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Grazie molte Joel!

Hello Casimir, the electronic part is sold with the score (Edition Peters) as a link from which to download.

@@ensembleCodec thank you 🙏

@@ensembleCodec by chance do you happen to know what kind of synthesis were those electronic sounds were made?

@@casimirliberski in this Synchronisms he used only Sampling synthesis. Electronics is basically the modification of pre-recorded guitar sounds. There is a short but comprehensive article I refer you to about that: elizabethharpist.com/a-change-of-harp-2/past-shows/10-synchronisms/a-note-on-mario-davidovskys-space-farbenmelodien/

... and if you want to learn more, I recommend Daniel Lippel's phd thesis! danlippel.com/site/assets/files/1159/davidovskydissertation2006o.pdf

Grazie, Paolo!

Si, questo brano è davvero una perla. (Stefano)

That's the reason!

Seems an old single by Snoop Dogg. Maybe a source of inspiration for the piece? Who knows (Leonardo)

Thanks a lot, Jean-Baptiste!

Thank you very much to you for your comment Daniel!

Grazie, Nicolò! (Leonardo)

Ti ringrazio, France! (Leonardo)

Thank you so much for your comment John. From my point of view we must always evaluate art in a philological and rigorously historical way. In the 200 years of distance between the repertoires you compare, musical eras have passed ... the music of the second half of the twentieth century was born from the rubble caused by the structures of Boulez, a work with catastrophic historical results! From my current point of view, the foundations of the language used are not important but the level of articulation and freedom of expression that is reached in expressing it to the maximum. In this sense Babbitt has reached extreme heights and could not have done so in other 'systems'. [Stefano]

@@ensembleCodec Well, I can't speak to the catastrophic historical results of Boulez. I'd like to hear more of what you mean by that...and why his musical structures or their aftermath were viewed as catastrophic...to my ear Babbitt's music (this piece and the other few I've head don't seem expressive to the maximum...I'm not sure what is being expressed in this particular piece. It seemed to me not to even confront or question it's own iterations.

@@johnpcomposer What I mean is that those were the years when science explicitly began to 'appropriate' research in the field of musical complexity, wich was taken beyond the level of our understanding by the extreme integral application of serialism. Babbitt succeeded in constructing a mathematical language (I know he would not like this definition!) capable of making serialism and tonality dialogue, with very important expressive results. I think it is important to start from this assumption to move towards any position. [Stefano]

@@ensembleCodec Fair enough. I can listen to Babbitt on those terms...science or mathematics (any theoretical foundation for art) is best as a way of describing what perhaps we are hearing...for example the fact that we know the exact ratios between pitches helps explain just intonation, while the technology of electronic music may be used to create microtonal music more easily--bringing to life full orchestral effects (digitally) without recourse to equal temperament...but that is different than imposing science, mathematical certainties, equations or formulas on what must in the end be an expressive endeavor. I would have to listen to more of Babbitt to see if I felt he was successful in creating this dialogue you speak of...it is possible to argue that Babbitt took music into an increasingly obscure and inscrutable direction. I''m not sure he made matters better by treating music as a mathematical discipline. There were already a number of composers who showed that it was possible to incorporate elements of tonality into serialism and vice versa, and many who eschewed serialism (like Robert Simpson) and showed that there were still possibilities to explore in tonal music.

@@johnpcomposer I agree, no one can know if things have improved or not - I think it is probably wrong to ask this question in art - but the path opened by these experiences has been fundamental to establish an 'explicit' relationship between calculation and musical writing. Maybe one day not too far away, when we will be overwhelmed by compositional artificial intelligences (I would say in 10 years at the most!) We'll feel the desire to start again from Babbitt... or from Cantus Firmus! 🙂 [Stefano]

Beyond the generalization I am about to make, I believe that everyone has a different 'relationship' with the music of the second half of the XX century, but in any case it is something powerful, attractive or repulsive. Thank you very much for your comment Mark, also very much appreciated for your ‘position’! [Stefano]

Thank you so much for your comment. The score is only available from his official site: www.stefanoscodanibbio.com/compositions.htm

@@ensembleCodec Thank you! I will contact them again!

