Roberto Fabbriciani, flute

AA.VV.

Roberto Fabbriciani, flute

music by Roberto Fabbriciani, Domenico Guaccero, Serge Belimov, Arrigo Benvenuti, Roberto Doati, Dimitris Kapsomenos, Fausto Sebastiani, Paolo Renosto

"S. Belimov - from The Garden of Diverging Path" (Demo .mp3 - 30 sec. - 290 Kb)

Edipan Edition
CD PAN 3051 - price 15.00 Euro -

Roberto Fabbriciani, flauto

Tracks

Roberto Fabbriciani
Variazione Corale quinta (1976) - 5'25"
for 4 flutes and 10 chimes

Domenico Guaccero
Negativo (1964) - 7'25"
for flute

Serge Belimov
The garden of diverging paths (1991) - 11'33"
for flute and chamber orchestra

Arrigo Benvenuti
Cadenza sospesa (1990) - 3'45"
for flute

Roberto Doati
Donna che si copre le orecchie per proteggersi dal rumore del suono (1992) - 9'45"
for flute and tape

Dimitris Kapsomenos
Preludio - Fantasia (1987) - 4'26"
for flute and piano

Fausto Sebastiani
Geometrie dall'azzurro velato (1992) - 6'43"
for flute and string orchestra

Paolo Renosto
Tane (1982) - 12'50"
for C bass flute and ottavino

Roberto Fabbriciani, flutes

Luisella Botteon, flute
Cecilia Iodice, Simona Scarrone, bass flute
Tullio De Piscopo, chimes

St. Petersburg Chamber Orchestra
Ravil Marrynov, conductor

I Virtuosi dell'Accademia di Montecarlo
Marcelle Panni, conductor

Note al disco

The flute is the protagonist of this programme which, built around a selection of Italian and foreign composers, offers a panoramic view of contemporary music.

Variazione Corale quinta (1976) for 4 flutes by Roberto Fabbriciani (1949) forms part of a cycle of "twelve varied chorales" which are introductions to the performance of contemporary music. The work commences with a four-part canon (flute in C, tvo bass flutes and one contrabass flute) performed with "tuned breath" and enriched by the luminous sound of fivelve bells. The form is characterized by the choral refrain (A/B/A/C) interspersed with "shadow, aeolian and tongue ram sounds" while the bells have an independent part without refrain.

Negative (1964) for one flautist by Domenico Guaccero (1927-1984), pupil of Goffredo Petrassi, was first performed at Darmstadt in 1964 by Sever!no Gazzello-ni. Interesting is the choice of bass flute, that source of non-sound and of varied effects. The composer underlines that the elements that make up this work, social (the virtuoso who merges with the mass), technical and gestural (the experiment of mobile sound and dramatic actions which the player performs on the platform) are entrusted to one single interpreter. The innovation in this work is the creation of a"new type of whole work", premiss and consequence of the musical theatre created with few resources which Guaccero performs. The player reads his "project" as an integral part of the work, uniting with it elements of "actions-vision". The version performed here originates from 1971 from a direct collaboration behveen Fabbriciani and the composer, free of the visual element and realized expressly for radio transmission and discographic reproduction.

Serge Belimov (1950), pupil in Leningrad of V. Chistiakov and of O. Yevlakhov, completed his musical training with B. Arapov. His creativity is marked by his extensive exposure to the musical cultures of various periods and countries; "music, for me, is a way of contact with the absolute". The composer's research is centred upon values common to all people, outside the span of time. It is his declared conviction that the world's musical culture, despite its variety of languages and forms of thought, is indivisible and universally comprehensible. The Garden of Diverging Paths (1991) for flute and chamber orchestra (dedicated to Roberto Fabbriciani) is a concerto representative of the style of Belimov. In this work, the melancholy poetry of Russian folk songs merge together with afghan melodies. The recording here is of the first live performance (of 23rd April 1992 in the Grand Hall of the Shostakovich Society, St Petersburg). The flute, with its exceptional expressiveness, carries the listener over patterns of sound and tone-colour of sustained enchantment and filled with lyricism.

Arrigo Benvenuti (1925-1993), Tuscan composer, received his first musical instruction in Algers, studying, in addition to Music History with Gilbert Beusquet, pianoforte, trumpet, harmony and counterpoint. In 1942, returning to Italy, he became the pupil of Luigi Dallapiccola at the Florence Conservatory, from whom Benvenuti acquired the taste for contrapuntal form, strict yet liable to broaden out into moments of lyricism or drama, always retaining that clarity of writing learned during his youth from the French tradition. He formed part, together with Bussotti, Bartolozzi, Company, Prosper! and Daviso, of the Florentine musical circle. A friend of Bruno Maderna, who conducted his Toccata and Fugue, he loved to recall his technical mastery and his benevolence. Cadenza sospesa (1981) (dedicated to Fabbriciani) is a perpetual motion, with phrasing in almost cyclical form, and with the dynamics always changing. The variations which run through this perpetual motion are in the form of embellishments, agglomerations of sound, arpeggios and vocal additions over the sound. The last passage is in diminuendo, remaining suspended as if the work were incomplete.

