
Ciro Ferrigno: Quatuor a corders, pour la fin de l'humanité
Same composer
Da Vinci Edition
14.90€
Ciro Ferrigno
Composer, musician, music therapist, author of a large number of musical works that include ensembles of various kinds featured in publications and recordings. His works have been performed at the Italian Embassy in Berlin, the Circolo Artistico Politecnico di Napoli, the Real Teatro di San Carlo and the Fiati Festival Ferrandina. He has collaborated with many noted soloists and organizations such as: Fondazione San Carlo, Collegium Philarmonicum, US Naval Forces Band, B&B Audiofilm Roma, Italian Ministry of Education, Mediaset.
Quatuor à corde pour la fin de l’humanité
This piece is about the end of humankind, however it goes far beyond what is described in Messiaen's masterpiece. Ferrigno's work opens with a larghetto built on repeated dyads. The key of E minor and the use of counterpoint create a steady flow between the parts, as if expressing the temporariness of human life. The spiralling force of the third section (presto) suggests the feeling of being trapped, with no way out. Death is all that is left and it completely envelops humankind.
Organ Variations on an Afterlife Theme by Ciro Ferrigno comprises an Adagio theme and two variations, marked Maestoso e scorrevole and Moderato. The score credits the world premiere and revision to Olga Laudonia, Vairano Patenora, Caserta, 8 March 2022. Introduction Ciro Ferrigno’s music is a continually evolving work that emerges from the distinct qualities of sound, utilizing the harmonics that form its counterpoint-based structure and tone. The selection of instruments and musicians showcased in the record is strategic, due to the artistic and professional talent of the performers. Ferrigno contemplates…
Organ Variations on an Afterlife Theme by Ciro Ferrigno comprises an Adagio theme and two variations, marked Maestoso e scorrevole and Moderato. The score credits the world premiere and revision to Olga Laudonia, Vairano Patenora, Caserta, 8 March 2022.
Ciro Ferrigno’s music is a continually evolving work that emerges from the distinct qualities of sound, utilizing the harmonics that form its counterpoint-based structure and tone. The selection of instruments and musicians showcased in the record is strategic, due to the artistic and professional talent of the performers. Ferrigno contemplates sound in its structural form, but he doesn’t overlook its expressive aspects. In fact, he studied with Luciano Chailly, a highly communicative composer, and is also a Music Therapist. As a result, his structuralism has a narrative quality and features references to existential themes, such as in the Quatuor à corde pour la fin de l’humanité, dedicated to J. Assange. At times, his music possesses a song-like quality, while at other times, Ferrigno is guided by history and personal memories to rediscover forms and styles. There’s no doubt that his originality is a precious gift in an era of widespread conformity. It arises not from mannerism, but from personal poetics and beliefs. True art must demonstrate that creativity is not a mere extravagance, but an essential condition for discovering the truth. This is what Ferrigno seeks in his musical journey.
Renzo Cresti
Ciro Ferrigno: Composer, musician, music therapist, and creator of numerous musical works that encompass various ensembles featured in publications and recordings. His compositions have been performed at the Italian Embassy in Berlin, Circolo Artistico Politecnico di Napoli, Real Teatro di San Carlo, and Fiati Festival Ferrandina. He has collaborated with many renowned soloists and organizations such as Fondazione San Carlo, Collegium Philarmonicum, US Naval Forces Band, B&B Audiofilm Roma, Italian Ministry of Education, and Mediaset.
Theme Adagio is a solemn and majestic theme for pipe organ taking the listener into a journey of heroic resistance, where personal choices and beliefs are fully embraced and lived until the end.
The first Variation (Maestoso e Scorrevole) has an impulsive rhythmic structure and communicates perfectly the tragedy of the event. The reprise of the theme is intimate and perfectly preludes to the following variation. The key of D minor is utterly superlative.
The second variation is a diaphanous Moderato, with register-crossing ties. The ensuing sound rarefaction is both evocative and disorienting.

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