Hello everyone.
I would like to propose for your listening a piece that I recently wrote, for bayan and string quartet.
I wrote it to participate in a selection for a category of the PIF (International Accordion Prize) of Castelfidardo, and once selected, the piece was performed in concert last month, along with three other pieces also in competition, and played by the Derazey Quartet from the Royal London Academy; the bayan, instead, is played by a student (very talented, to be honest) from the conservatory of L'Aquila.
It is a piece in which I tried to write in a different way than I usually do, because it is constructed entirely with thematic material derived from the mysterious Fibonacci sequence, and which I tried to convert into notes according to some methods indicated in the score.
Let's just say that I had fun assigning, starting from a fundamental note, the numerical values of the sequence to the piano keys, in a progressive and increasing manner; I did it first diatonically, meaning considering only the white keys, and then chromatically, considering both white and black keys.
The numbers of the Fibonacci sequence tend to grow very rapidly, and therefore I limited myself to considering the values within the range of the piano keyboard. Thus, I obtained two series of sounds (the chromatic series obviously has one more note... geometry...), which I used both as harmony and as themes, elaborating and transforming them contrapuntally, inverting them or making them retrograde, and interlocking them in a sometimes geometric manner. Obviously, I also used the numbers of the Fibonacci sequence as a rhythmic and structuring element of time at various points in the piece; I couldn't not do it!!!
I am also attaching the score, in which I have indicated with numbers some of the ways in which the sequence is elaborated.
I leave it to you to judge the effect that all this mathematics can have on music...
One last thing: it was the first time I had tackled an instrument like the bayan, which I almost completely ignored and which I discovered has truly fascinating technical and expressive potential, and a musical literature dedicated to it that is quite meager in number of authors but of great musical value, from what I have been able to listen to (and I am referring, for example, to Sofia Gubaidulina, whose music I was decidedly fascinated and captivated by, even though it is very far from my way of writing).
I hope you will give me your opinions.
A greeting to all
