Duo Messieri / Selva | Noises X

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Classical: Contemporary Classical: Minimalism Moods: Featuring Saxophone
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Noises X

by Duo Messieri / Selva

Silence and sounds. Experimental/electroacustic/contemporary classical music.
Genre: Classical: Contemporary
Release Date: 

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1. Die Marchenprinzfantasien
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13:57 $0.99
2. Ixor
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3:12 $0.99
3. Le Fond de L'Eau Est Parseme d'Etoile
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9:36 $0.99
4. Maknongan
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4:00 $0.99
5. Ballerina Gialla (da Voliera)
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4:44 $0.99
6. Pettirosso (da Voliera)
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4:22 $0.99
7. Ilynx
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9:17 $0.99
8. Libera Toccata Nona
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7:42 $0.99
9. Tre Pezzi - 1
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2:38 $0.99
10. Tre Pezzi - 2
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3:20 $0.99
11. Tre Pezzi - 3
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1:57 $0.99
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ABOUT THIS ALBUM


Album Notes
MICHELE SELVA - SAXOPHONIST
MASSIMILIANO MESSIERI - COMPOSER and LIVE ELECTRONICS

The Duo Messieri/Selva was born in 2004. The Duo performed concerts in Europe, in charming towns like Copenhagen (IIC Auditorium), Dresden (Regional Parliament of Sachsen), Genoa (Suoni e Visioni Festival), Hamburg
(IIC Auditorium), Leipzig (Heilig-Kruez-Gemeinde), Oldenburg (Oh Ton Festival), Prague (Martinu Hall),
San Marino (IMS Auditorium) and Weimar (White Hall of the Ettersburg Castle).
Recently the Duo Messieri/Selva has focused the attention on the thought and production of original pieces by John Cage. The Duo Messieri/Selva realised a "first radio performance" and "on line" of "Ryoanji" in the version for saxophones, percussion and magnetic tape.
In January 2006, with original pieces by J. Cage, the Duo closed the conference "Il Pensiero della Musica" organised by Lucrezia De Domizio Durini at the Piantagione Paradise by J. Beuys in Bolognano (Italy) and always in 2006, in Genoa, at the presence, among others, of an enthusiastic Edoardo Sanguineti, the Duo Messieri/Selva performed an important "Italian premiere" of "One7" for saxophone, live electronics and magnetic tape.
In 2007, the Duo has been invited to the Colloquium by Forfest Festival International festival of contemporary arts with spiritual orientation in Kromeriz (Czech Republic) like the delegates of the Italian contemporary music.


Reviews


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Stefano Lombardi Vallauri

Interpretation, not execution. Anthology, not miscellany
The Duo Messieri/Selva approach their repertoire in a salutary non-philological way. Frequently, strict adherence to period performance practice is asphyxiating, and accurate information about each one's merits merely guarantees financial reward. Such a mean, austere approach would entail absolutely literal performances, especially with recent or contemporary works that do not need updating or enlivening. Instead, Messieri and Selva do what they want with the works: what the works want. An undeniable professional rigour conforms to the spirit, not to the letter. Scelsi's original score Maknongan does not envisage live electronics, but the drone overlaid on the present recording makes the text's virtual contents audible and meaningful, without sounding redundant. Even if the trills and clef flutters of Bussotti’s birds are more reminiscent of flying than singing, they are human, atonal birds of the twentieth century; yet electronic echoes and delays put them into a cage. The original post-minimal mechanism of Festa's Toccata is, on the contrary, set free in a broad texture, open to the perception of a man immersed in his environment.
On this record, the complete collection of Scelsi's saxophone pieces (Maknongan being for ad libitum instrument) is interspersed with works by younger composers, who sound in comparison almost more Scelsian than Scelsi himself. The monotonous ascetic, Scelsi, is thus for once closer to the highly whimsical Bussotti. Scelsi's influence on Dazzi is most marked in Le fond de l’eau est parsemé d’étoiles: the intensity of expression (Nonian) is effused in a perpetual present. But the foremost importance of sound, the extreme scantiness of the material and the suspension of time make up a koiné that transcends all boundaries between schools and trends. On to the material of sound Messieri grafts a soft, dreamy melos, so calm that it turns back into timbre: the Fantasie, in relation to reality, is also attained through such merging of categories. Similarly, Lauricella's Ilynx blends saxophone and electronics in a vortex, creating a single instrument: digital sound is transformed into breath, pulsation, and a vibration that is almost alive and animal.