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TORNELLI

for oboe and piano
degree of difficuty for the oboe: medium
degree of difficuty for the piano: medium
duration: 10’ approx.
year of composition:
1981
I perf.: Roma, Accademia Italiana di Mus. Cont., 5.12.1984,
ob. A. Franceschelli, pf. C. A. Neri
New York, Cuny Graduate Center, 23.4.1985
inoltre Queens College e New York University
ob. A. Franceschelli; pf. C. A. Neri
Edizioni Suvini Zerboni, Milano
available the RAI live recording of the performance of Pesaro
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)


The Due Tornelli exemplify a characteristic of Anzaghi's writing which prevailed up to the beginning of 1984: the predilection for a soave mood, without any contrasts: with Halpith  for solo flute, composed in 1984, a new phase began which was characterised by the adoption of a numeric compositional code - of Pythagoric origins - and gives rise to writing that is rich in instrumental gestures and clear physionomies, inserted into a context of accentuated dialecticity. Beforehand, the author had preferred a dream-like mood, as testified by compositions like Soavodia, for clarinet and piano; Mitofania, for ensemble and Aur'ore for choir and orchestra, etc.

In Tornelli, as in other pieces from the same compositional season, one seems to notice that absent-minded and erratic mood which connotes the poetic of G. F. Malipiero. The oboe intones rambling melodies pushing towards the highest register of the instrument. The negligence for oriented formal strategies expresses in Tornelli that physiognomy of ditties which one heard in summer afternoons in the sunny countryside: on the edge of hearing.