<< Back to catalogue of works

TREMES

for alto and piano
degree of difficuty for the alto: medium
degree of difficuty for the piano: medium
duration: 10’ approx.
year of composition:
1993
Edizioni Suvini Zerboni, Milano
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)

In one of Stravinsky's writings one can read that if troubles had not befallen him, coming also from his editors, he could have better realised his supreme ambition to be a 'little Bach'. Troubles have not been lacking in befalling Anzaghi. One of these was to find a violist of clear, firm decisions.

The intention to write a piece for viola and piano had accompanied the author for many years. The violists for whom the author could write a piece faded away like ghosts at the first song of the rooster at dawn. In order that Anzaghi's compositional determination should not itself become a phantom presence caught out at first light, the author set to work gathering his sparse notes and finalising them in Tremes, for viola and piano.

The first movement proposes the unit of tempo (the crotchet) at 40 on the metronome. Its movement is therefore quite slow. But it is enlivened by brisk arabesques profused by the piano. The viola is given a bearing which shows a greater tendency for real notes than for ornamentational ones, to whose diction the pianist dedicates himself. Shortly before the conclusion of the movement it speeds up, raising the unit of tempo (the crotchet) to 60 on the metronome. Before acceding to the second movement the initial tempo returns (40 on the metronome). In this way the viola's trill is allowed for, and some few light touches from the piano conclude the movement.

The second movement is conversational and involves both instruments in its dialectic hoard up to the moment in which, with the marking 'ben ritmato' (well-rhythmed), the two instuments procede homorhythmically. When this is subsequently abandoned, the piece seeks out the liveliest of accelerations to conclude with.

Conceived when the author had not yet adopted a single series for all of his compositions, Tremes does not have this. Whether this is a calamity, or a providential absence, the author will not say.