This anthology collects, among others, the pieces with which Vincenzo Sorrentino began his successful and prolific production of compositions for flute orchestra, commissioned by Joueurs de Flute, an ensemble led by Mariangela Biscia. Sorrentino met this group of young and gifted flutists in 2005; until 2008, it remained the only recipient, and, with Inno for Joueurs (2011), also the dedicatee, of the pieces in this CD, under the artistic supervision of Biscia herself. A warm and pleasant relationship blossomed on the occasion of the premiere of Flu-ten (2004) at the VIII Festival Italiano del Flauto (Italian Festival of the Flute), at the Auditorium Parco della Musica in Rome at the end of 2005. Soon after, the composer acquired the role of a reference figure for the Joueurs; in turn, the ensemble deserves the full credit for having presented his music at the prestigious NFA Convention in the United States of America. Not only are almost all of Sorrentino’s works for flute orchestra written exclusively for this ensemble; he also creates arrangements of works like La Ciarda by Vittorio Monti (2011), La Grande Polonaise by Theobald Boehm (2013), Le Merle Blanc by Eugène Damaré (2013), Soul Bossa Nova by Quincy Jones (2011) and medleys like Carosoniana (2011), Mission Medley (2012), Christmas Medley (2011) and Italian Medley (2011), all bearing the distinctive mark of his unmistakable style. These works, in fact, were composed with the aim of providing variety and novelty to listening experience of the audience, meeting their expectations on the occasion of the Joueurs’ concerts of national and international importance. On the other hand, they are also a sincere and affectionate tribute to musicians such as Ennio Morricone, to whom Sorrentino feels very close, or Pat Metheny. In A la manière de Pat, Sorrentino enjoys the possibility of translating and reworking the style of Metheny, an American guitarist and composer, through the use of classical formulas, with dense orchestration, often combined with classic counterpoint. In Sorrentino’s original compositions, from a stylistic point of view, one can always recognize the distinctive play with connections that requires agility and skill by all members of the orchestra. It is in fact from the synergy of the group that the individual parts gain personality and meaning; their interplay gives harmony and organicity to Sorrentino’s musical style.
Album Notes by Carla Sorrentino
Vincenzo Sorrentino: Inno for Joueurs (Works, Vol. 2: Chamber Music for Flute Orchestra)
