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pelodelperro uploaded a new video
(19 hours ago)
Allegoria della notte, for violin & orchestra (1985)
Marco Rogliano, ...
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Allegoria della notte, for violin & orchestra (1985)
Marco Rogliano, violin
Orchestra Sinfonica Nazionale della RAI
Tito Ceccherini
The concept for this piece was developed in 1976 as a counterpart to the Sei capricci for violin. In the solo part Sciarrino does not use that flageolet tones that have been characteristic of his music up to now. He understands his "Allegoria" as a kind of echo of Mendelssohn's "Violin Concerto": the uninhabited side of "Planet Mendelssohn". [modernmusix.com]
Art by Bruce Robbins
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pelodelperro uploaded a new video
(19 hours ago)
Allegoria della notte, for violin & orchestra (1985)
Marco Rogliano, ...
more
Allegoria della notte, for violin & orchestra (1985)
Marco Rogliano, violin
Orchestra Sinfonica Nazionale della RAI
Tito Ceccherini
The concept for this piece was developed in 1976 as a counterpart to the Sei capricci for violin. In the solo part Sciarrino does not use that flageolet tones that have been characteristic of his music up to now. He understands his "Allegoria" as a kind of echo of Mendelssohn's "Violin Concerto": the uninhabited side of "Planet Mendelssohn". [modernmusix.com]
Art by Bruce Robbins
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pelodelperro uploaded a new video
(1 day ago)
Cuando (1978-1980)
"I understand composition as an expressive orderi...
more
Cuando (1978-1980)
"I understand composition as an expressive ordering of acoustic elements in space and time - among these, all noises, sounds and possible mixes, including music making procedures, depending or not on human actions and decisions. There are automated systems and systems requiring human beings to make decisions. Armed with this background, I've faced the endless possibilities electroacoustic music, freed from pitch or speed limits, provides to the ones who produce it. It can be composed in every language level. The "producer" can decide each and every time how to organize every sound and silence in a piece, or if new or traditional rules are going to be used, in part or as a whole, in its structure. Also, if the "piece" will be improvised or passing thru notation systems before "sounding" or if it is going to be directly transferred to any reproductive --player- medium. Personally, I feel this freedom is what attracts me the most towards this paradise of creative alternatives, whose sole boundary lies in the listening and associating capacities of the ones receiving the products made thru these media and other, not only visual, concurring its presentation. Among its many possibilities, the development of a new "symphonism" can be found, freed from our traditional concert hall, a dawn giving us warmth already, letting us enjoy its growing light." --Gustavo Becerra-Schmidt (Oldenburg, Sept. 2008)
Art by Mark Tobey
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pelodelperro uploaded a new video
(1 day ago)
Cuando (1978-1980)
"I understand composition as an expressive orderi...
more
Cuando (1978-1980)
"I understand composition as an expressive ordering of acoustic elements in space and time - among these, all noises, sounds and possible mixes, including music making procedures, depending or not on human actions and decisions. There are automated systems and systems requiring human beings to make decisions. Armed with this background, I've faced the endless possibilities electroacoustic music, freed from pitch or speed limits, provides to the ones who produce it. It can be composed in every language level. The "producer" can decide each and every time how to organize every sound and silence in a piece, or if new or traditional rules are going to be used, in part or as a whole, in its structure. Also, if the "piece" will be improvised or passing thru notation systems before "sounding" or if it is going to be directly transferred to any reproductive --player- medium. Personally, I feel this freedom is what attracts me the most towards this paradise of creative alternatives, whose sole boundary lies in the listening and associating capacities of the ones receiving the products made thru these media and other, not only visual, concurring its presentation. Among its many possibilities, the development of a new "symphonism" can be found, freed from our traditional concert hall, a dawn giving us warmth already, letting us enjoy its growing light." --Gustavo Becerra-Schmidt (Oldenburg, Sept. 2008)
Art by Mark Tobey
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pelodelperro uploaded a new video
(2 days ago)
L'âme ouverte, for violin (1973)
Robert Zimansky, violin
Art by Jules Pacin
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L'âme ouverte, for violin (1973)
Robert Zimansky, violin
Art by Jules Pacin
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Un saludo.