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© 2002-2017, Squidco LLC


d'Angiolini, Giuliano: Simmetrie Di Ritorno (Edition Rz)

Six compositions for chamber ensembles from composer Giuliano d'Angiolini, performed by Ensemble 2e2m, Quatuor Parisii, Franck Ollu, Pierre Roullier, Monique Bouvet, &c.
 

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product information:


UPC: 4029455100208

Label: Edition Rz
Catalog ID: 10020
Squidco Product Code: 14122

Format: CD
Condition: New
Released: 2011
Country: Germany
Packaging: Cardstock foldover
"Simmetrie di Ritorno" recorded live at Festival Musica, Strasbourg, France, September 2001. "Ita Vita Zita Rita" recorded at Auditorium du Conservatoire de Gennevilliers, December 2003. "Orizzonte Fisso, Bordoni Mobili" recorded live at Festival Présence, Paris, France, October 2008. "Und'ho d'Andà" recorded at Auditorium du Conservatoire de Gennevilliers, December 2003. "Ho visto un incidente" recorded at "Auditorium du Conservatoire Edgar varèse" de Gennevilliers, December 2003. "Notturno in progressione" recorded at Auditorium Antonin Artaud, Ivry-sur-Seine, France, October 2004.


Personnel:

Ensemble 2e2m

Franck Ollu-conductor

Pierre Roullier-conductor

Monique Bouvet-piano

Barbara Morihien-vocals

Arnaud Vallin-violin

Jean-Michel Berrette-violin

Dominique Lobet-viola

Quatuor Parisii-strings

Jean-Philippe Martignoni-cello

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track listing:


1. Simmetrie di ritorno 8:27

2. Ita vita zita rita 12:55

3. Orizzonte fisso, bordoni mobili 18:03

4. Und'ho d'anda 8:50

5. Ho visto un incidente 5:42

6. Notturno in progressione 10:13




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descriptions, reviews, &c.

"Giuliano d'Angiolini is a positively unique figure in contemporary music. His profound, well-conceived and stubborn take on music has led him to what he calls "impersonal" music - music that has fully abandoned the idea of development or form.

Through successive states of presentation, which aim to elucidate, d'Angiolini wanted to "leave place in sound so that music could become less voluntary". This led him to favour the surface and present, an approach that was by no means superficial: the surface as the immediacy in the propositional content of sound and the present as the very surface of the criterion of time.

In his work, musical process and material are but one and are completely laid bare. What we are to hear is non-discursive, deliberately lacking formal organization. We are even free to turn away and come back of our own will - as if the composer wanted to make positive use of the negative metamorphosis of today's urban listeners, listeners who are constantly assailed with stimuli."-Gérard Pesson


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