Werner Heider SEPTEMPBER-WEGE (Ein musikalisches Tagebich) 1.- 7. f...

I welcome autumn with a piece by Werner Heider, a German composer born in 1930.

A musical diary. A few lines to express moods, points of view, experiences.

The bassoon is the instrument Heider uses to write the first seven days of this particular diary of September, followed by the harp, the tuba and finally the accordion. The bassoon part, written in 1989, was performed for the first time at the “Festival des Hörens” on 22 September 1990 by Karsten Nagel, bassoon teacher at the Leopold Mozart Centre at the University of Augsburg.

The seven movements have the following titles:

 1. Schritte          Steps

2. Stimmungen  Moods

3. Standpunkte  Points of view

4. Übermut       Cheekiness

5. Situationen    Situations

6. Erfahrungen Experience

7. Einsichten    Insights

 

Danilo Zaffaroni A SUMMER FUNK for bassoon and piano

I bid farewell to summer with Danilo Zaffaroni's latest work, A SUMMER FUNK for bassoon and piano. A piece with a driving rhythm that perfectly captures the energy that permeates this eternally youthful season.

Sergio Romani CAPRICCIO FANTASTICO n.7 Michele Colombo Bassoon

Michele Colombo SHANTI

Composed at Mulino OhmShanti, this short piece contains the ‘Shanti’ (peace, tranquillity, inner imperturbability given by the absence of mental disturbances) that the Guru invokes in his prayer of gratitude to the One who is All.

Beyond the boundaries of our reality lies the Immense, where we are dissolving clouds.

Where, if not burdened by storms, our Essence will find tranquillity.

John Cage FOR SERGIO for bassoon World Premiere Michele Colombo Bassoon

The piece I am proposing is an unpublished work by John Cage.

It is dedicated to the bassoonist Sergio Romani, at the time bassoonist at the Teatro dell'Opera in Rome, who has jealously preserved it for all these years.

It was presumably given to Sergio Romani in November or December 1973 when J. Cage was in Rome to attend the performance of his “Exercise”. Probably impressed by Sergio's skill and friendliness, he did not hesitate to grant his request for an autograph, enriching it with a very short, impromptu composition. Among the various possible interpretations, I decided to perform it as follows.

A single line of the stave defines a boundary around which the composition develops.

The pitches and tempo have no defined codification.

The piece has only two real notes, which spell out the name of the dedicatee: Ser-gio. Around these “concrete” notes develops a halo of fluid sounds, an intangible reality that composes the inconsistency of the etheric world that envelops matter. 

I have defined the symbols in the following rule. O : breath ●: slap.

I am honoured to perform this “sound autograph” for the first time, dedicated to the late Sergio Romani, who made a valuable contribution to music with flair, humility and great professionalism.