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Paolo Puliti · Natalia Benedetti · Raffaele D’Aniello · Leonardo Ramadori
Solos and Duos Perusal of Giacinto Scelsi’s oeuvre in search of works for the flute reveals that his solo and duo output differs considerably from the compositions that use the flute in much larger ensembles. It is almost as though the composer was particularly inclined to focus on the Duo principle when writing for the flute, on the relationship between what is One (i.e. the symbol of the unitary Ur principle of original creation) and what is Other (i.e. the representation of the earliest form of multiplicity, differentiation, antagonism and possible collaboration). In other words, he was drawn to exploration of the ways in which the self can relate with what is other, or find this latter within the self. Indeed, while Scelsi liked to examine the different facets of a sound, he also © Photo courtesy of the Isabella Scelsi Foundation Archive. All rights reserved. used different sounds to represent opposition and to reconstruct unity. In the solo compositions what comes to the fore is not just the investigation of counterpoint within the context of refined western monody, but also a typically Scelsian idea of the spherical nature of sound, a concept that embraces different levels of meaning, from psycho-acoustics to metaphysics, all of them intent on capturing the prismatic wealth of the different vibrations contained within a single sound. To conjure up the ripple effects created by harmonics in the form of the sound wave, in certain unhurried works the composer employs melisma around the main notes (as exemplified by Quays – 1954 – for solo flute in C or G), and the introduction of timbric variation by means of flutter tongue sounds, tremolo effects or distortion of pitch through the use of microtones. It is as though the entire piece aimed at 2
representing the life and essence of a sound. “You have no idea what a sound is! It may contain counterpoint, displacement of different timbres, harmonics that produce different effects that don’t just derive from the sound, but enter its very essence; there are also divergent and concentric movements. That’s how sound becomes great, part of the cosmos, even when it’s minimal: it contains everything” (G. Scelsi). This is the concept that led Scelsi to write the Quattro pezzi (su una nota sola) for chamber orchestra in 1959, at the end of a decade that gave rise to almost all the works recorded for this CD. Fusion and the reconstruction of unity often become the main focus within the duo framework, especially the wind duos. On occasions the use of the same interval material, affinity of register and dynamic complementation tend emphasize timbric ambiguity, such that the duo resembles a sort of mythological creature with two faces that sometimes mirror each other, and in other moments are superimposed to appear as one. In Rucke di Guck (1957) for piccolo and oboe, the title refers to the onomatopoeic sounds used by Andersen in the Cinderella story to imitate the cooing of doves that alerts the prince to the identity of the girl who tried on the slipper. Thus it is a dual voice, but one that expresses exactly the same message. The most common interval in the piece is the second, often a minor second, with its sense of contrasting but engaging reciprocity. This invests the Duo concept with further significance, with a sort of Steinerian symbolism of intervals. The case of Ko-Lho (1976), where the title is formed by two letters of the Sanscrit alphabet, is even more significant. The second interval is not just used repeatedly, but also broken down into its component parts and inspected with a magnifying glass to discover the very heart of the sound and its minimum vibrations. Like the Chinese ying and yang, the two sounds that make up the second interval can represent polar opposites without ever contrasting totally with each other. Instead they may both contribute to the creation of a single element in dynamic equilibrium. By means of microscopic changes of pitch, rhythm, timbre and vibrato, the flute and the clarinet can together create a constantly shimmering sound that comes across as a continuum containing myriad microscopic colour vibrations. If 3
the sound is conceived as spherical, being necessarily subject to time the listener can only go round it to grasp the various aspects of its pulsation, rather as a star displays variations in colour in relation to the observation point. This conception also explains the music’s lack of direction, the sensation that it has no beginning and end, but rather coexists in a dimension that is beyond time. Such is the way Scelsi reconciles the western tradition with eastern philosophy. His music seems to come to a halt without a definitive ending, as though continuation were always possible. Hyxos (1955) provides a further example of this circularity, in that the first and third movements of the work are specular images of each other, musical developments in reverse. By