NOTE SCONTE, string orchestra
“Note sconte" was composed about ten years ago in an initial version for a cello quartet or cello ensemble as a tribute to the memory of the great cellist Franco Rossi.
In 2019, I made a version for string orchestra performed by Mario Brunello and the Kremerata Baltica. The piece is like a mirror, or rather, a game of mirrors. The 'B' stands for Biamonti (Giovanni Biamonti Catalog of Beethoven's Works in Chronological and Thematic Order, including Unpublished Pieces and Unused Sketches), followed by a number that represents the cataloging of Beethoven's unfinished fragments (which I find sublime, like gold). Many of them are not harmonized; they are truly like molecules. Of course, I have stayed well away from restorations or completions. The idea was to let them float as they are, or as I perceived them, in their drama, darkness, energy, and more.
I had them with me in Australia, and I felt them next to those places - it's the second time it's happened to me. I believe they have breathed the air, finding themselves completely recontextualized.
Among these movements, there is a very famous piece, the Presto from the quartet op. 131 (131 is a palindrome number!), here rewritten as a mirror image, in 'reverse'.
There is a Canon that I have developed.
There is a 'Leopold Cadenza', conceived by Beethoven for cello but never completed or continued, a kind of recitative.
The last movement is more ancestral. In that land, I learned several songs, many of which have a rhythm similar to our 6/8 or 12/8, hence a primitive and hypnotic rotation.
It's a ritual.
Duration: 16:00
“Note sconte" was composed about ten years ago in an initial version for a cello quartet or cello ensemble as a tribute to the memory of the great cellist Franco Rossi.
In 2019, I made a version for string orchestra performed by Mario Brunello and the Kremerata Baltica. The piece is like a mirror, or rather, a game of mirrors. The 'B' stands for Biamonti (Giovanni Biamonti Catalog of Beethoven's Works in Chronological and Thematic Order, including Unpublished Pieces and Unused Sketches), followed by a number that represents the cataloging of Beethoven's unfinished fragments (which I find sublime, like gold). Many of them are not harmonized; they are truly like molecules. Of course, I have stayed well away from restorations or completions. The idea was to let them float as they are, or as I perceived them, in their drama, darkness, energy, and more.
I had them with me in Australia, and I felt them next to those places - it's the second time it's happened to me. I believe they have breathed the air, finding themselves completely recontextualized.
Among these movements, there is a very famous piece, the Presto from the quartet op. 131 (131 is a palindrome number!), here rewritten as a mirror image, in 'reverse'.
There is a Canon that I have developed.
There is a 'Leopold Cadenza', conceived by Beethoven for cello but never completed or continued, a kind of recitative.
The last movement is more ancestral. In that land, I learned several songs, many of which have a rhythm similar to our 6/8 or 12/8, hence a primitive and hypnotic rotation.
It's a ritual.
Duration: 16:00
“Note sconte" was composed about ten years ago in an initial version for a cello quartet or cello ensemble as a tribute to the memory of the great cellist Franco Rossi.
In 2019, I made a version for string orchestra performed by Mario Brunello and the Kremerata Baltica. The piece is like a mirror, or rather, a game of mirrors. The 'B' stands for Biamonti (Giovanni Biamonti Catalog of Beethoven's Works in Chronological and Thematic Order, including Unpublished Pieces and Unused Sketches), followed by a number that represents the cataloging of Beethoven's unfinished fragments (which I find sublime, like gold). Many of them are not harmonized; they are truly like molecules. Of course, I have stayed well away from restorations or completions. The idea was to let them float as they are, or as I perceived them, in their drama, darkness, energy, and more.
I had them with me in Australia, and I felt them next to those places - it's the second time it's happened to me. I believe they have breathed the air, finding themselves completely recontextualized.
Among these movements, there is a very famous piece, the Presto from the quartet op. 131 (131 is a palindrome number!), here rewritten as a mirror image, in 'reverse'.
There is a Canon that I have developed.
There is a 'Leopold Cadenza', conceived by Beethoven for cello but never completed or continued, a kind of recitative.
The last movement is more ancestral. In that land, I learned several songs, many of which have a rhythm similar to our 6/8 or 12/8, hence a primitive and hypnotic rotation.
It's a ritual.
Duration: 16:00