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REPETITA

for four guitars
degree of difficuty: high
duration: 9 ’ approx.
year of composition:
1995
work property of the author
published in this site in 'Musics in PDF format'
and available in a computer edition
(parts can be hired out)
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)



Just like Chitattro this piece was written on the request of the guitarist Alfredo Baschiera, member of a guitar quartet called 'Quartetto Federico Moreno-Torroba'. Its first performance took place in a time and place unknown to the author.

Ordered over fifteen pages (each of which comprises three systems of four staves), Repetita is constructed from the starting point of  a series, like Chitattro. The first note is E, followed by others as listed: E, F, G, B flat, D, G, C sharp, G sharp, C, A, B, C. This series is characterised by a succession of 11 intervals, each of which undergoing an increase of one semitone with respect to the preceding one. In this way, intervals ranging from the minor 2nd (E–F) to the major 7th (B - C) are created. This extremely particular series was repeatedly used by the author to write numerous compositions.

The word 'series' evokes the unpleasant ghosts of lugubrious compositions loaded down with an excess of intellectualism. The author has made an effort to avoid such an excess. On the other hand, it is undeniable that the adoption of a series does non guarantee anything, and it is equally undeniable that it does not impede anything, just like using any other form of compositional code. The quality of a composition does not arise from the means adopted in creating it, but from the way in which these means are used.

The form of the piece consists of two large episodes. The first, which opens the piece, has an evident contrappuntal connotation. It uses all four guitars jointly,  up to the end of bar 30. The second episode begins with bar 31 and is greatly physiognomic in its formal structure. There is a prolonged 'Rossinian' crescendo, coinciding with a gradual and measured accelerando. This second and last episode breaks out, like a rapid current hurling towards a waterfall, in a paroxysmal epilogue. The strategy is analogous to, and re-traceable to, other compositions by the author, such as Concerto Breve, D'ance, Disklaviermusic, Klaviermusicsolo, Klaviermusicduo and still others.