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DANIELE LOMBARDI-MAZES This CD presents an anthology of works for flute composed by Daniele Lombardi between 1972 and 2003. The title MAZES (mazes, labyrinths) forms the common thread that connects all the pieces. Eventually, in medieval Britain, lawn labyrinths were popular places of entertainment: curving paths resembling well-known labyrinths cut into lawns and near popular playgrounds and meeting places. According to Marcel Brion, the labyrinth stands for the connection of various closely interwoven thematic strands in which the pilgrim seems hopelessly trapped, but the open, spirally unfolding path gives hope of redemption after a long and arduous journey with inflexible patience when the center of the labyrinth is finally reached . Earle Brown and John Cage already developed a theoretical metaphor for it in the 1960s. She defines the interpretive space and sees the graphic notation as an unchanging template that is visually autonomous and separate from the changing temporal paths of the sounds. Daniele Lombardi's musical labyrinth confronts the musician with such a path, but leaves him freedom of movement to move in the field of tension between chance and free will - between precise notation and instructions that can be freely interpreted: the artist becomes improviser and co-composer at the same time. Consequently, observing this poetics, which creates and supports a duality of performance from fixed and free elements, leads to a completely new semantics. The sound thus becomes a synthesis of defined and undefined structures. Works such as MIZ MAZE (1994), IL SOFFIO (1984), RONDELLUS (1995) and L'ARIA CEDEVOLE (1993) have a score notated in the traditional manner, providing the artist with detailed notes and instructions. MIZ MAZE, a piece for flute, piccolo and bass flute, is based on the plan of Caerdroia (a common labyrinth shape symbolizing the outline of Troy). Daniele Lombardi writes: »In contrast to the more widespread round labyrinth shape, MIZ MAZE required a square layout in order to do justice to the linear segments of the pentagram«. The piece is dedicated to Sir John Hawkwood, the mercenary featured in Paolo Uccello's famous fresco in Florence's Santa Maria del Fiore Cathedral, on whose XNUMXth anniversary it commemorates. »The flute piece IL SOFFIO (1984) was written for a performance of Pirandello's short story of the same name: a monologue for actor and flute. The structure is flexible and the theme sufficiently malleable so that the interpreter can play it as he wishes each time.« (Daniele Lombardi) The three GRAPHODIE for alto flute (1972), flute (1974) and piccolo (1975) and CIRCONVOLUZIONE for flute, bass flute and piccolo (1973) are notated graphically and encourage the performer to interpret them freely. In the latter, the performer is called upon to bring their own creativity and personal skills to bear while reading and interpreting the music and giving 'shape' to the sound. The imaginative elegance of Daniele Lombardi's graphic notation stimulates the performers' creativity by offering the opportunity to flow freely and unbounded. The scores have no traditional notation, the various musical parameters are conveyed solely through the graphics and their characteristics. Luisella Botteon |
program:
[01] THE GARDENER'S LABYRINTH 12:04 [02] MIZ MAZE 12:32 [03] IL SOFFIO 11:11 [04] RONDELLUS 02:12 [05] L'ARIA CEDEVOLE DA “L'ORA ALATA” 03:05 [06] GRAPHODIA 1 02:45 [07] GRAPHODIA 2 04:03 [08] GRAPHODIA 3 02:48 [09] CIRCONVOLUTION 09:47 total time: 61:02 Roberto Fabbriciani flute World Premiere Recordings |