@@aliyazdanfarbass you're welcome. Yes you have to write an email to place an order to Maresa (Scodanibbio's wife).

Grazie Gian Paolo!

Thank you very much!

Thank you so much Carlos!

Grazie a te per il commento Pierluigi. Si, Busoni è un personaggio davvero incredibile; racchiuderlo nelle sole vesti del virtuoso è un errore imperdonabile, ha avuto delle intuizioni incredibili in moltissimi campi teorici della musica. Diverse sue idee sono alla base dell'atteggiamento estetico di questo ensemble, per cui ne siamo molto legati!

Grazie Gian Paolo!

Ciao Lorenzo, la partitura è edita da Semar, purtroppo a un prezzo non proprio accessibilissimo. Puoi raggiungerla da qui: semar.org/composers.html

@@ensembleCodec Grazie ma vedo che sul sito è impossibile acquistare direttamente. Forse non sono più in attività?

Ah! Scrivimi una mail se vuoi, sarò felice di aiutarti in qualche modo. Trovi il contatto in fondo a questa pagina: www.stefanoalessandretti.eu/

e a cosa ti sere la partitura ?...Butta la mani ab capocchiam sulla tastiera e vedi che non potrà risultare una cacofonia diversa da questa....è cacofonia...L'atonale come lo scarabocchio nell''arte non è nato dalla libera ricerc degli artisti.. Ma è stato calato dall'alto..come moda ..dai soliti noti--Le mafie RTSHLD e con uno scopo ben preciso di sabotaggio della magia e della bellezza nelle arti..Perchè eleva gli spiriti \\\ e chi non aderiva era tagliato fuori dai circuiti importanti....Per tale ragione vi hanno aderito grandi spiriti della musica sinfonica nel 900...Ma di quei grandi geni come Mahler o stravinskij resteranno solo le musiche create sulla armonia tonale..E nulla resterà delle ruoristiche che hano fatto da un certo punto in poi...E voi che esaltate questa cacofinia siete tutti falsi...Siete la bella compagnia degli ipocriti che colgono al volo l'occasione di apparire cultori di cose superiori...Quelle che la gente ordinaria non puo capire......Io ho terrore di pesone così false...Questa musica è solo rumoristica e lo potrei dimosrare in 100 esperimenti....Presentando 10 composizioni simili fatte da me ab capocchiam come fanno loro.....mischiate a 100 fatte da rumoristi contemporanei come questo compositore qui nel video. ovviamente tutte presentate in forma anonima.. ..Alla fine ..si andrebbe in giro per la platea a verificare se gli spettatori sono capaci di individuare quali sono le 10 fatte da me..Sai che risate..Ho fatto molte volte nella vita questi esperimenti --per sputtanare tanti saputelli. ..Che mondo di allucinati...Allucinati che sbarrano la strada ai talenti veri

Thank you so much for your wonderful comment Mike!

@@ensembleCodec One of the truths of this world are that there are all sorts of little corners of wonder and beauty that not many people know about. Your playing of this piece is one such corner. This is just how our world is!

@@mikewespel-rose9259 Now we are moved!

Thank you so much! Yes it's challenging from many points of view.

Okay

@@themoonfleesthroughclouds Hiiiii

@@toucc9638 nya

Thank you for your comment ‘toothless toe’. For the subjective part of the comment, we respect your opinions which we accept with pleasure! For the objective one instead, we must answer that you are wrong. The piano is perfectly tuned. For our solo piano productions we use a master tune of 436 Hz and a 'jazz-oriented tuning’… the thirds are slightly closed while the fifths are slightly open. Probably your perception was deceived by the resonances, beats (battimenti) and the recording techniques we use for this work.

@@ensembleCodec That almost sounds like the perfect excuse for an incompetent tune-job. I think I'll have to use that argument for the next time someone criticizes the tuning of _my_ piano.

