composer : ” Are you crazy? Twelve pianos? It’s something incredible….what kind of idea… moreover, I don’t want to write in this period…”. Some months later – September 2004, Maestro Cartocci called me : “ Listen, I’ve written a piece, it isn’t for 12 pianos, but only for 4, plus a synthesizer, if you pleased…. I like this piece, I think it’s the best thing I have ever written …” . From the other side of the phone : “Hurray! So you have listened to me! I’m so happy!” this was the origin of Quadroph(r)oenia by Giampiero Cartocci dedicated to Aurora Cogliandro for Ambiente Musica Festival 2004. We did not have time enough to organize the performance for the 2004 Festival, so we decided to postpone it to the successive Festival. Things did not happen how the Pianist and the Composer imagined, but this is another story. The first performance of Quadroph(r)oenia was on 30th January 2009 at Teatro Grazia Deledda in Paulilatino, and few days later on 5th February 2009, there was the first performance at Auditorium del Conservatorio “G.P. da Palestrina” in Cagliari. There were not trees and he was not there, the artifex, but there was plenty of music, emotion, friendship and irony.
Quadroph(r)oenia is a work full of rhythmic and timbre energy, refined and complex. The introduction is put into the hands of the first piano which dialogues and counterpoints with the third, while the second goes on with the forth, creating a duplicating/completing comparison in a rhythm- melodic mode of the other two instruments. Since from the beginning there are continuous metrical changes, which let us think about Stravinsky and his Sacre. This band organization explains, partially, Cartocci’s composer thought, which was about having an arrangement of instruments, source of sound, which was more than a polyphony (or different from) : a quadrophoenia where the “r” let to suggest, from a cautious distance, the four pianists’ minds sometimes pathological ones, who are asked to performed such a piece. Anyway , puns and irony are ones of Cartocci’s characteristics : inside the title there are hidden references to the sounds among the pictures between synaesthesias and cross references at the Festival Ambiente Musica for whom the piece was born. It is not possible to have just one vision of it: lightness and irony are the precious coordinates Cartocci gives in a lighter way than Stravinsky’s grimaces. In Kirkegaard 1841 wrote: ” What is doubt for science is irony for our personal life”. Mayby Cartocci thought irony was the antidote for bad mood, grunts, psychological anorexia, for the 21st century “mental desertisation” , both for the arts and the everyday life. It could be an original and independent solution to mark the areas in which you can underline differences, changes, reversals, and, doing this, walking through less known paths. This is , in a perceptive way, clear in the second part of the piece: refined in the writing but aware of rhythmical and new frisks. The sonorous landscape changes, the reversal of tendency compared to the first part is explicitly required also by the harmonics of the forth piano, which has to sound the silent chords together with the multiple sonorities of the other pianos. It is an apparent immobility made of vibrations. Thanks to a new series of rhythmic bands, one over the other, the route continues fast and dynamic as never before. All the registers are explored and the direction of this third part of the work is oriented towards brightness, efficacious prelude to the final part of the piece Cartocci propones as it was an opera. This reference to the opera is not fortuitous , Cartocci has got theatrical attitude and great knowledge of the inside mechanisms of the opera. One of them is the happy end with surprise. All the end part of the piece is characterized by the sudden apparition of the synthesizer sound that, from one side, brings us to the music of the 70s, and from the other, solves and supports the fundamental notes of the first piano, and the motif variation of the four pianos : it has got everything, as it were the final and happy solution. The ensemble of the parts resounding in this cosmogonic atmosphere is analogue and corresponding to Leopardi’s Ginestra or to the final part of Beethoven’s Ninth Symphony : the solidarity as absolute value. As the tree hug where everything began.
