SONATA 2050, cello+piano
Composed in 2016, Sonata 2050 has a different concept of modernity. As in trance, I turned to the past, to what could gravitate around itself, for the first movement I took what remains today of a Sonata op 64 by Beethoven - the ancient Artaria edition delivers only the exposure of the first movement, the rest has been lost, even if it survives (but is really the same piece?) in the string Trio n. 1 op. 3 - and, in my own way, I carry on the development by letting each element mirror with himself and with his opposite image, continuing, for the second movement, with a new fragment by Beethoven and taken from the precious Biamonti catalogue, which I consult since I was a child, and on which I had already worked in Australia. The piece consists of two totally opposite magnetic poles. The third movement enters into detail of a couple of measures of Prelude 998 for Lute by Bach, measures that I wanted long to live like a house, entering into it, exploring them. I realized only after that 2050 – the date I had indicated at random – is will be Bach anniversary.
CELLO + PIANO
Total timing 17:00
Composed in 2016, Sonata 2050 has a different concept of modernity. As in trance, I turned to the past, to what could gravitate around itself, for the first movement I took what remains today of a Sonata op 64 by Beethoven - the ancient Artaria edition delivers only the exposure of the first movement, the rest has been lost, even if it survives (but is really the same piece?) in the string Trio n. 1 op. 3 - and, in my own way, I carry on the development by letting each element mirror with himself and with his opposite image, continuing, for the second movement, with a new fragment by Beethoven and taken from the precious Biamonti catalogue, which I consult since I was a child, and on which I had already worked in Australia. The piece consists of two totally opposite magnetic poles. The third movement enters into detail of a couple of measures of Prelude 998 for Lute by Bach, measures that I wanted long to live like a house, entering into it, exploring them. I realized only after that 2050 – the date I had indicated at random – is will be Bach anniversary.
CELLO + PIANO
Total timing 17:00
Composed in 2016, Sonata 2050 has a different concept of modernity. As in trance, I turned to the past, to what could gravitate around itself, for the first movement I took what remains today of a Sonata op 64 by Beethoven - the ancient Artaria edition delivers only the exposure of the first movement, the rest has been lost, even if it survives (but is really the same piece?) in the string Trio n. 1 op. 3 - and, in my own way, I carry on the development by letting each element mirror with himself and with his opposite image, continuing, for the second movement, with a new fragment by Beethoven and taken from the precious Biamonti catalogue, which I consult since I was a child, and on which I had already worked in Australia. The piece consists of two totally opposite magnetic poles. The third movement enters into detail of a couple of measures of Prelude 998 for Lute by Bach, measures that I wanted long to live like a house, entering into it, exploring them. I realized only after that 2050 – the date I had indicated at random – is will be Bach anniversary.
CELLO + PIANO
Total timing 17:00