affording two different viewpoints of the same sound object, the composer thus distances himself from the one-way discourse of the western musical tradition. The inclusion of gongs and the cowbell amplifies the timeless, mystical dimension of the meditative space created by the gradual introduction of the sequence of sounds from which the basic intervals are created. On occasions Scelsi transcribes parts of his own music, thereby revealing how a duo could be handled as a solo. For instance, the 3rd movement of the Suite (1953) for flute and clarinet is the source of much of the material used in the 3rd movement of Tetratkys (1959) for solo flute. The melodic line threads between the two instruments, changing timbre, and likewise flows gently between the different dynamics of the same sound source. An imposing, enigmatic composition for solo flute dedicated to Severino Gazzelloni, Tetratkys calls for further comment, in that it was lost for many years and only rediscovered in 2007, in the archives of the Fondazione Scelsi in Rome. With the exception of a very few changes concerning tempi and slight differences in the finale, the second movement of the work actually coincides with a better-known composition, Pwyll (1954). This explains why Pwyll does not feature in the titles recorded for this CD. The modern-day clue leading to the rediscovery of Tetratkys was information issued in 2005 relating to the rediscovery in the RAI archives of a recording made by Gazzelloni in July 1959 that was broadcast by RAI in February 4
1961. It was described as Tetratkys, though the piece the flautist played was in fact Pwyll. The only totally original parts are thus the 1st and 4th movements, which present the performer with a series of tricky problems, including the tempi indications and the substantial use of the very high register. I am actually inclined to think that the composer may have had a different instrument in mind, at least for the 4th movement. This hypothesis is supported by the brief notes he wrote on the cover of the score kept at the Fondazione Scelsi, which seem to suggest that the instrument could have been a violin. This is not in itself all that surprising, given the composer’s habit of improvising on the piano or the ‘ondiola’ (an electronic keyboard with considerable expressive potential, including the production of micro tones), and deciding later what instrument to use, a procedure that sometimes led to changes and authorized transcriptions. It is a conjecture that helps explain why Scelsi himself made no further mention of the work, which was published entirely for flute in 1959 (Edizioni dell’Autore). The combination of instruments in which contrasting timbre is most evident is the flute and piano duo. Based on an improvisation performed by Scelsi and the flautist Carine Levine, Krishna e Radhai (1986) conjures up the idea of attractive antithesis intrinsic to the dualist principle. Scelsi presented a recording and the score of the work as a gift to Levine. The title, which refers to the metaphysical union of the male and female principles represented by the god Krishna and his favourite consort Radha, was only added later. In itself the work reveals how important improvisation was for Scelsi, who considered it a spiritual act often connected with moments of meditation. Indeed, he thought of himself an intermediary rather than a composer, believing that the aim of art is not so much to express the ego of the artist, but to promote contact with what is transcendent. Music is thus the space in which human beings can communicate with their gods. “Sound is Mysticism in its absolute purity” (G. Scelsi, Il Sogno 101). © Claudia Giottoli Translation: Kate Singleton 5
Soli e Duo Scorrendo il catalogo delle opere di Giacinto Scelsi alla ricerca delle opere con il flauto, balza subito agli occhi una particolarità: un netto spartiacque divide da un lato la produzione solistica e in duo di vario tipo, dall’altro le composizioni che impiegano il flauto in formazioni decisamente più grandi. Sembra quasi che Scelsi, rivolgendo la sua attenzione al flauto, abbia voluto concentrarsi particolarmente sull’indagine del principio dualistico, del rapporto tra l’Uno (simbolo del principio unitario, creatore e ontologico) e il Due (rappresentazione della prima forma di molteplicità, differenziazione, antagonismo o eventualmente collaborazione), ovvero dei modi che il sé può avere di relazionarsi con l’altro o di trovare l’altro in sé. Da un lato infatti Scelsi cerca varie facce all’interno di uno stesso soggetto sonoro, dall’altra utilizza suoni diversi per rappresentare un’opposizione e ricostituire poi un’unità. Nelle composizioni solistiche si avverte non solo la ricerca di contrappunto nella monodia ereditata dalla tradizione colta occidentale, ma anche un’idea tipicamente scelsiana della sfericità del suono, un concetto che racchiude certamente più livelli di significato, da quello psicoacustico a quello metafisico, e che fa riferimento alla possibilità di intuire e rappresentare