for Cl., Fg.,
Cr., Pf., V., Va., Vc.
degree of difficuty: medium
duration: 6’ approx.
year of composition: 1992
I perform.: MI, Nuove Sincronie, 29.11.1992 – Ens. Sincronie,
dir. R. Rivolta.
Edizioni Suvini Zerboni, Milano
(the parts can be hired out)
available a live CD recording
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)
(Septet) Finished the 31st August, 1992, the Settimino was performed on the occasion of the author's birthday, 29 November 1992, to the warm reception of the listeners.
Comprising three Episodes which follow through without caesura, the Settimino is that one among Anzaghi's compositions which most intensesly comes alive with rhythmic solutions and their pressing proliferations. The rhythmic dialogue between the seven instruments is intense.
The Episodio Primo (38 bars with the semi-minim corresponding to 60 on the metronome) has a rapid rhythmic outset. Its fast and decisive pace is suspended only for a few bars before the advent of the Episodio Secondo. It is furnished with a 'ritenuto', during which the piano whispers some few allusive sounds above a backdrop of long chords of harmonics in the strings and prolonged notes in the woodwinds.
The Episodio Secondo (bearing the indication 'più lento'), although more moderate, does not give up its rhythmic vitality but allows the 'flautandi' of the strings to sketch out brief melodic segments and to characterise a part of themselves with recourse to a strongly peremptory synchrony. A sort of cadenza from the piano ushers in the Episodio Terzo.
The Episodio Terzo shows us the piano in the role of leader with a prolonged, rhythmically very articulated comment from it. A crescendo in the three strings sets off the whirling conclusion, to which first the woodwinds and then the piano provide a decisive contribution.