MUSIC > the Other Voices by V. Montanari, D. D’Antonio

Performer: Vanni Montanari (flute), Donato D’Antonio (guitar)
Artist: Various Artists
Title: The Other Voices
Release Date: 01 July 2016
Label: RMN Classical

* Live Recording, Legacy Hall, Columbus (Georgia, USA) Nov. 10, 2010
Recorded & Mastered by Matthew McCabe

** Live Recording, Oratorio S.Cecilia, Bologna (Italy) May 12, 2014
Recorded & Mastered by Mattia Felice Palermo

*** Live Recording, Legacy Hall, Columbus (Georgia, USA) Nov. 8, 2014
Recorded by Tripp Hutson, Mastered by Matthew McCabe

**** Album Recording “Fremito Naturale”, 2007
Recorded, Mixed & Mastered by Marco Biscarini

The Other Voices
by V. Montanari, D. D’Antonio

Carl NielsenPieces** 1-4
1Carl NielsenFolk Melody02:28
2Carl NielsenHumoresque***02:03
3Carl NielsenMignon01:25
4Carl NielsenElf Dance02:32
Jindřich FeldDeux Danses** 5-6
5Jindřich FeldDanse Lyrique02:53
6Jindřich FeldDanse Barbare03:19
7Terry Riley ***Cancion Desierto07:11
8Michio Miyagi ***Haru No Umi07:36
9Tohru Aki **Other Voices04:06
Toru TakemitsuToward the sea**** 10-12
10Toru TakemitsuThe Night03:08
11Toru TakemitsuMoby Dick03:25
12Toru TakemitsuCape Cod03:21
13Ravi Shankar *L'Aube Enchantèe12:53
14Jaan Rääts ***Nameless Music06:16
15George I. Gurdjieff **Armenian Song02:31

Carl Nielsen, Pieces (1890)
These pieces, here recorded in the Bent Larsen and Jan Sommer arrangement, are taken from Fem Klaverstykker Op. 3, the first piano music collection by the Danish composer. With a Nordic flavour and a fairy-tale atmosphere, these pieces have been composed during a long study trip to Europe in1890. Humoresque and Elf dance are dated back to an even earlier period.
Jindřich Feld, Deux Danses (1975)
The two dances, composed by the Czech composer in 1975, are original pieces for flute and guitar. In these two pieces, the contrast between lyricism and obsessive rhythm is always highlighted, giving shape and defining the formal development of the work.
Terry Riley, Cancion Desierto (1986)
This piece is taken from the collection “Cantos Desiertos” by Terry Riley, the father of minimalism. The collection contains several compositions, with forms and titles in Hispanic, written by Riley -in a kind of realistic identification- during a stay in Puerto Vallarta in Mexico: “composed during long and dark hotel afternoons, when everyone else was at the beach”. Cancion Desierto begins with a lively presentation of the main theme, borrowed from the Indian sitar player Krishna Batt. The entire composition is characterized by a refined instrumental dialogue between flute and guitar, while in his central part focuses on a slow and melancholic guitar solo.
Michio Miyagi, Harunoumi (1929)
Composed for the “New Year’s Imperial Poetry” in 1929 by the Japanese koto master Michio Miyagi. It is inspired by a spring outing at the sea. It has a ternary form and describes the “seagulls games” over the ocean waves. The song later took notoriety, becoming an example of the new Japanese music, which also draws on Western musical elements.
Tohru Aki, Other Voices (1989)
The work, which also contains some “free” elements, is taken from Noon City Suite by Tohru Aki, an eclectic composer who was musically trained in Japan, has also composed for television and cinema.
ToruTakemitsu, Toward the sea (1981)
Commissioned in 1981 by Greenpeace for the campaign Save the Whales, it is for alto flute and guitar. It was written in a time when Takemitsu had come close again to the tonal composition after spending some time exploring experimental music. The piece is in three sections, whose titles are a clear reference to Melville’s novel “Moby-Dick”. The piece is written with very variable ‘Tempi’ and without the use of bar lines and measures, the sound of the flute must join with the delicate guitar’s murmurs, evoking the rustle of leaves swept by the sea wind. The alto recorder acts as the first melodic line, based in part on a theme related to the word “S-E-A”, which letters in music notation correspond to E flat, E,A.
Ravi Shankar, L’Aube enchantèe (1976)
This work, written in 1976, is a key work in the discovery of Indian music of the seventies. Originally composed for flute and harp and it has been performed for the first time by Jean Pierre Rampal. Based on the early morning raga “Mian-Ki-Todi”, it follows the shapes of traditional Indian music, with tempo and speed changes that culminate in the final “stretto”.
Jaan Rääts, Nameless Music op. 107 (1999)
This work is the first of many other “Untitled” pieces written by the Estonian composer, who has brought a markedly anti-romantic style in the music of his country. A vigorous rhythmic pulse is the foundation element of his music, in which various stylistic fragments whirl as in a blender: Mozart-y triads, modern cluster, baroque music, popular motifs, linear polyphony and pop music’s rhythms are here shacked altogether.
George I. Gurdjieff, Armenian song (1926)
arr. Thomas A. de Hartmann
The piece is taken from the impressive collection Asian Songs and Rhythms by Gurdjieff / de Hartmann. Gurdjieff was a philosopher, writer and teacher of Armenian dances, de Hartmann was his musical translator and fellow student, who transcribed hundreds of dances and Middle Eastern songs on dictation from Gurdjieff himself.