la ricchezza prismatica delle diverse vibrazioni contenute in un singolo suono. Alcuni melismi che s’inseriscono repentinamente intorno alle note portanti all’interno di pezzi dall’andamento calmo, come avviene ad esempio in Quays (1954 - per flauto solo in do o in sol), l’intervento di variazioni timbriche ottenute con suoni frullati, effetti di tremoli o distorsioni dell’altezza stessa del suono tramite l’impiego di microtoni, richiamano l’increspatura che la presenza degli armonici conferisce alla forma dell’onda sonora, quasi che tutto il pezzo volesse rappresentare la vita stessa del suono, la sua essenza. “Non avete idea di cosa sia un suono! Vi sono dei contrappunti (se si vuole), vi sono sfasamenti di timbri diversi, armonici che producono effetti del tutto diversi fra loro che non solo provengono dal suono, ma che giungono al centro del suono; vi sono anche movimenti divergenti e concentrici. Esso allora diventa grandissimo, diventa una parte del cosmo, anche se minima: c’è tutto, dentro” (G. Scelsi). 6
E’ la concezione che, alla fine degli anni Cinquanta (periodo in cui si inscrive quasi tutta la produzione raccolta in questo CD), porterà Scelsi a realizzare i Quattro pezzi (su una nota sola) per orchestra da camera (1959). Quando il punto di partenza è il duo, specie se il duo di fiati, la ricerca prende volentieri la direzione della fusione, della ricostituzione di un’unità. L’utilizzo dello stesso materiale intervallare, l’affinità di registro e la complementarietà dinamica fanno sì che in certi momenti l’ambiguità timbrica si faccia fortissima e il duo diventi una sorta di creatura mitologica a due facce, che ora si sdoppiano, ora si sovrappongono fino a sembrare una. In Rucke di Guck (1957) per piccolo e oboe il titolo rimanda ai suoni onomatopeici inseriti da Andersen nella favola di Cenerentola a mimare il tubare delle tortore che avvertono il principe sull’identità della ragazza a cui ha provato la scarpina. Una duplice voce quindi, ma che veicola un identico messaggio. L’intervallo più ricorrente nel pezzo è la seconda, spesso minore, col suo significato di reciprocità antagonista ma anche attrattiva, quasi a fornire un altro richiamo al numero Due e al simbolismo d’ispirazione steineriana degli intervalli. Il caso di Ko-Lho (1976), il cui titolo è formato da due lettere dell’alfabeto sanscrito, è ancora più significativo. L’intervallo di seconda è non solo usato in modo massiccio, ma anche scomposto nelle sue componenti più piccole, indagato con una lente d’ingrandimento alla ricerca del cuore stesso del suono, delle sue minime vibrazioni. Come lo ying e lo yang cinesi, i due suoni che costituiscono l’intervallo di seconda, pur rappresentando i poli di una diversità, non si oppongono mai in modo assoluto, ma concorrono a formare un’unità in equilibrio dinamico. Attraverso microscopiche modificazioni delle altezze, del ritmo, interventi sul timbro e sul vibrato, flauto e clarinetto concorrono a creare un suono continuamente cangiante, ma che si presenta come un continuum che contiene molteplici minime vibrazioni di colore. Se il suono è concepito come sferico, l’ascoltatore, dovendo necessariamente sottostare alla categoria del tempo, può essere solo condotto a girargli intorno e a cogliere momento dopo momento i vari aspetti del suo pulsare, come di una stella che mostri variazioni di colore e attività a seconda dell’angolo di osservazione. Questa concezione spiega 7
anche la mancanza di direzionalità di questa musica, che sembra non avere un inizio e una fine, ma coesistere in una dimensione extratemporale. E’ questo uno dei modi in cui Scelsi unisce tradizione occidentale e filosofie orientali. La sua musica sembra interrompersi senza una parola definitiva, rimandando continuamente ad un seguito possibile e immaginario. In Hyxos (1955) abbiamo un ulteriore esempio di rappresentazione di questa circolarità, in quanto il primo e terzo movimento del pezzo altro non sono che il retrogrado l’uno dell’altro, percorsi musicali opposti ma simbolicamente volti a gettare un diverso sguardo sul medesimo oggetto sonoro, strappato così alla monodirezionalità della tradizione retorica che sta alla base del linguaggio musicale occidentale. La strumentazione, con l’utilizzo dei gong e della campanina, non fa che amplificare la dimensione atemporale e mistica dello spazio meditativo creato attraverso una lenta e progressiva introduzione della sequenza di suoni che costituisce il materiale intervallare di base. Che il duo sia trattato a volte come un solo da Scelsi è evidenziato anche dalla trascrizione a cui egli sottopone agevolmente parti delle sue musiche: il III movimento della Suite (1953) per flauto e clarinetto fornisce materiale sostanziale per il III movimento di Tetratkys (1959) per flauto solo; la linea melodica corre tra i due strumenti, cambiando timbro, esattamente come fluisce morbidamente tra una dinamica e l’altra di una stessa fonte sonora. Vale la pena aprire una parentesi per Tetratkys, questa imponente ed enigmatica composizione per flauto solo, ritrovata nel 2007 negli archivi della Fondazione Scelsi a Roma e dedicata a Severino Gazzelloni. Di questo pezzo si era persa ogni notizia. Il II movimento di Tetratkys non è altro però che il ben noto Pwyll (1954), con pochissime modifiche riguardanti le indicazioni metronomiche e qualche piccola variante nel finale (per questo motivo Pwyll non compare nei titoli registrati in questa pubblicazione). Unico indizio per la riscoperta di Tetratkys la comunicazione nel 2005 del ritrovamento negli archivi RAI di una registrazione effettuata da Gazzelloni nel luglio del 1959 e trasmessa dalla RAI nel febbraio del 1961; viene 8