Roberto Doati (1953) studied electronic and computer music with A. Mayr, P. Grossi and A. Vidolin. He has worked as composer and researcher in the field of psychology of musical perception at the Computer Sound Centre of the University of Padua. Donna che si copre le orecchie per proteggersi dal rumore del tuono (Woman who covers her ears to protect herself from the sound of the thunder) (1992) for flute sounds and synthesized sounds is a piece divided into three parts. All the flute sound processed are played by Riccardo Ghiani. The first section, using performance forms which feature sound (slaps, jet whistles, growls and tongue rams) display the basic components of the "flute machine". The computer, without denaturalising them, modifies the flute sounds by stretching them out or compressing them in time and transposing their pitch. In the second section the flute performs microtonal segments, tone trills over wider melodic and multiphonic intervals. The synthesized sounds, tonally continually more complex, display the diversity and above all the prosody of the acoustic instrument. The third part sees the appearance of a new "creations" unleashed by the meeting of two worlds of sound, the acoustic and the electronic. All of the computer sounds are treatments in a different tempo to sounds which the flute produces live; with these, the composition ends with an "atemporality"punctuated by large pauses. "I am grateful today to Roberto Fabbriciani for his attention, patience and enthusiasm during the recording of this crystalline interpretation" (Roberto Doati).

Preludio - Fantasia (1987) for solo flute, by Dimitris Kapsomenos (Crete 1941 -Athens 1994), pupil of Prosperi at the Florence Conservatory, is written for Roberto Fabbriciani. The first performance took place at the Crete Festival in 1988. In the work, elements are present which are peculiar to the Greek musical tradition: a remarkable rhythmic variety derived from the ancient Cretan dances and melodic motifs cloaked in melancholy. The result is an elegiac melody which evokes ancient images.

Geometric dall'azzurro velato (1992) for flute and 11 strings by Fausto Sebastiani (dedicated to Roberto Fabbriciani and Marcello Panni) well represents one of the focal points of the composer's compositional thought arising from his interest in the transformation of the sound which develops its original identity towards new future sound realities veiled in mystery. This is the recording of the world premier which took place in Rome on 21 September 1992 at the Palazzo delle Esposizioni.

Paolo Renosto (1935-1988), of Florence, pupil of L. Dallapiccola, R. Lupi and B. Maderna, is the composer of Tane (1982) for flute, dedicated to his friend Roberto Fabbriciani. The composition comprises tvo pieces: Ombra (for bass flute) and Luci (for piccolo). "Tane is characterised by tvo different perspectives: on the one side the technical brilliance and on the other a not inconsiderable margin in which the art of the interpreter intervenes in order to place itself in contrast with my text".
That explanation is demonstrated by the almost total lack of dynamic markings. In Ombre all of the sounds made are obtained by means of a very percussive playing, always "suffocated", alternated with aphonic sounds (untoned) and with passages of suffocated sounds. Luci is characterised by successions of very fast and fluid sounds which embrace the three octaves. The frequent use of C sharp (D flat) is notable in this piece - heavy, extraordinary for the piccolo, and expressly written by Renosto after having heard Roberto Fabbriciani.
Luisella Botteon

ROBERTO FABBRICIANI was born in Arezzo in 1949.
A versatile performer and original interpreter, he has played a varied repertoire at among the most important musical establishments and festivals (the Venetian Biennale, Maggio Musicale of Florence, Siena, Spoleto, Paris, Lille, Lyon, Avignon, La Rochelle, Berlin, Frankfurt, Cologne, Donaueschingen, Prague, Bratislava, London, Huddersfleld, Edinburgh, Vienna, Salzburg, Lockenhaus, Tokyo, Tsuyama, Holland, Lisbon, Warsaw) with orchestras such as La Scala Milan, the Academy ofS. Cecilia in Rome, Orchestra of the RAI, ECYO, London Sinfonietta, LSO, RTL Luxembourg, SWF Baden-Baden, the Philharmonic Orchestras of Munich, Warsaw and Leningrad.
A passionate interpreter of "Nuova Mu-sica", he has worked with renowned composers such as S. Bussotti, J. Cage, N. Castiglioni, A. dementi, F. Donatoni, J. Feld, B. Ferneyhough, J. Francaix, E. Krenek, G. Kurtdg, E. Morricone, L. Nona, G. Petrassi, W. Rihm, J. C. Risset, S. Sciarrino, D. Schnebel, K. Stockhausen, T. Takemitsu, L Yun, who have dedicated to him some of the most significant works of the flute repertoire. "... if you need the best flautist, without doubt it would be him because whatever he plays is always in the best way" John Cage (1989).
He has been soloist with the conductors C. Abbado, L. Berio, E. Bour, A. Ceccato, R. Chailly, S. Comissiona, P. Eotvos, V. Fedoseyev, G. Gavazzeni, G. Gelmetti, M. Gielen, M. Inoue, D. Kachidse, B. Klee, B. Maderna, Z. Pesko, D. Shallon, G. Sinopoli, A. Tamayo, L. Zagrosek. He has performed recitals for solo flute, with pianoforte and with orchestra at the Theatre of La Scala Milan, the Accademia Chigiana di Siena, Berlin Philharmonic, Vienna Konzerthaus, Munich Gasteig, Theatre Chatelet, IRCAM and Centre Pompidou in Paris, Ginza Theatre and Suntory Hall in Tokyo, Smetana Hall in Prague, Tchaikovsky Hall in Moscow, Carnegie Hall in New York, La Fenice in Venice, The Barbican and Royal Festival Hall in London.
He teaches at the "Mozarteum" International Academy in Salzburg.