Agosto 2015

Arne Nordheim (1931-2010, NOR): Flashing

Nordheim’s music is meant to be very playful. His Flashing, originally the cadenza of his concerto for accordion and orchestra (Spur), became eventually his most famous work for accordion. The whole composition is based on a very frisky idea: the bouncing of a little ball. Nordheim discovered the stereophonic character of the accordion, from whose […]

Salvatore Sciarrino (*1947, ITA): Vagabonde blu (1998)

A very important page of the contemporary accordion literature, “Vagabonde blu” is a mirror of the aesthetics of the famous Italian composer: research of the noise brought to an extreme sensitiveness, dynamics rarely louder than a “piano”. It shows the physicality of the accordion as an instrument that breath like a lung, sighs and blow

I. Stravinsky (1882-1971, RUS): The Rite of the Spring (Dance of the Young Girls)

One of the most spectacular pages written by the Russian composer, characterized by a repetitive stamping bitonal chords combination, which Stravinsky considered the focal point of the entire work. The rhythm of the stamping is disturbed by Stravinsky’s constant shifting of the accent, on and off the beat, before the dance ends in a collapse,

Chris Gendall (*1980, ZEL): Incident, Opera in one act (2012-14)

Synopsis: In 1943, 48 Japanese Prisoners of War were killed in Featherston, New Zealand, after an incident from cross-cultural confusion and miscommunication. All events surrounding the incident were kept secret until well after the war had finished: the Prisoner-of-War camp’s existence was hidden from the New Zealand public, and the official military report on the

Bent Sørensen (*1958, DAN): Looking on Darkness (2000)

Bent Sørensen, one of the most frequently performed contemporary Scandinavian composers, has taken the title, ‘Looking on Darkness’, from Shakespeare’s Sonnet No 27. The thematic and intellectually clearly constructed form in which the inherent emotion is centrally placed, and which characterizes the sonnet, also forms the basis of Sørensen’s composition. After a long day’s work

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