Wednesday, August 18, 2010

Die Fackel im Ohr (The World Première)

I'm now preparing for the concert in the Festival Internacional de Santander this coming Saturday. Since I will premiere a work by Mr.Francesco Milita, the 1st Prize winner of the Concurso Internacional de Composición Pianística "Manuel Valcárcel", I would like to introduce its interesting concept here.

(The following text is written by the composer.)

Die Fackel im Ohr
24 Wiener Klavierstücke
composed by Francesco Milita

1. In flation und Ohnmacht, 2. Der Ausbruch, 3. Die Rechtfertigung, 4. Pension Charlotte (Berceuse), 5. Der Gemmenschneider, 6. Veza (Etude Sentimental), 7. Praterstraße 22, 8. Ecce Homo, 9. Frühe Ehre des Intellekts, 10. Die Herausforderung, 11. Enge, 12. Einladung ins Leere, 13. Fehltritte, 14. Der Pavillon der Irren, 15. Die Schule des Hörens, 16. Das ewige Antliz, 17. Die Briefe im Baum, 18. Das Geschenk, 19. The Raven (Hommage an Edgar Allan Poe), 20. "Le Plaidozer d'un fou", 21. Sturm und Zwang, 22. Flucht (Fuga, Hommage an Felix Mendelssohn), 23. Kant fängt Feuer, 24. Die Frucht des Feuers (Hommage an Frank Zappa)

Composed après une lecture de... Elias Canetti, "Die Fackel im Ohr", includes 24 Wiener Klavierstücke, in homage to the Viennese school.
12 of these pieces are composed on a twelve-tone series, with reminiscences of expressionist colour, alternate with the other 12, built on fragments of the same series and subsequent permutations, however characterized by softer harmonic relations.

The emotional intensity that resonates on some pages is a composer's tribute to the great masters of the composition. Pensionne Charlotte, for example, where he transfiguring the Chopin style, or Veza, real romantic studio set on a particular piano technique; Flucht, is the homage to the refined contrapuntal technique of Felix Mendelssohn and die Frucht des Feuers, dedicated to Frank Zappa, was conceived as consequence, indeed, of the Bartok percussive furor, which emerges from the depths of the keyboard.

But the glow of another fire pervades the whole work, so that in each of these 24 preludes, as well as in Canetti's book, we find variations of the same disquiet background: the CHAOS, perpetual threat and valuable nourishment of our inspiration.

It's quite a challenge for me to prepare this monumental work within two months (there are nearly 100 pages, it takes about 55 minutes!), but I've been learning many things and was glad to discover the wonderful literature of Elias Canetti.
¡Naturalmente me alegro mucho también de trabajar con el compositor y de tocar pronto en Santander de nuevo!