annunciato Tetratkys, ma eseguito di fatto Pwyll, dal flauto di Severino Gazzelloni. La composizione, totalmente originale solo quindi nel I e IV movimento, si presenta all’interprete con una serie di problematiche di non semplice soluzione, a partire dalle indicazioni agogiche o dall’uso eccessivamente disinvolto del registro sovracuto. E’ opinione di chi scrive che la destinazione strumentale, almeno per il IV movimento, potesse essere diversa o comunque non definitiva. Lo farebbero supporre anche alcuni sintetici appunti tracciati da Scelsi sulla copertina della partitura visionabile alla Fondazione Scelsi e che sembrerebbero aprire la possibilità di un’esecuzione al violino. Niente di cui stupirsi, visto che Scelsi era solito improvvisare al pianoforte o all’ondiola (una tastiera elettronica con varie potenzialità espressive, tra cui la possibilità di produrre microtoni) e decidere in un secondo momento la veste strumentale d’elezione, anche cambiando idea e autorizzando trascrizioni. Ciò concorrerebbe a spiegare anche perché dell’opera in questione, pubblicata integralmente per flauto nel 1959 (Edizioni dell’Autore), lo stesso Scelsi non avrebbe poi più parlato. L’organico che rappresenta strumentalmente la forma di maggior differenziazione timbrica è qui il duo flauto e pianoforte. Krishna e Radha (1986) evoca l’idea di antitesi attrattiva insita nel principio dualista ed è basato su un’improvvisazione di Scelsi e della flautista Carine Levine. Il titolo, aggiunto in seguito da Scelsi, che fece dono del brano (nastro registrato e partitura) alla Levine, si riferisce all’unione metafisica del principio maschile e femminile rappresentato dal dio Krishna e dalla consorte preferita Radha. Il pezzo rappresenta un esempio di quanto fosse fondante per Scelsi la pratica dell’improvvisazione, spesso collegata a momenti di meditazione, vissuta comunque come un atto spirituale. Non va dimenticato che per Scelsi, che si definiva un intermediario e non un compositore, l’arte assolve un compito che non è tanto esprimere l’io dell’artista, ma favorire il contatto con il trascendente; la musica è pertanto lo spazio del dialogo tra l’uomo e la divinità. “Il Suono è la Mistica nella sua assoluta purezza” (G. Scelsi, Il Sogno 101). © Claudia Giottoli 9
Claudia Giottoli is flautist and Flute Professor at the Conservatorio di musica “F. Morlacchi” in Perugia. Her own teachers included Carlo Morena, Conrad Klemm, Alain Marion, Patrick Gallois, Marzio Conti and Michele Marasco. She was awarded prizes in various national and international chamber music competitions and has performed in Italy and other European countries, participating in musical events like the Musikfestspiele Potsdam Sanssouci, the Festival dei Due Mondi in Spoleto, the Festival di Musica Contemporanea “Nuova Consonanza” in Rome, the Sagra Musicale Umbra, the Cantiere Internazionale d’Arte Contemporanea in Montepulciano and the Festival delle Nazioni in Città di Castello. She has worked with musicians such as Antonio Ballista, Alide Maria Salvetta, Ciro Scarponi, the Soloists of New York University and the Fires of London. She has taken part in various première performances of works by Italian composers, including Francesco Pennisi, Aurelio Samorì, Giorgio Ferrari, Francesco La Licata, Fernando Sulpizi, Tonino Battista, Giuseppe Garbarino, Fabrizio De Rossi Re, Carlo Galante, Marcello Panni. She is the First Flute of the “I Solisti di Perugia” chamber orchestra, having worked with several Italian orchestras, including the Orchestra Sinfonica dell’Umbria and the Orchestra da Camera di Mantova. Her interest in promoting unusual repertoires led her to research and perform 20th century Spanish music, together with the pianist Raffaele D’Aniello. The ensuing recordings for the Stadivarius label have met with widespread acclaim in the international trade press (Falaut, The flutist quarterly, Fluit, Flauta y music, Flute Time, Music and Todo flauta). She has also recorded for the Bongiovanni, Camerata Tokyo, Edipan, Ricordi, Quadrivium and Brilliant Classic labels (Ravel chamber works). She was invited to hold masterclasses on the Italian flute repertoire in Dublin 10
(Royal Irish Academy of Music) and in Salzburg (Mozarteum). She holds summer courses at the “Incontro Internazionale per Giovani Musicisti” in Piediluco and for the international courses organised by the “Associazione Umbria Classica” in Norcia.
