4 Preludes and one Interlude
degree of difficuty: medium
total duration: 22 ’ approx.
year of composition: 1978
I performance: Milano, Conservatorio, 30.11.1979 – dir.
Edizioni Suvini Zerboni, Milano
(the parts can be hired out)
(188.8.131.52. - 184.108.40.206. - Vibr. - Ar. - Pf. - Cel. - Tp. - 5
Perc. [Cp., Xymar., 4 Trg., 2 Ps., Glock., 2 Flex., Ps. chiodato,
4 G., Shell Chimes, Cv., Tt., Tamb., 5 Tbl., Gc., 7 Crot.,
2 Cen., Macchina del vento] - A.: 220.127.116.11.8. opp. 18.104.22.168.6.)
the live recording by RAI is available
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)
Ermosonìo for orchestra, consists of 4 Preludes and one Interlude from the opera entitled Il luogo Della Mente. The evidence which characterises the writing of Ermosonìo is a consequence of the reflection which preceded the composition of the opera. The author postulates the theory that theatrical listening both differs in nature from that of symphonic or chamber music listening, and that it requires clear propositions, also of the linguistic kind, that are not prevalent in the current panorama of contemporary art music. Convinced of the necessity of making use of a simpler musical language than that which characterises non-theatrical music, Anzaghi revised and re-revised his own conception of composing up to that date, and brought solutions to bear which attenuate esoteric and initiational aspects in favour of results that the listener may grasp without analysis, which is alien to theatrical listening and watching.
The second of the Preludes of Ermosonìo proposes and example of simplification: as testifies the melodically explicit exposition of a fragment of the series (D flat, G flat, B flat, E, A), which generates chords that are also explicit and which, undergoing the techique of variation, provide harmonic substance for the prelude.
An aspect of Anzaghi's musical philosophy, which is particularly evident in the works written from 1983 onwards, is euphony, and the tendency to resolve the compositional blue-print in a dream-like and ecstatic way. Such euphony is not, however, hedonistic but sustained by another conviction of the author's: anguishing instances may, with knowing rhetoric, be efficiently re-directed towards sweet results which, in welcoming anguish itself, show us the 'perverse' side of that emotion. Thus, just as 'reticence' is a rhetoric figure which, no less than hyperbole, emphasises that which is silenced, so an obsessive and mirage-like euphony is one way to testify to an anguished life. Anzaghi sees proof of this in the character of Ophelia (in Shakespeare's Hamlet) who, unlike the protagonist, makes her own desperation speak with a soave and gracious tongue. The title of one of Anzaghi's chamber works is, indeed, Soavodia...