for F tuba and live electronics (1992) - 21'00"
for shö and live electronics (1992) - 25'10"
for 7 sax (1 player) and live electronics (1989 - 1983) - 27'23"
CD PAN 3048 -
price 15.00 Euro
These are not only 3 music pieces but three different sound angles of one archetype, like Zen gardens of a contemplative and creative character, spark of boundless variations until the limits of perception, realized also with electronic aid, such as the tone's subdivision in 16 parts or more and the fleeting musical form based upon spatial geometry not entirely definable. Some common elements inside the single instrumental specificities connect them to each other allowing both the individuai listening (1 piece) and the wholeness (the 3 pieces unified into one piece). Some unlike elements (mainly the timbre research, live electronics' treatment, and instrumental interpretation) clarify their not Euclidean concentricity and attest their spatial dimension; internal interconnections revealed only in a global perception can be considered like a metaphor of the similar but other.
A few words about the shö:it is an ancient Japanese instrument with religious and ceremonial character, shaped by 17 bamboo pipes with tempered tuning, here partial!y modified by the composer with the introduction of quarter tones. The sound waves of this instrument are so sensitive that it is possible to distinguish the infinitesimal subdivisions or transpositions of frequency.
Spazializing in al! 3 pieces is complementary to the intensity field, pointing out the generai mobility ofthe musical ideograms. We can consider
as complementary extremes, but the first one moves on a varying and invisible line, on the contrary
is open to combinatorial and unforeseeable situations with remote and hardly recognizable connections; no datum point but only intuition. The 7 saxophones are played in this sequence: baritone - bass - sopraninotenor - contralto - soprano - contrabass.
GIUSEPPE GIULIANO born in Rome, composition degree with G. Turchi and G. Petrassi at Accademia di S. Cecilia, electronic music studies with F. Evangelisti - L. Nono - H. P. Haller, conducting studies with F. Ferrara, other studies: piano, and orientai philosophy (ancient China and India).
He worked as pianist playing contemporary repertoire (Cage - Stockhausen), and also as Jazz improviser, furtherly he dedicated himself exclusively to composition. His works have been performed in Europe, Canada, USA, Australia and Japan, in the most important places for contemporary and electroacoustic music, including IRCAM ParisInternationale Ferienkurse Darmstadt Centre G. Pompidou - Gaudeamus Gouldbenkian Foundation Lisboa - WDR Cologne - New music Melbourne - ElektronFestival Stockholm - Festival de Geneve - Akiyoshidai Festival (Japan) - Teatro La Fenice Venezia - HuddersJield Festival Liverpool University - E.M.A.S. LondonTeatro alla Scala (Milano Musica '92). During 1983 and '84 he worked at electronic Studio oJ Freiburg (Germany) andJurtherly at GRM - Radio France Paris. In 1987 he Jounded in Milan The Studio ES, Jor production and diffusion of electro-acoustic and inJormatic music. In his recent works he dedicates himself to "research", both about the "Idea" and the new possibilities oJ electronic means, also in connection with traditional and more recent instruments.
To realize music with live electronics G. Giuliano works in collaboration with eminent soloists such as Arditti String Quartet, P. Y. Artaud, B. Mitchell, M. Galizia, N. Isherwood, the pianistic duo B. Canino A. Ballista, R. Heaton, E. Porta and many others specialized in the field oJ contemporary music.
He has given courses and seminars in Germany (teacher at Darmstadt lnternationale Ferienkurse 1988 and 1992), Italy (Bologna University - Dams), France (Paris), and recently in Japan (Tokyo - lrino Foundation, and Akiyoshidai Festival). He lives in Milan where, from 1984, he is professor of the high course oJ composition at Conservatory G. Verdi.
for F Tuba and live electronics
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