Changes Chances by Elena Càsoli, 2006, Stradivarius
1. Changes (1983) – CARTER Elliot – (1908 2012) – New York – USA
2. Four6 (1992) – CAGE John – (1912-1992) – USA
3. Ascencion (1993) – RILEY Terry – (1935) – Colfax – STATI UNITI
4. Barabas (1995) – RILEY Terry – (1935) – Colfax – STATI UNITI
5. Piedad (1995) – RILEY Terry – (1935) – Colfax – STATI UNITI
After the beautiful debut on Stradivarius with the record “StrongStrangeStrings” Elena Càsoli returns with this “Changes Chances”, an ideal follow-up, to confirming her exceptional skills as a guitarist and performer, this time made available to “three American composers who I only met once but whose workI listened to a great deal before and after I met them. And each of those composers provided me with their own illuminating guidance through what is now known as New Music.”
The cd starts listening to Elliott Carter “Changes”, made with the Fritz Ober guitar. An extremely energetic piece, with a complex, tense rhythmic texture that leaves no room for a loose of tension and attention.
Cage’s score is the least “guitar” piece of the CD, but at the same time it is the one in which Elena Càsoli has used her whole “arsenal” of guitars. The piece “for every instrument or way of producing sounds” is composed of four distinct parts: each interpreter chooses 12 sounds and then executes the piece placing every sound object in precise temporal areas, the composer practically controls the duration and moment of the appearance of the sounds, while their nature is left to the interpreters. It comes out a dilated piece, almost in suspension that grows through the listening, this is not an easy piece and can be unsettling for those approaching Cage’s ideas for the first time.
The CD is closed by the sounds and the colors of Casoli’s Panormo guitar, with the three music by Terry Riley, which will surprise those accustomed to the minimalist works of the American composer: these three tracks belonging to a cycle of more than 20 pieces for guitar called Book of Abbeyozzud , composed for his son Gyan and premiered and recorded by David Tanenbaum in 1999. These pieces sound strangely “Spanish”, Iberian, so far from the often hypnotic, dreamy and minimal sounds typical of Riley. The repeated listening, however, highlights a musical richness made up of intertwining, compositional solutions, almost counterpoints that range freely and “smell” of jazz, minimalism, Indian music, folk reflecting the whole musical background of their composer. Extremely accurate and precise recording.