Teresa Procaccini - Guitar Music

Teresa Procaccini

Guitar Music

Jokes
for guitar trio and reciting voice op. 174 (2003) - 7'48" - [score available]

Demo .mp3 - 30 sec. - 600 Kb

Cinque pezzi incaici
for guitar op. 71 (1975) - 12'41" - [score available]

Demo .mp3 - 30 sec. - 600 Kb

Moonlight
for guitar trio op. 142 (1997) - 3'40"

Demo .mp3 - 30 sec. - 600 Kb

Chanson
for voice, flute and guitar op. 70 (1975) - 7'26" - [score available]

Demo .mp3 - 30 sec. - 600 Kb

Arabesques
for 2 guitars op. 114 (1988) - 9'20" - [score available]

Demo .mp3 - 30 sec. - 600 Kb

Sei Studi
for guitar op. 72 (1976) - 14'02" - [score available]

Demo .mp3 - 30 sec. - 600 Kb

Promenade
for guitar quartet op. 155 (1999) - 3'36"- [score available]

Demo .mp3 - 30 sec. - 600 Kb

Spleen
for guitar op. 132 (1992) - 3'08"

Demo .mp3 - 30 sec. - 600 Kb

Guitargames
for guitar quartet op. 154 (1999) - 6'29" - [score available]

Demo .mp3 - 30 sec. - 600 Kb

Rome Guitaristic Trio
Fabio Renato D'Ettorre, guitar
Marco Cianchi, guitar
Fernando Lepri, guitar
Pietro Viti, guitar
Carlo Ambrosio, guitar

Duo Mario Fragnito - Lucio Matarazzo

Ester Castriota, soprano
Vilma Campitelli, flute

Edipan Edition
CD PAN 3079 - price 15.00 Euro -

Teresa Procaccini

CD info

A new my CD, the tenth, has come to light in 2004, after the recording of nine symphonic, sacred and chamber music CDs by the Edipan company in 1998 and 2000. It presents the total of my compositions for guitar: solo, duo, trio, quartet, more one for soprano, flute and guitar: 9 pieces created in almost 30 years, starting from op. 69 of 1975 to op. 174 of 2003. For their presentation I will use, at time, the opinion given by noted musicologists.
This CD open with JOKES for guitar trio and reciting voice op. 174 (2003). Unusual piece both for the use of reciting voice and for the funny, weird and a little crazy text of Aldo Palazzeschi: "E lasciatemi divertire" (And let me to amuse.) Inspired by Trio Chitarristico di Roma to whom it's dedicated (and who has suggested me also the text), I have looked to the utmost adhesion between music and the meaning (or rather "nonsense") of the text in developing humorous and shipping themes which I think can to interpret at one's best and it follows the paradoxal linguistic evolutions. The several instrumental possibilities of guitar, thinked with the assistance of the Trio, which I thank very warm, have certainly bring out thats moments which music and text play together with onomatopoeic effets, or when the reciting voice sings, whispers or shouts in beating the words on the music. A demential and crazy effect which it marrieds very good with Palazzeschi's text. I can really to declare that with "E lasciatemi divertire" has been very amusing to compose JOKES!
The opinion of Renato Chiesa on the following composition:
"Inspired by the guitarist Alirio Diaz to whom they are dedicated, the CINQUE PEZZI INCAICI (The Five Inca Pieces) for guitar op.71 (1975) do not include real Inca music but use the five-tone scale tipical of the andean musical culture, conforming to its spirit. Framed, at the beginning and at the end, by a suggestive theme, each piece has a title that specifies and individualizes it. Unusual is the fourth piece: YARAVI', an ancient and cheerful peruvian dance, still present in the popular repertoire.
The following piece is MOONLIGHT for guitar trio op. 142 (1997) written for the Trio "Vivaldi" from Torino. The title explains the "lunar" atmospheres suggested of diversed and suffused harmonies. Sudden lighting and rhythmic moments of whole animate this piece. Short melodies pass between the guitars until the end of their dialogue which often with faint harmonic sounds.
Marco Angius says
"In CHANSON for soprano, flute and guitar op. 70 (1975), the composer uses a delicate text an anonymous French author, which is an important inspiration for this piece. Everything pivots on the voice and the flute, which develop into suffused and continuously alternating melodic lines, while the guitar offers harmonic support with some rare, suggestive melodic interventions. The value of Chanson is in its elegance and in the fluency with which the sounds are blended, its immediate power of communication, the indefinible vagueness of the execution, stressed by the use of the text sometimes recited or whispered. Certainly, this work holds a remarkable position in Teresa Procaccini's large production."
Till Renato Chiesa's opinion on:
"ARABESQUES for 2 guitars op. 114 (1988). Written for the duo Fragnito - Matarazzo, presents the tipical three movements, but the first of them is not the traditional allegro, but a very fluent adagio, a continuous and soft play of semiquavers. The interiorization of the central movement, obscured by the persistent dotted note, is contrasted by the explosion of rhythms and sounds of the last movement, that present prominent iberian echoes and, in some passages, sudden rises that remind of Strawinski."
Destined to young guitarists and not alone, the SEI STUDI for guitar op. 72 (1976) has been written on guitarist Giuliano Balestra's plea with the aim of to expand the repertoire for his pupils. That's why I have used a tonal language charming and different techniques, so that the pupil can to face pleasantly the difficult of every piece.
The next work is PROMENADE for guitar quartet op.155 (1999), (guitar version of the DUO for violin and viola op. 96 (1982). Short work based on bright and quick themes that bring out the peculiarities of the instruments bound in contrasting and exchanging roles: malicious, comic and testy attitudes. In the version for 4 guitars the piece gains a new light for the instrumental play and for the humorous thoughtlessly of the whole: a true "divertissement" in literal meaning.
SPLEEN for guitar op. 132 (1992) has been written on request of guitarist Guido Margaria for an Anthology of the contemporary composers by Curci editor. Its built on a little melodic cell that on expand gradually developing soft drawings .This work is characterized for nostalgic and rarefied atmosphere.
GUITARGAMES for guitar quartet op. 154 (1999) which is one of the most inspired my chamber compositions closes this CD. This piece is a guitar version of my String Quartet op. 45 (1969). The 1" movement allegro vivace and the 3rd allegro giusto, are distinguished by their vivacity of the rhythms and the linearity of the melody, that imposes itself authoritatively above the dense hannonic fabric. Themes, passing from an instrument to the other like a river in flood that flows fast, creates a sonorous band of great awesomeness, interrupted by the 2° movement moderato, that is mysterious, intimate and meditative and creates a peaceful moment between the two impetuous and overpowering allegro.

