Macerata, the New Music Review starts today

Until 9 November at the Lauro Rossi Theater the 40th edition on the tenth anniversary of the death of its inspirer Stefano Scodanibbio

MACERATA – A prestigious goal achieved by Review of New Music this year in its 40th edition that will be on stage at the Lauro Rossi Theater on 7, 8 and 9 November 2022 at 9.15 pm.
Organized by the Nuova Musica Association, with the collaboration of Maresa Bonugli Scodanibbio and organized by the Municipality of Macerata, the Festival sees among the partners the University of Macerata, the Stefano Scodanibbio Civic School of Music and Quodlibet.
Curated by the artistic director Gianluca Gentili, the internationally renowned festival will be three days dedicated to contemporary music with Daniele Roccato, Emanuela Torquati, Zaum_Percussion and Sidera Saxophone Quartet.
Furthermore, for the Nuova Musica review, this fortieth edition also represents another important moment, the tenth anniversary of the death of its inspirer Stefano Scodanibbio.
“The Review of New Music was born in 1983, with a paltry budget but with unstoppable desires, which took place in that year in six concerts each dedicated to a solo instrument – wrote Scodanibbio himself in the volume ‘Not enough of me’ (Quodlibet editions, 2009) -. It was natural to immediately request the contribution of the musicians with whom I collaborated in the Nonian adventure (Fabbriciani, Scarponi, Schiaffini), or linked to my North American raids (the guitar duo Castañon-Bañuelos). It was August and the various spaces of the Abbey of Fiastra seemed the ideal place to welcome the restless fans of the contemporary world or, more simply, the curious looking for a place to reconcile, in those warm evenings, the centuries-old stones with experimentation and be amazed.
A bet dictated by the youthful enthusiasm of wanting to create a small Darmstadt in their own city and by the exaltation that accompanies each new project therefore took concrete form “.

“The Review of New Music – the Councilor for Culture intervenes Katiuscia Cassette – represents an international excellence in the cultural offer of our Administration, and this year, in which two important anniversaries fall, the tributes to the contemporary musician Stefano Scodanibbio represent even more great value. The festival, as tradition has it, puts in place professionalism and creativity of great depth, driving forces that have always represented a strong element of growth of the festival able to carry the name of Macerata beyond national borders. Furthermore, the exhibition continues its path of opening towards other realities with the collaboration established between the association and the Civic School of Music which will see among the performers of the concert on November 9, the presence of pupils and the involvement of three teachers . In January, as a further sign of sharing, an ideal continuation will be represented by the second edition of the ‘Torpedine’ review of electroacoustic music. The festival will focus on the meeting of electronic and electroacoustic music with the visual arts, dance, animation video and cinema. The shows will be held in the library, a sign of growth and deepening of a contemporary musical genre and contamination of places “.
The inaugural concert of the New Music Review, at the Lauro Rossi Theater today, Monday 7 November, was entrusted to Daniele Roccato, double bass soloist and composer, who will present Scodanibbio RMX (2022).
“RMX is the abbreviation for remix, a sound manipulation technique that involves the deconstruction of an existing piece and the use of the raw materials thus obtained for the construction of a new composition – Roccato himself says -. In this case all the starting materials, be it long extracts or short fragments, are performed live, and deconstruction and reassembly are made in real time by the programming of the live electronics. As in every remix, from the beginning to the end of the process, every material used comes from the source, the work for double bass by Stefano Scodanibbio, while the structure and form are entrusted to the will and whims of the muses.
Personally I have always perceived in many of Scodanibbio’s works a sort of deferred polyphony, in which it is not the individual subjects that are superimposed but the footprints they leave after their disappearance. Electronics allow these elements to persist and really overlap their counterparts. It is a continuous listening, pausing, reflecting. A dilate, distill, freeze. It is a question, every now and then, of breaking the toy to see what it is made of, and then reassembling it without trying to hide cracks and fragments “.
Tuesday 8 November, it will be the turn of the pianist Emanuele Torquati who will pay homage to the figure of his mentor and Maestro Giancarlo Cardini (1940-2022), pianist and composer who recently passed away, through a journey through the music of the authors he loved, known and played.
This is the case of Erik Satie (1866-1925), engraved by Cardini in the years when he was still considered a “heretic”, of which Torquati presents two works, the Pièces Froides: Trois Danses de travers of 1897 and the irreverent Sonatine bureaucratique of the 1917, parody of Clementi’s famous Sonatina approached by platoons of amateur pianists. The journey continues with the liquid In a landscape by John Cage (1912-1992), a 1948 piece intended for harp or piano, in which the American composer explores piano sounds in a dreamlike way. It is useless to recall the relationship between Cardini and Cage, cultivated over decades and culminating in the memorable Florentine concert in June 1992 in the presence of Cage himself and unforgettable interpreters of his music, including Stefano Scodanibbio himself.
Secondo Improvviso from 2005 is instead a song composed by Cardini and dedicated to Emanuele Torquati, a work of a cultured matrix that differs from the contemporary transcriptions of songs by Italian songwriters of that period. Formal conciseness and the juxtaposition of contrasting atmospheres are the hallmark of this work. Concision which, on the other hand, is extended and taken to its extreme consequences in Finale (1973) by Paolo Castaldi (1930-2021), another friend of Cardini. A work in four parts, which can be performed in its entirety or in separate movements, also recorded by Cardini, in which the Milanese composer prepares four different Finals for an imaginary Sonata, with a deliberately volitional and romantic character.
On the same evening the ensemble Zaum_Percussion in Iannis Xenakis Okho will also be on stage.
Okho (1989), a Zulu word meaning something like “happily marching”, was composed to celebrate the bicentenary of the French Republic and premiered at the 1989 Festival d’Automne by the trio Le Cercle. Iannis Xenakis (1922 – 2001) met the djembé for the first time in the studio of the trio to which the work is dedicated. The piece is organized in eight sections starting from a meager rhythmic material recombined in solos, duets and trios. Xenakis also maintains the traditional combination with the dundun, a large African drum, whose authoritative voice marks the end of the piece.
Okho expresses the both visceral and intellectual quality of Xenakis’ music, made up of masses and sound volumes that determine the tensions and overall dynamic properties: recurring characters in some of his other authentic masterpieces for percussion such as Persephassa (1969) or Pléïades (1978) .
At the end of the exhibition, the November 9, at the Lauro Rossi Theater the Sidera Saxophone Quartet in Stefano Scodanibbio Plaza – Lucida sidera.
Stefano Scodanibbio wrote Plaza for four trumpets in C in 2001. Recently, Maresa Scodanibbio, found among her husband’s documents a version for four sopranos saxophones on which the author was working: although it was almost completed, it was never brought to term and was not put in the catalog.
Mrs. Scodanibbio kindly provided the score to Gianpaolo Antongirolami who was able to complete the piece. Plaza, in the version for four soprano saxophones, was then presented by the Sidera Saxophone Quartet in its world premiere as part of the Forlì Open Music, on June 27, 2021, in the arena of San Domenico.
Lucida sidera was composed by Stefano Scodanibbio in 2004 for the quartet Ensemble Italiano di Saxofoni. The instruments used are eight, 4 sopranos and 4 tenor saxes: each member of the quartet plays both the soprano sax and the tenor sax. This alternation generates a combinatorial game of timbral possibilities that give the piece a precious and changing color, despite the homogeneity due to the choice of using only two of the four instruments of the saxophone family, normally used in quartet formation.
The stars that shine in the sky – precisely the Lucida sidera sung by the Latin poet Horace (III poet, I book) – correspond in the composition of Scodanibbio strongly characterized sound objects, which live on their own light, which guide the listener in the flow of the song. At the beginning, two significant figures appear immediately clear: a very fast note that resolves on a more or less long note and a fast scale. Other figures will appear, intersecting each other and with the previous ones.

