Fedele: Phasing / Orvieto, Bellocchio, Richelli, Beneventi, Savron
In Ivan Fedele’s long, rich artistic career of (this catalogue opens in 1980 and since then has added more than 160 titles) it is not possible to distinguish true phases. We do not know periods in which his creative interest has been concentrated predominantly, still less exclusively, on a linguistic context or a specific instrumental ensemble. We can perhaps consider as exceptions the extraordinary flowering of concertante pieces between 1996 and 1999, or that of orchestral works in the last few years, mostly concentrated in two series of pieces entitled Lexikon and Syntax. Otherwise, it has been a continuous intertwining of forms and formations, the physical substances that from time to time have best responded to the results of Fedele’s uninterrupted research. However, it is true that in the last four years (starting from 2012) he has developed a “feeling” (as the composer himself described it) for percussion, which is accompanied by a renewed interest in the piano (above all in the more complex two-piano structure) and a new, intense flowering of his never neglected “electronic” vein. This CD testifies to this absolutely contemporary vein of Ivan Fedele.
Description
In Ivan Fedele’s long, rich artistic career of (this catalogue opens in 1980 and since then has added more than 160 titles) it is not possible to distinguish true phases. We do not know periods in which his creative interest has been concentrated predominantly, still less exclusively, on a linguistic context or a specific instrumental ensemble. We can perhaps consider as exceptions the extraordinary flowering of concertante pieces between 1996 and 1999, or that of orchestral works in the last few years, mostly concentrated in two series of pieces entitled Lexikon and Syntax. Otherwise, it has been a continuous intertwining of forms and formations, the physical substances that from time to time have best responded to the results of Fedele’s uninterrupted research. However, it is true that in the last four years (starting from 2012) he has developed a “feeling” (as the composer himself described it) for percussion, which is accompanied by a renewed interest in the piano (above all in the more complex two-piano structure) and a new, intense flowering of his never neglected “electronic” vein. This CD testifies to this absolutely contemporary vein of Ivan Fedele.