Teresa Procaccini

Teresa Procaccini is the composer of a vast production (about 200 works), including operas, ballets, symphonic pieces, chamber works, band and symphonic band works, teaching works, which have been performed both in Italy and abroad.
After having been awarded her diploma in piano and organ (with Fernando Germani) and in composition (with Virgilio Mortari), in 1971 and 1972 she directed the Foggia Conservatory and up to 2001 she hasa been teacher of Composition at the “Santa Cecilia” Conservatory in Rome.
She has won national and international competitions and has held specialisation courses in composition at the Festival of Città di Castello, at the Respighi Academy in Assisi, at the Internazionale Meisterkursen in Duren (Germany) and the Frentana Music Summer in Lanciano.
;Her works have been published by Sonzogno, Zanibon, Edipan, Carisch, Bongiovanni, Curci, Leduc, Seesaw, Rugginenti, Scomegna, Pizzicato Helvetia, Berbén, Wicky, Carrara.
She has produced a remarkable quantity of music for children (short teaching operas, musical fables with reciting voice, works for boys’ Choir and piano, many pieces for young instrumentalists (strings, winds and percussions) and teaching books with tapes) published by Armando and Gulliver.
She has composed sound tracks for theatrical works and for cartoons for RAI television.
Almost all her works has been recorded by Edipan, Bongiovanni, Edizioni Paoline, Electrecord of Bucarest, Rugginenti, Grammophon AB BIS of Stockholm, Nuova Era Records, Scomegna, Altarus and Crystal Records (U.S.A.), Lira Classica M.A.P.
She has also been successful in organising concerts and since 1972 is Artistic Director of the Foggia Association of “Friends of Music” and consultant of many Association in Italy.
She conceived the touring review of “Ladies Composer of Past and Present”.
She is often guest of Juries (as President or member) of various national and international prizes and as speaker of musicology Conferences.