In this way, a game of cross-references, intertwining, variations, echoes is created, which gives rise to a rich and articulated listening path.
Afterwards, the ensemble Zaum_Percussion in Tribadabum extensif sur rythme fantôme by Vinko Globokar will return. A project in which the Stefano Scodanibbio Civic School of Music has actively collaborated with the students Matilde Cittadini, Chiara Pallotta, Leonardo Tiranti, Veronica Tagoe, Rodrigo Scocco coordinated by teachers Adamo Angeletti, Francesco Savoretti, Valentina Verzola, Vincenzo Ruggiero.

Tribadabum extensif sur rythme fantôme (2002) by Vinko Globokar (1934) can be performed in two versions: for percussion trio in a concert hall or for an unlimited number of percussionists using large spaces, such as outdoors, in a forest, on different floors of a large building, on the walls of a city.
The score is divided into 31 sections, of which 14 performed only by the trio, and 17 with the involvement of the surrounding participants, distributed among the audience at predetermined and regular distances, along three vectors that branch off from the trio of soloists positioned in the center. The score, extremely imaginative and evocative, in addition to numerous percussion instruments also includes unusual or commonly used objects, scenic effects and theatrical gestures. The order of execution of the sections is established by the performers, thus called to give shape to an original path between unprecedented sounds and explosive effects, in a continuous game of references, echoes, transformations, dialogues, concentric sound branches between the various performers.
Each participant also has 4 bizarre objects, which are used only once, chosen from “the most curious, ingenious and effective tools imaginable”. Sounds, pauses, movements in space are all organized on the basis of a Phantom Rhythm (of 12/8 divided into 2 + 3 + 2 + 2 + 3) that only the performers hear.
The cost of tickets to attend the concerts of the Rassegna di Nuova Musica is full 5 euros – 3 euros students and can be purchased at the Theaters Box Office, Piazza Mazzini, 10, from Tuesday to Saturday 10-13 / 16: 30-19 : 30, tel. 0733 230735 or at the Lauro Rossi Theater
from one hour before the start of the show. Info:

Macerata, the New Music Review starts today