Filidei, Flowers of flowers

I don't know her well enough to write a listening guide, I read that she takes cues from Biagi del Laterano and Frescobaldi:

She says in an interview:

«Being inside an organ is like being inside a body, it is a prenatal experience: the music reaches you inverted, because you hear all the mechanical noises first, and then the sound. I intend, therefore, to reproduce this type of listening from the inside, also taking into account the history of each instrument: an organ that has been in a church for five hundred years has lived through everything livable, including accidents, having hosted the stories of its titular organists»

http://marilenalaterza.wordpress.com/2012/10/31/francesco-filidei-intervista/

Thanks Tiger!

i had read it. But if someone knows her even just a little (I know zero)....

...meanwhile it should be listened to. Do you know if it is audible somewhere?

I wasn't able to find it. If I had found it, I would have ventured... without a guide!

ad anyway I will listen to it (for the first time) live tomorrow afternoon. At that point, I believe I will also have the program booklet in my hands.

I had lost this topic

Fiori dei Fiori is the first piece of 5 works for orchestra (a project titled Five Organs), each dedicated to a European organ. The total duration of the 5 pieces should be around 70/80 minutes.

Fiori dei Fiori takes inspiration from Frescobaldi's Fiori Musicali; Filidei, on this occasion, collected so much material that he went from the initial project of a single piece to 5.

In extreme and simplified terms, his goal is to work on the organ sound, not from a traditional point of view but starting from within the organ. His intention is to transfigure the sound until it reproduces everything related to the mechanics. And for him, this would not be news; especially in his "youth," he worked on the subtraction of sound—that is, removing what is sound and leaving what is closest to the gestures and physicality of the instrument; in this regard, one can look deeper into Danza Macabra for organ, a composition made exclusively from organ noises.

Similarly, you can find this approach in Guero by Helmut Lachenmann, a 1970 piece defined by the author as a study for piano.

The sounds that can be heard have nothing to do with the piano one is used to listening to (practically not even a single note is heard), but rather resemble those of the percussion instrument of the same name, the guiro (in the original pronunciation).

Lachenmann also does not use that entire series of pianistic sonorities that are part of "pedalized noises" based on pizzicatos or percussions that create resonances sustained by the pedal, which is already used in contemporary piano literature.

Returning to Filidei, he seems not to have known this work (a nice "trick," a well-known piece by a well-known composer) and, analogously to Lachenmann, he proposed Toccata for piano.

Returning to Fiori dei Fiori, consistent with his aesthetics, Filidei develops the piece on a descending chromatic scale; at each bass note, he develops a sort of "elementary" spectrum which he then serializes. Some moments are constructed by exploiting descending lines that are also derived from this chromaticism.

This is very briefly stated; consider that the piece is from 2012, the first of 5, and it is too early (at least for me) to go beyond what I have written.

LucaCavaliere wrote:

anyway I will listen to it (for the first time) tomorrow afternoon live. At that point, I believe I will also have the program booklet in my hands.

Can you add (and pass on) something?

Frank wrote:

Can you add (and pass along) something?

In fact, Luca could share the program booklet, assuming they have proposed it.

I am only now reading the latest developments of the discussion. (I have just returned from a lovely "fugitive stint" on Elba Island)

I do not possess the program booklet. There were none left available. But at the concert, a lady kindly let me read hers. Unfortunately, I wouldn't have added anything even if I had it here to copy. In fact, I remember (from the careful reading I did) that the text was the same as the one reported by Tiger in the post immediately following my initial one; just a little more extended, but still identical to something I myself had managed to read on the internet before the concert.

As a program note, what Frank wrote would have been much better. Even two months later, I read it with great interest.

Regarding my impressions (from a single listening), I found it engaging.

Dynamically, it arises from a ppp, intensifies up to ffff, and then dissolves again, making fragments of Frescobaldi's Pastorale perceptible.

The noise effects were very curious:

at least two corrugated plastic flexible tubes, 2" in diameter and 1.5 m long, were being widely and constantly whirled through the air (the organ fan!?)

... and the string section, which was occasionally asked to sharply brandish the bow (all "in unison") like a whip to make it hiss.