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The works [in String Quartets ] are delicate and create uneven sheens of sound; and they are entirely motive based, unfolding events rather than thematic tours. Kraig Lamper, The Newest Music ,. Maximalist because in their fulfillment, in contrast with respect to small fragments, it is possible to identify variability in these quartets, for colors, solutions and facilities, this is impressive! The Italian Osvaldo Coluccino was previously also a poet, now he composes music only.
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He has found himself. Fragments or hints to a former abundance are made in a concise manner. In "Attimo" Moment , a music for string quartet composed in , references to the modern classical Webern, and the last Nono are unmistakable, but this conscious, partial and rather narcissistic poverty which recognizes in the crucial moment of the emphasis, is peculiar and unyielding, sensitive and somehow also very concrete. Italian composer and poet, Osvaldo Coluccino [born , has written two named works for string quartet. Aoin for String Quartet was composed in and is in two movements.
These works have a sense of abstraction all of their own. Only by listening to them, will they reveal their secrets. There are two other pieces on the review CD. These are Eco Immobile — for piano quartet and Talea — for violin and cello. These are both fine, introspective and abstract works in the Modern style of the quartets.
The former is actually quite busy at times. Listenability: Very modern, but not noisy …. It appears above all evident how his compositional art never indulges in demonstrations of beautiful writing to privilege always and in any case the search for personal solutions with a strong expressionist characterization. These short pieces for eight different kinds of duos are not destined for the ears of those requiring their music to have tunes in it, nor indeed for those unwilling or unable to apply considerable concentration to their listening.
The works, all dating from the last decade, are each cut from similar cloth: they are concise, ethereal, viscous and virtuosic. Their meditative, generally fragmentary nature renders them also more or less inscrutable. We should not try to explain precisely the suggestion of this title, which is destined to remain open; but we have already mentioned what type of direction it alludes.
An artist that places no limits to his creativity, Coluccino has always pursued an ideal of research that is expressed in a thousand streams [ A very deep work, able to build on the forms of the too much schematic contemporary music.
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Altogether, Oltreorme is as successful as Atto and the two together form a well-matched pair. There can be no higher recommendation than that.
John Eyles, Osvaldo Coluccino: Oltreorme ,. When they surface, I bet they sound as natural as whatever else is going on wherever you are.
Nothing forced, nothing overly stressed, a fine willingness to withhold; reticent but not shy. The universe of Oltreorme is unstable, ghostly and beyond reality. A truly original experience based on unique textures.
Especially because of this distinction that fades between the abstract musical universe and the concrete surrounding universe. In addition to giving a musical life to non-musical objects, Coluccino erases — in a musical way — the distinction between sound projection and its concrete environment [ Massimo Ricci, Osvaldo Coluccino — Oltreorme ,.
At the same time genius with boundless imagination and meticulous craftsman. It is soft and subtle music.
It is also more delicate and quiet. Absolute mastery. Dusted Hoffman, Osvaldo Coluccino — Oltreorme ,. Rather, he does not play. No, he examines, shakes, sees what happens after that, seeks, finds or does not find, digs or abandons I would also like to say also that we must not look for what is the object, since this must be allowed to imagination that trots and galloping, to the disc that invites imagination Even more than the album that precedes it, here the objects require silence.
Even more than in the album that precedes it, Coluccino here reinvents concrete music by making it elusive. Even in the concrete, it is important to distinguish oneself. And Osvaldo Coluccino knew how to do it. If Reynell has focused on him there is to believe him and be intrigued! He has an idea and an aesthetic of silence, to which he clearly gave its meaning. He travels on the limit, for a long time he has devoted himself to more and more material compositions with acoustic objects that become music, moving the boundary line of his research a little further, a little beyond.
It is not by chance the title. After the declaration of intent contained in Atto. Oltreorme is almost impossible to grasp. We should see it realize, develop, materialize. Instead, Coluccino leaves it to our imagination, to the abyss created between the distance of the informal and concrete sounds that reach the ear and the objects and hands that created them. Francesca Odilia Bellino, Osvaldo Coluccino: beyondmusic, oltreorme, beyond.. The sounds used are mostly quite small; little squeaks, crashes and scrapes, some crunchily brittle, others colourfully tonal, and all recorded in a large resonant space but then distributed and sequenced with great care and a consistently sharp consideration of structure.
Instead he gives every sound the space to stand up for itself alongside its companions and allows them to build an often quite dramatic narrative that forms finely balanced compositions. And so to the last of the four recent releases from Another Timbre If you only counted four reviews here, I wrote about the Osvaldo Coluccino disc for the Wire. I say this every time I know, but this might again be my favourite batch of discs from AT yet, four beautiful discs each with a sense of real purpose. The label is firing on all cylinders right now.
Coluccino has not overcrowded the soundscape nor allowed any sound to linger for too long; there are no prolonged drones or barrages of sound. On occasion, two sounds are heard in parallel, but throughout, each component of the piece can be heard clearly and savored. Most were clearly recorded in a resonant space; they resound in ways that others achieve electronically rather than physically, giving the music presence and immediacy.
A breath pushes me, a screech indicates a direction, a hissing catches my attention. Everything seems to happen in the air, yes they are air currrent that I hear. But I ask too many questions, and I close my eyes. The objects of the Italian now turn around me, here I am surrounded, I keep my eyes closed.
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Thunder thunders, wheels spin, some materials tinkle, ring squeak Is polystyrene rubbed on my floor? And the imagination takes over. A hole appears, Coluccino and his objects are engulfed and I am the movement. By the force of things, by the force of objects.
osvaldo coluccino, official website: Critical fragments (English translations)
There are disc that, in addition to carrying you away, make you imagine things. This is the case of Atto. If the sound spaces drawn by these objects are undeniably original and creative, the fact remains that their contemplation requires an availability of whole spirit and a good hi-fi Atto really demands total attention and availability, so complete that it seemed to me too much austere or hermetic.
However, the richness of the textures and the creativity of this manipulator of objects will certainly be able to charme [ Not composition, not improvisation: just snapshots of states of mind, translated into substantial clatter and gentler cracks in a charged silence. Coluccino only uses objects, not instruments, to create his music. He is concerned about the sensation of creating sound, about the expressive act of it, about its impact beyond the known.
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