| Bemerkungen / Titelliste: |
 01. "Hyperion (f?r Akkordeon, Fixed Media, Live-Elektronik und reaktive Lichter) (2022)"
Partita f?r Cembalo Nr. 2 c-moll BWV 826 (aus Clavier?bung I) (Auszug) 02. "Sarabande" 03. "Fly (f?r Akkordeon und Elektronik) (2021)"
Partita f?r Cembalo Nr. 2 c-moll BWV 826 (aus Clavier?bung I) (Auszug) 04. "Allemande" 05. "High light night 2 (f?r Akkordeon und Elektronik) (2022)"
Rum?nische Volkst?nze Sz 56 (Auszug) 06. "Nr. 4 Rum?nischer Volkstanz Nr. 4" 07. "Like a prayer from a sidereal landscape (Postludium f?r Akkordeon, Fixed Media und Live-Elektronik) (2019)"
Rum?nische Volkst?nze Sz 56 (Auszug) 08. "Nr. 3 Rum?nischer Volkstanz Nr. 3" 09. "Soglie di pressione (Aria, Intermezzo und Fuge f?r Akkordeon, Live-Elektronik und Ambient-Kl?nge) (2019)" 10. "Notturno (Akusmatische Musik f?r Akkordeon, Ambient-Kl?nge und Elektronik) (2023)"
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| Beschreibung: | Between the new and the familiar, the accordion is a young instrument. This is precisely why I believe it lends itself almost naturally, or rather vocationally, to experimentation. At the same time, it's place in the collective imagination, it's wide diffusion in popular and folkloric cultures, also make it a "familiar", "domestic" instrument. This combination of "familiarity" and experimentation is, then, the inspiration behind the entire "Fly. Electronic Music for Accordion" project. New works for accordion and electronics aimed precisely at enhancing such duplicity: the feeling of familiarity and the disconcerting activation of the new. For this purpose, I involved some of the Italian composers among those I most respect, with whom I could establish a creative relationship that could lead to the development of particularly significant works featuring this instrument. At least in my ambitions and intentions. What the outcome will be is not for me to say. The fact remains that when a new work is born, especially one with some compositional weight, we are always faced with an event, the opening up of a world, which, however bewildering, or perhaps precisely because of this, proves capable of putting us in relation with ourselves and with the contemporaneity in which we live. Besides this, the choice of alternating the electroacoustic works with "small" pieces (in terms of duration) taken from the historical, classical literature to which we belong, is also intended to promote precisely the coexistence between familiarity and experimentation. A piece of "easy" listening, "familiar", a prelude or postlude, as it were, in order to "cleanse" the ear, in some way to prepare it for a different kind of listening, that of electroacoustic music, which is complex and full of novel information, not "familiar". Fragments of history, therefore, that intervene in the rhythm of listening, supposing a linear path, almost like recollections that assail the involuntary memory, to try to undergo an experience that allows us to achieve a relationship between reminiscence and the new. Germano Scurti, Accordion: Germano Scurti, Composed By: Giulio Colangelo, Composed By: Johann Sebastian Bach, Composed By: Daniele Ghisi, Composed By: Johann Sebastian Bach, Composed By: Pasquale Corrado, Composed By: Béla Bartók, Composed By: Germano Scurti, Composed By: Béla Bartók, Composed By: Agostino Di Scipio, Composed By: Germano Scurti, Labelcode STU37280.2 (STR 37280), Distributed By Milano Dischi s.r.l. |
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| Herstellernummer: |
STR37280 |
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Details zur Produktsicherheit
Verantwortliche Person für die EU:
MILANO DISCHI s.r.l.
via Sormani 18, 20093 Cologno Monzese, IT
stradivarius@stradivarius.it |
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Soloinstrument
6.761
- Akkordeon 25- Alte Instrumente 16- Blockflöte 12- Cello 137- Cembalo 247- Fagott 5- Flöte 57- Gitarre 342- Harfe 53- Horn 3- Klarinette 22- Klavichord 46- Klavier 2.724- Kontrabass 5- Laute 109- Mandoline 11- Oboe 8- Orgel 577- Posaune 5- Saxophon 15- Schlaginstrument 19- Sonst.Soloinstrumen. 2.036- Trompete 11- Viola 31- Violine 236Sonstige Klassik 3.446
