Artist(s): Trio Tiberini – Malerba – Corrado
The composers of the works on this CD use the glass and do things with water. They believe that an author does not necessarily have to exercise his will on the elements of language in order to confirm his individuality. They consider the language as a piece of information convention) and act on the objects combining them in the most original way possible, and conforming to their individual personalities as well. They drink water, break the glass, play it, fill it with earth, use it to water a flower pot that miraculously appeared at their side.
The memory of the twentieth-century classicism seems to be the basis of Federico Biscione’s music, even if it never reaches a neoclassical style. The confidence in the continuity (not to be confused with nostalgia) becomes a fluid narrative that emanates a genuine Italian sense of the beauty of the melody and clarity of the presentation, even if it represents more a contrasted classicism than an Apollonian beauty. Alberto Cara’s style does not disdain the musical contamination, but it is very obvious that he does not want to reduce everything to a mere citation. The irony is connatural to his music, always deliberately expressive and open to a dreamlike and paradoxical daily epic story. If Biscione and Cara could be considered neo-humanist composers, the uneasiness and painful condition that can only take shelter in the redeeming dimension of nature is at the center of the almost neo-pagan conception in Paolo Coggiola’s music. His naturalism is far away from the cold musical studies, for example, of the French style. The depth of the abyss or the force of the winds is an impressive screen on which to project the turbulent feeling of a contemporary ego. […]
Alberto Cara, was born in Tivoli in 1975. He completed his piano studies with Eugenio Tani, Riccardo Risaliti, and Boris Petrushanskij, and composition with Federico Biscione, Alessandro Cusatelli, Marco Tutino, and Luis Bacalov. He composed symphonic, chamber and operatic works. In 2007, he wrote Il colore di Cenerentola, fiaba metropolitana in quattro scene on the invitation of Marco Tutino. The opera was co-produced by Turin’s Teatro Regio and Bologna’s Teatro Comunale, and premiered at the Piccolo Regio Laboratorio (Turin) and L’Altrocomunale (Bologna) during the 2007 - 2008 Music Season. The year 2009 has seen the birth of Gli occhi colore del vino, a monologue for actor and seven instruments on his own libretto, freely adapted from the 10th Book of Homer’s Odyssey and first performed by I Pomeriggi Musicali di Milano Ensemble. His chamber and symphonic works have been performed in Italy as well as abroad in important seasons like: Pomeriggi Musicali di Milano, Orchestra da Camera Fiorentina, Orchestra sinfonica di Sanremo, Teatro dell’Opera Giocosa di Savona, and Festival such as: Brinkhall summer fest (Turku – Finlandia), Festival Gaulianus (Gozo – Malta), Società di concerti “G.Barattelli” (L’Aquila), Rive Gauche (Torino), Rebus - Occhio al nuovo (Milano), International Saxophone Stage (Fermo). Active arranger/orchestrator, he re-orchestrated and adapted famous operas for As.Li.Co. - Teatro Sociale di Como (Lyric Association of Como) to meet the needs of the theater, as well as other regional venues. This work has resulted in the adaptation of Englebert Humperdinck’s Hänsel und Gretel in 2009 (reduction of the original score and metric revision of libretto), Mozart’s Don Giovanni (reduction), and Verdi’s Nabucco, a 2010 co-production of Teatro Sociale di Como and Teatro Regio di Torino, and more recently Verdi’s Aida. In 2013, the Italian Publisher Casa Musicale Sonzogno has commissioned the revision and re-orchestration of Maria di Venosa, a dramma musicale by Francesco D’Avalos for the Festival della Valle d’Itria 40th Anniversary in Martina Franca. In 2018, he published the CD “Symphonic Works” with I Pomeriggi Musicali (Da Vinci Classics).
Federico Biscione seeks in his music to interact with the audience advancing the state-of-the-art: his musical language moves within a free-tonal environment which appeals to contemporaneity and tradition equally. He was born in Tivoli in 1965 and obtained degrees in piano, composition and orchestral conducting at the Conservatory A. Casella in L'Aquila. From 2001 to 2005 he composed music for Turin’s Regio Teatro and Parco della Musica in Rome. He collaborated with the orchestra I Pomeriggi Musicali in Milan (Dalla soffitta for orchestra, Mozart Today 2005 National Competition First Prizes) and Milano Classica Chamber Orchestra. He has also transcribed and adapted several pieces by other composers, including a new version for seven instruments of Mozart’s Die Zauberflöte, performed at the Turin’s Regio Teatro in 2006, and a version for string orchestra of Dvorák’s Four Popular Songs op. 73 for the I Pomeriggi Musicali in 2005. At the same time, he wrote and performed at Turin’s Regio Teatro the ballet in 1 act Il Pifferaio Magico, published in 2018 by Da Vinci Classics. Between 2005 and 2007, Biscione lived in Leipzig, where he composed various pieces: Verkündigung for soprano and trio performed in the Thomaskirche and Mozart. Eine Biographie, Windmühlen, both commissioned by the Robert Schumann-Philharmonie (Chemnitz) for the celebrations of the 250th anniversary of Mozart’s birth. The German public radio station Mitteldeutscher Rundfunk (MDR) dedicated an hour-long program to his music, including interviews and highlights from his works. In the same period, he attended the class of composition at the Felix Mendelssohn-Bartholdy Hochschulein for one year. At the end of 2009, Biscione moved to Milan and became teacher of composition at the Conservatory Niccolò Piccinni in Bari.
Paolo Coggiola was born in Milan in 1967. He studied with Bruno Bettinelli, Franco Donatoni and Paolo Vaglieri, graduating in composition, choral music and choir direction, as well as graduated in law. He was the winner of the 2 Agosto International Competition in Bologna. His compositions were performed by Arena di Verona Orchestra, I Pomeriggi Musicali, Emilia Romagna Symphonic Orchestra Arturo Toscanini, European Symphony Orchestra, Sentieri Selvaggi at International Art Gallery of Montepulciano, Teatro alla Scala in Milano and into the Bang on a Can Marathon in New York. He wrote two monographs on Franz Schubert and Claude Debussy published both by Skira-Corriere della Sera. In addition for Sonzogno he has published a book about compositional techniques, The Abacus and the Rose. His extensive catalogue of compositions is published by Casa Musicale Sonzogno and Preludio Edizioni. He teaches composition at Civica Scuola di Musica Claudio Abbado (Milano).