Paolo Puliti graduated with honours in oboe at the “Francesco Morlacchi” Conservatoire in Perugia. He has won prizes in various national and international competitions, playing solo and chamber music (Città di Stresa, Rassegna Concertistica in Pompei, Isola di Capri). He has performed as a soloist, as a member of chamber ensembles and with many Italian orchestras (Orchestra Sinfonica di Perugia, Orchestra Sinfonica dell’Umbria, Orchestra della Provincia di Bari, Orchestra Filarmonica Rossini di Pesaro, Orchestra da Camera di Perugia, Orchestra Simphonia Perusina, Camerata Titano di S. Marino) in Italy and abroad for important Festivals and Musical Associations (Festival dei Due Mondi in Spoleto, Amici della Musica in Perugia, Sagra Musicale Umbra, Todi Festival, RAI Concerti in Via Asiago, Friedenskirche Sans-Souci in Potsdam, Berlin Cathedral, Bergen Festival, Teatro Regio in Turin, Auditorium Parco della Musica in Rome). He has also formed several chamber ensembles to perform works of lesser-known Italian composers and has premièred various works, many of them dedicated to him. With “I Cosmonauti russi”, the ensemble founded by Battista Lena, he has taken part in numerous tours in Italy and abroad, playing in several jazz festivals. He has recorded for RAI 1, RAI2, RAI3 and Retequattro and for the Fonit Cetra, Nuova Era, Edipan and Quadrivium labels. He has also recorded soundtracks for film and television. He teaches oboe at the Scuola Comunale di Musica “Alessandro Onofri” in Spoleto. 11
Natalia Benedetti graduated with honours in clarinet, and in 2005 took a first class Master’s Degree at the Conservatoire in Perugia. She also graduated from the Music Academy of Pescara under the guidance of Ciro Scarponi. Moreover, for three years she also attended the Accademia Musicale Chigiana under the guidance of Giuseppe Garbarino. Benedetti holds a Master’s Degree in “Teaching and Technology of Music” at the Faculty of Letters and Philosophy at the University of Perugia. She has also worked with Antony Pay at the Festival Pontino in Sermoneta. She has distinguished herself in national and international competitions, winning fifteen prominent awards: Stresa, ARAM in Rome with a special mention, Castel Sant’Angelo in Rome, Città di Genova for two editions, Città di Sorrento, TIM in Rome. She has performed numerous concerts in various chamber ensembles, taking part in important festivals such as the Biennale in Venice, Todi Festival, Gubbio Festival, Festival dei Due Mondi in Spoleto, Reikjavik Festival. She was invited to the Edinburgh Festival in 1997, and also to the Sagra Musicale Umbra in 1997 and 1998, where she performed music by Philip Glass under his direction and recorded for the Quadrivium label. Benedetti has toured in Hungary, Belgium, Switzerland, Germany, France, Luxembourg, Iceland and the USA, winning great acclaim from audiences and critics. She has also recorded for RAI Italian Radio and Television and the RTL Radio Luxembourg and BBC Radio. She has performed with the Orchestra of the Opera House in Spoleto, the Orchestra Sinfonica Regionale delle Marche, the Orchestra Sinfonica Siciliana, as well as collaborating with the New York University Orchestra. She is part of the FLAME Ensemble with which she performed music by Elliot Carter in Florence at the “Festival Carter” in 2008, playing with Heinz Holliger. She was invited to the first edition of the London Ear Festival of Contemporary Music in 2013 and performed music by Fausto Romitelli and Salvatore Sciarrino. She is regularly invited to important annual festivals in Italy and the USA. 12
