Review of Tempus Fugit past and future in the contemporary guitar music by Sergio Sorrentino (2012, Silta Records)
“Vita, si uti scias, longa est.” Life, if you know how to use it, it’s long, Seneca wrote in his De brevitate vitae, his philosophical reflections have crossed the time being always actual and source of inspirations for the human being, especially in an epoch suc this characterized by a life fragmented between thousand appointments and distractions.
Sergio Sorrentino is one who evidently knows well to manage his time: this in fact it is the fourth review that I publish on him this year and I have as the feeling that won’t be the last. This Tempus Fugit, produced by the label SiltaClassic, represents an effectiveness and interesting excursus on the grounds of the contemporary music, on the ten passages that compose the cd in fact the half is “world premiere recording”, while Sergio effectively manages among classical guitar, electric, beating guitar and Baroque guitar.
There are eight compositions, contained among two improvisations ImproPrelude and an ImproPostlude (already publish for the netlabel AlchEmistica), he starts with De Citharae Natura per chitarra sola by the same Sorrentino, winning passage to the Concorso Petrassi del Conservatorio Santa Cecilia in Rome) inspired to the deepest roots of the guitar and some verses by Pablo Neruda and Emily Dickinson. We continue with the first absolute recording of the CHAHACK (for guitar and tape) by Maurizio Pisati, a real, futuristic “hacking” raid on the Ciaccona by Bach and the Preludio ad una Serenata by Massimo Munari, passage with unmistakable contemporary stylistic characteristics but destined to an ancient instrument as the beating guitar to five choirs.
Consonancias y Redobles by Azio Corghi continues this tension between past and present conjugating the fragments of the vihuela by Luis Milan with the search in atonal grounds. Vjersh for beating guitar and tape by Ivano Morrone combines among them the electronic sounds of the magnetic tape with the popular and ancient taste of the beating guitar, here played in an unusual way like a percussion and with the violin’s bow. Fabio Cifariello Ciardi signs the Buleria a quattro, complex writing that unites the rhythms of the buleria with the Choral from the Cantata BWV 147 of Bach, while it comes from New York Sunrise from the Bottom of the Sea by Anrew McKenna Lee, a real dilated concert for electric guitar and tape inspired to the great Jimi Hendrix.
Serenata per un Satellite by Bruno Maderna draws to the typical thematics of the Sixty and Seventy, at those times a futuristic exaltation of the first attempts of spatial exploration and today perhaps sad comment for a desire that seems to have been forgotten by the human being.
Sergio Sorrentino confirms with this cd his dowries of curious, eclectic and innovative musician, each one of this ten passages introduces some interesting characteristics that make this record one of the most interesting among those released in 2012.