Suite Paris by Darius Milhaud could be put aside to Quadro(r)phoenia, for its apparently light heartedness. From the Suite – composed in 1948 – we recorded five to six pieces. This choice is due to the extremely polytonal character of the last piece, La Tour Eiffel, as being a performance with four pianos; it seems to be , for the listeners, quite difficult to comprehend, and moreover in a recording that would like to have as file rouge irony and lightness. His tribute to Paris is a composition with numerous facets, an old aspect inside the huge catalogue by Milhaund : Monmartre, the first piece of the Suite, since from the beginning, expresses a lively and French-like atmosphere, but it is thanks to its superposition of lines and volumes, in its polytonality aspect which reveals its characteristic of artists’ quarter, while the L’Ile Saint-Louis recalls the quietness of one of the elegant residential areas of Paris, quite far from the restless of a big metropolis. Even the successive piece, Montparnasse, is dedicated to another historical quarter of Paris, which has been for decades the bursting heart of Paris cultural life: the beginning of the composing structure is clear and full of places where the four pianists find a common tune, a reference and an only one way. This is the longest piece of the Suite, and Milhaud goes on writing in a bitonal way, or, better to say, he puts in dissonant notes having a timbre function: these would be, for the development of the piece, less comprehensible, but a numerous of “dates” among the four pianists, give a more reassuring and listenable reference to the audience. The forth piece, Bateaux-Mouches, deeply significant, makes use of Milhaud’s writing mimetic ability to suggest the gliding image of the boats on the Seine: one scale played far from some tempos and in different registers by the four pianists. This is a path along which the main and short motif creates its own space “on the water”. Longchamps represents an elegant riding at the racecourse in Paris, in which Milhaud does not give up to the polyrhythmic effects and to “dirty” tonality , so typical of his instrumental music.
The successive piece – in its first world wide recording – is explained by its composer, Emilio Capalbo. “I compose 4&4 after a kind request by Aurora Cogliandro, following Quadroph(r)oenia by my late regretted Maestro Giampiero Cartocci, as a sincere homage to him, my teacher, friend and to his composing attitude. If in that section , the four pieces were supported by the synthesizer, in the final part, I choose a small group of percussions. This option, a right parting from the atmospheres perfectly explored by Giampiero Cartocci, it was suggested by the structure creating the piece: a first “colouristic” section, a personal and respectful answer to his writing style, which was clearly and well known, influenced by the impressionistic language, with chord ideas which in 4&4 come from a unique notes-set, used along all the piece, which – in the whole piece – represents the slow but inevitable approaching to the climax expressed in the second section in 7/4. This last is organized with a mechanism of progressive appearing of the rhythmic elements – stratified – then a successive (but not specular) regression from whole percussion event to the single concluding one. It is possible to note as the percussions in the second section are only the rhythmic “engine” (and they seem to add to the first pianos notes, but actually they are the structural reason of the same notes) in the first section they contribute to the music “colours” which were the object of the composer search in the section.”
Let us continue our ideal voyage through Giampiero Cartocci’s compositions with Canzone su 12 note (sul nome Lenny) written in 1989 for string quintet and keyboard. The opening is lyric and melancholic with the chosen notes set (but very far from the dodecaphonic music of his origin music!) confided to the strings but since the twelfth beat, the rhythmic intervention of the keyboard gives the piece dynamicity, now continuously characterized by metrical exchanges. As in Quadroph(r)oenia, after a section strongly rhythmic, there is a short lyric section introduced by arpeggi flying freely in the air, as noticed in the progression wanted by the author. After a brief return to Tempo I the rhythmic and dynamic increasing of the last section turn with a great vitality all the lyric exposition.
Aeolian,tre intermezzi per violino e arpa o pianoforte,, here recorded with the piano, was composed the same year of Canzone su 12 note, with which it shares so much evidently in the third interlude , the light and cantabile mood and even part of 'opening words that have significant similarities in the melodic description. The brightness and grace of the first intermezzo, with the piano in the foreground with its fast and clear quadruplets and quintuplets are the perfect representation of the light breeze that blows in the morning on the sea and this is perhaps overshadow the modal value of the title. And that is how Cartocci plays slightly between multiple meanings and interpretative keys. Really interesting section of the primo Intermezzo where a singing violin is supported by a composing of piano arpeggios (or harp) that changes the sounds firstly airy into fluid and subaqueous sounds. The score reveals a great skill of writing and long reflection and passion for orchestral color of Debussy.
Moving to the secondo Intermezzo: tearing and clinched, swirling rhythms, here are the ingredients of this piece of the collection containing a wonderful cadenza for evolving violin, in union with the piano, to the randomness of controlled steps ad libitum. How much modernity, but also how much light irony: the terzo Intermezzo leads, modally, the brightening as to remind that it is useless to make "too much noise". The writing is clear, airy, aeolic. Exactly.
The first two numbers of Voli di fantasia (1987), serenata per 10 strumenti a fiato, are the last album pieces concluding this tribute to the composer Cartocci. The elements Air and Water are mixed: the instruments which have in the air the medium and writing indebted to many symphonic arabesques of French origin create a unicum.
Aurora Cogliandro, pianist



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