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Born 1960 in Guspini (Italy), he graduated in
experimental composition in Cagliari, where he was a pupil of Franco Oppo.
He also studied electronic music in Venice with Alvise Vidolin. He has
collaborated with and written compositions for such renowned artists and
groups as Irvine Arditti (Sottili di luce), Carin Levine (Morbide auree
dell1aria for flute solo), Oscar Pizzo (L1ottavo Cielo for piano and
orchestra, Le Rovine for piano and live electronics), Arditti Trio (Sospinti
oltre le mura), Ensemble Belcanto (Come un1ombra di luna),
ignm-Vocalsolisten (Di salmastro e di terra), as well as for the Symphony
Orchestra and Sinfonietta of Cagliari Opera House.
Fabrizio Casti is the president of the Italian Associazione
Spazio-Musica-Ricerca and a vice-president of the Spaziomusica
International Music Festival. In 1992 and 1994 he attended the composers1
forum at the summer courses in Darmstadt, where he presented his works.
His compositions have been performed at national and international
festivals in Europe, Japan and America and broadcast by radio stations
both in Italy and abroad. They appeared also on cds released by Nuova
Fonit-Cetra and Spaziomusica.
Casti teaches composition at the State Conservatory of Music in Cagliari.
Selected works: Sottili di luce for violin (1994),
L1ottavo Cielo for pia-
no and orchestra (1994), Sospinti oltre le mura for flute or clarinet,
piano and violin (1995), Hai un sangue, un respiro II for soprano or
mezzo-soprano and tape (1996), Morbide aure dell1aria for flute (1996),
Come un1ombra di luna for six female voices (1997), Naer het leven for
voice, percussion, harp, double bass and live electronics (1998),
Compianto sulle parole sprecate for trumpet (1998), Come ad attraversare
gli intervalli dell1aria for speaking voice and string orchestra (1998),
Ricopiando le carte note for guitar (1999), Cadenza impura for piano
(1999).
L1apparenza reale
The piece develops around distinct, mostly brief musical gestures. The
maximum diversification of timbre gives every single fragment its own
expressive character. Some fragments have a dynamic scale from the barely
audible to the ferocious fortissimo. The timbres range from the most
piercing ones to very dark and gloomy; the ambitus from very wide to
very narrow. The movement of all voices is characterized by far-away
excursions; the possibilities of the instrument are taken full advantage
of. The development of the melodic, harmonic and rhythmic potential is
therefore present in the initial ideas.
The music moves freely in space; it manifests itself under different and
similar forms, but never identical. It is formed and reformed by means of
short melodic gestures which asume the character of
a melody thanks to the continuity of the timbre.
The piece has been dedicated to Carin Levine.
Fabrizio Casti
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