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Born 1945 in Rome, he studied at the universities in
Vienna and Rome, as well as in the Conservatory in Pesaro, where he was a
pupil of A. Renzi, R. Lupi and B. Porena (composition; diploma in 1970).
In the years 196872 he lived in Cologne, where he attended the courses
taught by Bernd A. Zimmermann and Vinko Globokar as well as the courses of
new music (196870) under Stockhausen, Pousseur, Kagel, Schnebel and
Rzewski. Lombardi also studied electronic music with H. Eimert in Cologne
and G. M. Koenig in Utrecht. During 1973 he was a student of P. Dessau in
Berlin. From 1973 to 1978 he taught at Pesaro Conservatory and in the
years 197893 at the Conservatory in Milan.
Numerous lecture tours have taken him throughout Europe, to the United
States, Canada, Japan and several Latin American countries. He composed
over 60 works, including three symphonies and
a three-act opera Faust. Un Travestimento to a libretto by E. San-guinetti.
Many of Lombardi1s works have been commissioned by important Italian and
foreign organizations, including ircam in Paris, wdr in Cologne,
Rikskonserter in Stockholm, Radio ddr and Musikbiennale in Berlin, rai in
Rome, Basle Opera, Wiener Festwochen, Leipzig Opera, Alte Oper in
Frankfurt, and others.
He is a vice-president of Nuova Consonanza Association and is on the
editorial board of the magazine Musica/Realta. Luca Lombardi is also the
author of numerous essays published in both Italian and foreign music
reviews, as well as several books including a treatise on orchestration.
Selected works: Alle fronde dei Salici for 12 voices to texts by Salvatore
Quasimodo (1977), Essay for double-bass solo (1975), Essay 2 for bass
clarinet (1979), E subito riprende il viaggio for five voices to texts by
Ungaretti (1979/80), Framework for two pianos and orchestra (198283),
Hasta que Caigan las Puertas del Odio for 16 voices to texts by Pablo
Neruda (1977), Klavierduo (197879), La Notte di S. Silvestro, overture
for orchestra (198384), Mayakovsky, cantata for bass, mixed choir and
seven instruments to texts by Mayakovsky (197980), Mirum for four
trombones (1984), Mythenasche for soprano, baritone, mixed choir and
chamber orchestra to texts by Albrecht Betz (198081), Schattenspiel for
bass flute (1984), Schegge for flute, clarinet and horn (1984), Second
Symphony (1981), Sei bagatelle di fine estate for various instrumental
groups (1983), Sisyphos for eight instruments (1984), Sisyphos II for 14
instruments (1984), Tui-Gesänge for soprano and five players, to texts by
A. Betz (1977), Variations for Orchestra (1977), Winterblumen for flute
and harp (1982).
Schattenspiel is a short composition for bass flute,
written in 1984. As the title suggests, it is characterised by dark sound
colours, as well as the sketchy and laconic, Ounphysical1 musical language.
The shadows are, thus, unreal, illusory. But isn1t music itself an
illusion, vision, chimera, utopia...?
L.L.
(September 1993)
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