samedi 15 mars 2014

Francesco di Fiore - Glass


Francesco di Fiore
Francesco Di Fiore, Italian pianist and composer was born in Palermo. He studied in Italy, Austria and Czech Republic. His concert career started in 1986 performing in Italian and international venues. He is author of post-minimalist contemporary music and his works include instrumental music, movie soundtracks and stage music for spoken theatre. In 2011 he worked on his challenging composition project called Miniature 2011, catching the attention of the web. A new different piano composition a week, for a total of 53 pieces and 207 minutes of music, freely shared on his website and followed by musicians and passionates from all over the world.
He regularly collaborates with Italian video-artist Valeria Di Matteo and also collaborated with musicians like Giovanni Sollima, Sang-Fi Kim, Damiano Binetti, Mario Crispi, Neil Campbell, GliArchiEnsemble and won several international competitions. His music is often performed in Italy and recently also in Germany, Croatia, Finland, Spain, France, Romania, Slovakia, England, Netherlands, United States and China.


(by the composer himself)

Philip Glass is an author who has indelibly marked the destiny of contemporary music, what's more he is a composer that I personally love very much.
Fortunately, so many people have consciousness of this. Music today would not be the same without Philip Glass.
My music would be different as well, even though it is extremely difficult to find similarities between my music and Glass' music.
It's a given that Glass is a pillar of the universal music, probably the greatest living composer.
When Nicolas Horvath asked me to write a hommage to Philip Glass I had no doubts, I instantly agreed, for the reasons mentioned above.
Then in hindsight, doubts emerged and I became aware of possessing a big responsibility, since the huge Horvath's project deserves the highest commitment.
I needed to find my method of work. A musical tribute to a composer is a manifestation of great respect and admiration, something that must arise from a deep personal sphere of emotions. The more the subject of the homage is closer to the heart of the author, the more the homage itself can be sincere and inspired.
It is an obvious concept but it raises questions that need to be answered before immersing into the vortex of composition.
Writing an "à la manière de Philip Plass", assuming I was up to, was something I considered being too ordinary. A re-reading of one of Philip Glass' work was, instead, a complex and cold intellectualism. Neither I could choose to write anything that didn't involve Glass' musical world at all.
So what the method was? Where did it was?
This is precisely the point, I did not found my method… My Hommage à Philip Glass surfaced when I lowered the rational consciousness and wide open the emotional sphere. The result is a meditative experience, lapsing into the feelings of Glass' sound universe, not trying to imitate him, not rewriting Glass, not wanting to compose a portrait.
It may be possible to recognize in my composition Glassian fragments but, if there are any, it's not because of my will but because they just wanted to be there.

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