MAURIZIO GUERNIERI (b.1962): Missa simplex for Voices, String Orchestra and Piano, 3 Cantiones for Female Choir, Credo for Double Choir, ... A riveder le stelle for Chamber Orchestra, PIER PAOLO SCATTOLIN (b.1949): 3 Poikilíai for String Quartet (Quartetto Mirus), Riverberi for Electric Guitar (Walter Zanetti), In mezzo alla maggese for Chamber Chorus, Missa brevis for Mixed Choir, La pricipessa della cenere ovvero Cenerentola for Speaker, Treble, Alto, Soprano and Chamber Orchestra, ... Quando quello sciamano della luna... for Orchestra.
Catalogue Number: 01S042
Reference: TC 940091
Description: A curious, but not uncommon, artistic dynamic between teacher and pupil, in which the older composer is the more experimental, less concerned with a popular audience, and the younger more dedicated to direct communication with the listener. These loosely assembled works form a kind of dual composer portrait. Guernieri's choral works pay tribute to the traditions of sacred music from the past. The Mass is in a readily accessible, tonal vocabulary, an harmonically updated version of Baroque models. The Cantiones and Credo reach further back, to Renaissance and Mediæval polyphony and antiphonal choral textures, the blend of consonance and dissonance bringing together the archaic and the modern and appearing to bypass the centuries in between. The orchestral A riveder de stelle is an essay in similar sacred or philosophical mood, expressed in the abstract, without voices. The language is the tonality of the 20th century, with references to earlier styles. Scattolin, by contrast, explores the various vocabularies of modern music. Poikilìai (1982) is a brief work for string quartet in timbres and colors, while the much more recent Riverberi, far less dissonant, borrows gestures from the classical tradition and re-expresses them in the sonorities of the electric guitar. Comparison of the two composers' masses is interesting; Scattolin's is similarly liturgical in mood, but belongs in the continuum of choral composition, an unmistakably modern (though not modernistic) work, with only passing reference to earlier polyphony. The Cinderella piece has a dream-narration of the tale presented in the foreground of a neo-romantic orchestral accompaniment with references to Renaissance music, while the orchestral suite evokes an esoteric ritual (described in a poem by the composer) in a style that is a good deal less explicitly tonal than Guernieri's, though not so very far from, say, Bartók in places, and far from unapproachable. 2 CDs. LatinoBalcanica Ensemble, Pas de deux, Bologna Chamber Chorus, Euridice Chamber Chorus and Orchestra; Maurizio Guernieri and Pier Paolo Scattolin.