Ugoletti: Saxophone and Piano Concerto, Violin Concerto, Trombone Concerto Ferdinando Nazzaro

• 1 I. First Movement 09:36
• 2 II. Second Movement Lied 05:50
• 3 III. Third Movement 09:09
• 4 I. First Movement 09:53
• 5 II. Second Movement 08:27
• 6 III. Third Movement 06:48
• 7 I. First Movement 10:12
• 8 II. Second Movement 03:30
• 9 III. Third Movement 06:30
• Total Runtime 01:09:55

Info for Ugoletti: Saxophone and Piano Concerto, Violin Concerto, Trombone Concerto

There is something mysterious about the roots of the three new Concertos composed by Paolo Ugoletti. For while they pulsate with vital energy and draw the listener into their inner world, their deeper origins remain somewhat elusive, even to the expert ear. What the composer has committed to paper revolves around derivation and division, the germination and breaking down of a pre-existing idea that leaves its mark on the stave in minimal terms. The compositional development, the growth of form and the endless layering are like a burgeoning plant, yet the initial nucleus remains obstinately hidden.

In some respects these are variations without a theme. Another characteristic of Ugoletti’s work is the way everything seems to move, progress, stride ahead. Nothing is static, and there are no xed platforms or horizons that suggest a future event. Neither are there indications of stillness or intrinsic completion; each sound heads outwards, in our direction. What’s more, despite appearances, the extreme rigour of the musical text is hidden by abundance. What comes across as sensual has rst been radically pruned, so that what reaches us are bold, resolute sounds (“Concerto festivo” is the subtitle of the piece for trombone) that express the simple, direct joy typical of the energy of childhood (Picasso, Stravinsky and John Adams also come to mind).

This is music that does not contemplate prudence. It consists in a theatre of sounds, narration and ashes of the imagination. The mixture of fable and history, fantasy and method has something in common with the witting folly of the Baroque universe, the magical union of creativity and harmony, of endeavour and invention. Serried groups of notes, rapid developments, the skilful handling of chiaroscuro and snatched phrases that follow one after the other all contribute to the build-up of effects that culminate in wittingly rhetorical climaxes.

Gianni Alberti, saxophone
Jozsef Örmeny, piano
Marko Komonko, violin
Serhiy Katsaval, trombone
Strings of the Lviv Philharmonic Orchestra
Ferdinando Nazzaro, conductor
Liliya Hratylo, concertmaster

No biography found.

Booklet for Ugoletti: Saxophone and Piano Concerto, Violin Concerto, Trombone Concerto