“Là dove ‘l sì suona”, the imaginary collection of Vincenzo Saldarelli, Ema Records 2022 on #neuguitars #blog #VincenzoSaldarelli
LÀ DOVE ’L SÌ SUONA – Vincenzo Saldarelli – EMA Vinci store
Maestro Vincenzo Saladarelli returns, after the good experience of “Appunti di Viaggio sulla chitarra del XX Secolo” (Guitart 2013), with a new double CD record production for EMA Vinci, right at the end of 2022. A double CD that resembles a true musical collection of scores, thoughts, reflections, where these mental objects are represented by musical pieces by Goffredo Petrassi, Giacomo Manzoni, Francesco Pennisi, Andrea Talmelli, Alvaro Company, Sylvano Bussotti and by Saldarelli himself, interpreted by the Maestro and by other musicians such as violinists Patrizia Bettotti and Michelle Cortés, guitarists Giorgio Albiani, Flavio Borelli, Flavio Cucchi, Ganesh Del Vescovo, Matteo Murari, Giovanni Panciroli and Adriano Pepe.
CD 1
SYLVANO BUSSOTTI Ultima rara (pop song) – Vincenzo Saldarelli chitarra e voce recitante
VINCENZO SALDARELLI Per la chitarra (1971) – Vincenzo Saldarelli chitarra
2 Onirico
3 Vibrante
4 Agile
Cinque studi da Lezioni americane di Italo Calvino (2012) – Giovanni Panciroli chitarra
5 leggerezza
6 rapidità
7 esattezza
8 visibilità
9 molteplicità
10 Elegia Mediterranea (2003, revisione 2013) – Giorgio Albiani chitarra
11 Introduzione ed Elegia per violino e chitarra (2013) – Patrizia Bettotti violino, Vincenzo Saldarelli chitarra
12 Valzer (2016, revisione 2022) – Massimo Nalbandian chitarra
Cinque danze per amici (2019) chitarra
13 I Valzer su “Là ci darem la mano” – Flavio Cucchi
14 II Barcarola o dei suoni armonici – Flavio Borelli
15 III Tarantella cromatica – Adriano Pepe
16 IV Tango quasi elegia – Vincenzo Saldarelli
17 V Giga fiorita – Ganesh Del Vescovo
18 Elegia cromatica a tre – per 3 chitarre con ukulele ad libitum (2019) Harumaki Trio
Flavio Borelli, Giovanni Panciroli, Adriano Pepe
FRANCESCO PENNISI 19 Intermezzo (1979) – Vincenzo Saldarelli chitarra
GIACOMO MANZONI 20 Echi (1981) – Vincenzo Saldarelli chitarra
CD 2
GOFFREDO PETRASSI 1 Suoni Notturni (1959) – Vincenzo Saldarelli chitarra
VINCENZO SALDARELLI Triplo (2020)
2 chitarra solo – Ganesh Del Vescovo
3 duo di chitarre – Ganesh Del Vescovo, Vincenzo Saldarelli
4 Bruzia (2020) – Matteo Murari chitarra
Lametos per chitarra obbligata e più strumenti (2020)
5 chitarra con violino – Matteo Murari, Michelle Cortés
6 chitarra I e II – Matteo Murari, Vincenzo Saldarelli
7 Canzone e cinque variazioni (2020) – Vincenzo Saldarelli chitarra
8 Ghiribizzo su “Là ci darem la mano” (2020) – Vincenzo Saldarelli chitarra
ANDREA TALMELLI 9 Dialogo (1989) – Vincenzo Saldarelli chitarra
ALVARO COMPANY 10 Corni da caccia(1999) – Vincenzo Saldarelli chitarra
VINCENZO SALDARELLI
11 “… seguir virtute e conoscenza”, Madrigale (2022)
12 “… la dolcezza ancor dentro mi suona”, Capriccio (2022) – Vincenzo Saldarelli chitarra
13 “… là dove ‘l sì suona” (2022) – Giorgio Albiani chitarra
A truly interesting work of aggregation and synthesis, an exercise in research, investigation and freedom. This double CD is a metaphor that takes the music and the guitar themselves as objects, their manifestations and stratifications as ‘translation’ devices. This collection can be read as a set of nodes that are created in the fields of exact study of the form of contemporaneity, of beauty and meaning that border on the specific and do not arise as a model, but as an encounter along the path and as a result of a push . An ‘open’ series of music that provides a double device of decontextualization, of drawing from different fields, and of recontextualization in a new combination made of juxtapositions and settings. A complex organism, which forces the listener to leave a linear path, establishing correlations. “Là dove ‘l sì suona” is a demonstrative, historical, interpretative collection, with critical reinterpretations and re-evaluations. A temporal short circuit, in which the present reinterprets the past in a new key, anticipating a future yet to come. “Là dove ‘l sì suona” is a time-collection of music, more like a memory map than a real guitar recital. It is the discovery, the “I don’t seek, I find” by Pablo Picasso. After all, every artist has and builds his own collection of references, masters and influences. Each artist also has an imaginary collection of music in which he would see his work in the best company. It is useless to try to rigorously define something of which, by its very nature, it would be better to discover the explicit and implicit narration. Better to look at the open structure, projected forward, at the enrichment of objects and meaning, not looking back. Owning and being owned by the music itself. I think that this could be one of the possible interpretations of “Là dove ‘l sì suona”.
NeuGuitars 