twelve o’clock, 30 March 2021 – 13:56

She is perfecting herself with Solbiati, but already one of the most talented young composers in Italy today. One of his songs, Slow Futures, awarded in a competition in Miami

of Francesco Mazzotta



Screating music, Carmen Fizzarotti looks into the distance. And from Milan, where he is studying at the Verdi Conservatory with Alessandro Solbiati, one of the greats of contemporary music, he is preparing to fly to Europe and the United States, where he has already made himself known by winning an international composition competition in Miami. with Slow Futures, piece for flute, clarinet, violin, cello and piano. I met Solbiati – says the twenty-eight year old musician from Bari – during one of the Sermoneta courses, an event parallel to the Pontino Festival, where young musicians and composers from all over the world arrive every year.
And from there she decided to follow him to Milan.
That’s right. I’m in my third and final year. Meanwhile, they selected me for a class with Brian Ferneyhough. I am looking for my identity. I work above all on timbre research and writing that displaces, but in the name of expressive clarity.
Models?
One of my loves of the twentieth century Gyrgy Ligeti, on which I wrote my thesis. But I listen to everything.
Out the names.
From Carlo Gesualdo da Venosa to the experimental rock of the Germans Einstrzende Neubauten, from Shostakovich to Nick Cave and PJ Harvey. My father rocked me with U2’s Achtung Baby.
How does alternative listening enter your compositions?
I try to grasp above all the aspects of sound production.
When did you start your musical studies?
At 7 years old. I graduated in piano with Eva Prayer at the Piccinni Conservatory, where I then specialized with Giuseppe Gravino in chamber music. A world opened up to me.
What did he find out?
A universe of relationships between instruments that led me to study composition, first with Roberto Andreoni in Bari and then with Federico Gardella in Monopoli.
Do you prefer chamber music even when you write?
So far I have produced more chamber works, but I like to compose for solo instrument and other ensembles. It depends on the destination. We often write on commission, not just out of creative instinct. In 2019 I made a piece for cello and piano, “Wherever It Grows”, for the Pontino Festival, which Radio Tre broadcast in the performance of Michele Marco Rossi and Andrea Rebaudengo. Now I am working on a quartet and soon I have a page for orchestra planned.
Speaking of chamber music, he founded the Six Memos Ensemble in Bari. What are the objectives of the training?
The idea was born with the friend and conductor Roberta Peroni, with whom we involved the singer Volha Shytsko, the violist and violinist Teresa Dangelico, the cellist Nicola Fiorino and the pianist Maurizio Zaccaria. We prefer contemporary music, not the historicized one of the twentieth century, but of our days, with commissions to young authors.
A year ago the lockdown was triggered. Is it easier for a musician to deal with loneliness?
Personally I have read a lot, which I have been doing since I was a child. I have always loved Marquez and the poems of Pavese, Montale and Szymborska very much. Then I discovered DeLillo and McEwan. In recent months I have gone through the Russian phase: “Crime and Punishment” and “Anna Karenina”. Now I have Andrs Neuman’s “Sensitive Anatomy” on the nightstand.
And he didn’t compose anything during the lockdown?
A piece for orchestra, but then I threw it away. It didn’t convince me.
Do you think you have a balanced relationship with music?
Every now and then I try to disconnect. But then I always end up taking care of her.

March 30, 2021 | 13:56

© Time.News


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