Dear 'toothless toe', this is a trivial provocation that I honestly would not expect from a listener of this music (which I assume is cultured), rather from those who have no idea what we are talking about. Each piece we record is interpreted from all points of view, not least the technical and technological one: choice of microphones, converters, preamplifiers, recording technique, tuning, etc. It is an aesthetic attitude that is impossible to pursue with continuity in the 'normal' logic of musical productions and labels and which represents one of the foundations of this ensemble. Our choices can obviously be shared or not, but they are the result of the decisions of those who know what they do and why they do it. I invite you to equip yourself with a listening that is adequate to the music you intend to comment on and to ask yourself questions rather than launch sentences. If you want to discuss any musical, technical or technological aspect with us, we will be happy to respond to your comments, otherwise we will regretfully ignore any other provocation you may have. (Stefano Alessandretti, artistic director)

@@ensembleCodec That's a-okay. I'll "regretfully ignore" any further productions from this ensemble and "relegate" myself to listening to in-tune pianos, thank you.

@@ensembleCodec Tunning to A=436Hz is ok, but, changing the ratios of thirds and fifths? What's the point?

:-)

Thank you very much Tiago! I'll write to you by mail where to find this score (Stefano).

e a cosa ti sere la partitura ?...Butta la mani a casaccio sulla tastiera e vedi che non potrà risultare una cacofonia diversa da questa....è cacofonia...L'atonale come lo scarabocchio nell''arte non è nato dalla libera ricerc degli artisti.. Ma è stato calato dall'alto..come moda ..dai soliti noti--Le mafie RTSHLD e con uno scopo ben preciso di sabotaggio della magia e della bellezza nelle arti..Perchè eleva gli spiriti \\\ e chi non aderiva era tagliato fuori dai circuiti importanti....Per tale ragione vi hanno aderito grandi spiriti della musica sinfonica nel 900...Ma di quei grandi geni come Mahler o stravinskij resteranno solo le musiche create sulla armonia tonale..E nulla resterà delle ruoristiche che hano fatto da un certo punto in poi...E voi che esaltate questa cacofinia siete tutti falsi...Siete la bella compagnia degli ipocriti che colgono al volo l'occasione di apparire cultori di cose superiori...Quelle che la gente ordinaria non puo capire......Io ho terrore di pesone così false...Questa musica è solo rumoristica e lo potrei dimosrare in 100 esperimenti....Presentando 10 composizioni simili fatte da me ab capocchiam come fanno loro.....mischiate a 100 fatte da rumoristi contemporanei come questo compositore qui nel video. ovviamente tutte presentate in forma anonima.. ..Alla fine ..si andrebbe in giro per la platea a verificare se gli spettatori sono capaci di individuare quali sono le 10 fatte da me..Sai che risate..Ho fatto molte volte nella vita questi esperimenti --per sputtanare tanti saputelli. ..Che mondo di allucinati...Allucinati che sbarrano la strada ai talenti veri

Thank you Lucas!

'Composition for guitar' is published by Edition Peters. You can find it in many stores, here are some examples: www.stretta-music.com/en/babbitt-composition-for-guitar-1984-nr-244509.html www.sheetmusicplus.com/title/composition-for-guitar-sheet-music/1048621 www.tfront.com/p-14914-composition-for-guitar-1984.aspx www.boosey.com/shop/prod/Babbitt-Milton-Composition-for-Guitar/722834

Outstanding performance. Bravo!

Thank you so much!

Yo la tengo en pdf...

Thank you very much Claudio Merlet! You can find "Voyage..." and many other scores by Scodanibbio directly from his site: www.stefanoscodanibbio.com/compositions.htm

... just place an order by mail!

@@ensembleCodec I already tried there but it is not available.

Grazie!!

Grazie di cuore Daniele, siamo onorati del tuo commento!

Heartfelt thanks!

Thank you!

Thank you so much!

@@ensembleCodec seriously, this is incredible. I've watched it several times. Thank you

Really thank you so much! :-) This piece by Stefano Scodanibbio has a great meaning for us and we are really proud of this production. It took several months of study on every aspect - including that of sound performance and recording - but finally we are convinced that it best represents the aesthetics of our ensemble.

:-)