Leonardo Ramadori lives in Perugia, where he completed his high school studies before taking a Diploma in percussion instruments. He has been a guest performer in the percussion section of many of Italy’s major orchestras, including Milan’s Teatro alla Scala, the Filarmonica della Scala (a tour of Japan in 1997, Mozartwoche Festival in Salzburg, Musikverein in Vienna, Lugano and elsewhere), the RAI National Symphony Orchestra (a South American tour in 1999 and elsewhere), together with the Orchestras of the Teatro La Fenice (Venice), Teatro San Carlo (Naples) and Rome Opera. The conductors with whom he has performed include Riccardo Muti, Riccardo Chailly, Giuseppe Sinopoli, Mstislav Rostropovich, Eliahu Inbal and Daniel Oren. He has performed the chamber concert repertoire with the Ensembles Artisanat Furieux and Musica Novecento, as well as with the group Hyperprism. Along with other percussionists in Umbria, he founded “Tetraktis Percussioni”, a group that has frequently given chamber concerts throughout Italy, Germany, the USA, Turkey and Nigeria, all of them well received by public and critics alike. Since 2001 he has been working regularly with the composer and guitarist Battista Lena in various instrumental lineups. The publishing house Margiacchi has published four books of his Rhythmic Exercises for groups, designed to help learn about rhythmic notation and making music together in general (“Il Corpo Sonoro”, “Ta-Pa-Ciaf-Bum”, “Tre Filastrocche”, “Musica Senza Strumenti”). Leonardo Ramadori teaches at a number of Music Schools throughout Umbria; moreover, with Bruno De Franceschi he also holds workshops on the subject of rhythm for actors, dancers and singers. He played percussion for the CD “Safari” (2008) by the popstar Jovanotti. 13
He has taught percussion instruments at the State Conservatoires of Trieste (“Giuseppe Tartini”) and Foggia (“Umberto Giordano”). He has recorded for RAI, Mediaset, PH Musicworx, Giotto Music, Fonit Cetra, Label Bleu, and Universal. Raffaele D’Aniello graduated in piano under the guidance of E. Capurso at the “O. Respighi” Conservatoire in Latina, obtaining full marks and distinction. He then specialised in modern and contemporary music at Accademia Musicale Pescarese. Afterwards he graduated in composition at the “S. Cecilia” Conservatoire in Rome under the guidance of Massimo Gianfreda. Further studies followed under Hans Graf in Vienna and then with Aldo Ciccolini, Boris Petruschanskij and Franco Scala. He has taken part in several competitions, winning the “Carish” award at the Cesenatico piano-competition. For many years he combined his career as a concert soloist with work with famous chamber ensembles, including “I Fiati di Parma”, largely focusing on the 20th century piano repertoire. He has performed throughout Italy as a guest of numerous important associations: “Regia Accademia Filarmonica” in Bologna, “Amici della Musica” in Caltanissetta, Gela and San Severo, “Conservatory of S.Cecilia” in Rome, “Lyceum club” in Catania, “Camerata Barese”, “XIX Festival Internazionale di Mezza Estate” in Tagliacozzo, “Nuova Consonanza” in Rome, “Il Coretto” in Bari, “Accademia Muisicale Pescarese”, “Accademia Musicale Giuliese”, “A.M.A. Calabria”, “Istituzione dei concerti” in Ravello, “Caelium Association”. Outside Italy, he has performed in Vienna, Switzerland and Argentina, including Conception city, Tucùman, Cordoba and in the famous concert-hall museum “Des 14
las Artas” of Buenos Aires. In 2002 he played in the XVIII Festival of contemporary music in La Habana, where he held several master classes. He has also performed in Germany as a soloist and in duo with Claudio Brizi, to great public and critical acclaim. He has premièred many contemporary scores, paying special attention to the work of female composers, both Italian and foreign. He has recorded for Vatican Radio, Edipan, Accord for Music, Hemioliarecords and Trco of Buenos Aires. He currently teaches at the “G. Nicolini” Conservatoire in Piacenza. www.raffaeledaniello.com
Many thanks to Isabella Scelsi Foundation Province of Perugia - Villa Fidelia (Spello) Municipality of Spello Savoldi Edi – Professional Flute Service & Sales
Recording: 23, 26-28 January 2015, Villa Fidelia, Spello, Italy Sound engineer, recording producer, mixing & mastering: Luca Ricci Editing: Filippo Farinelli & Luca Ricci Cover image: Philippa Baile - & © 2016 Brilliant Classics
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