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Born in 1968 in Zurich, she studied piano (with Rodolfo
Caporale, Aldo Ciccolini and Franco Scala), and choral conducting and
composition (with Ada Gentile and Franco Donatoni) at the Accademia di
Santa Cecilia in Rome. She represented her conservatory at the
International Student Music Festival in Kyoto (1995). She attended
a course in composition and computer music at ircam (2001). Last year she
completed postgraduate studies with Ivan Fedele at the Conservatory in
Strasbourg.
Her compositions have been performed at many prestigious festivals,
including those in Strasbourg (OMusica1), Venice (OBiennale Musica1),
Avignon, Caën, Edinburgh, Kraków, Perpignan and Rome. The Conservatories
in Strasbourg and Lyon commissioned her to write a piece for baroque
instruments and three dancers (to Christine Bayle1s choreography), which
will be premiered during this year1s OMusica1 Festival in Strasbourg.
Since 2002 Lara Morciano has worked as resident composer at the École
Nationale de musique de Montbéliard, where she develops
a new project for acoustic ensemble and electronics (in collaboration with
OCentro Tempo Reale1 in Florence). She also teaches at the Umberto
Giordano Conservatory in Foggia.
Selected works: Iriadi for string quartet (1992), Sinue
for French horn and trombone (1993), Ilogy for clarinet and vibraphone
(1994), Restless for five instruments (1994), Liquide Armonie for bass
clarinet (1995), Nuclei for clarinet and bassoon (1996), Musica di scena
for female voice and fifteen instruments (1997), Alis for flute, clarinet,
string quartet and piano (1998), Trascolora for clarinet, cello and
percussion (1999), Canto al Vangelo for two choirs and organ (2000), Canto
dopo il Vangelo for two choirs and organ (2000), Ajar for chamber ensemble
(2001), Origine Seconda for piano (2001), Hyades for chamber orchestra
(2002), Pulchra luna for female voice, clarinet and piano (200103);
three new pieces: for two Baroque violins, two recorders and harpsichord,
flute and live electronics, piano and live electronics (2003).
Alis
The piece is based on the opposition between two ways of organizing
musical material. The first section is the study of counterpoint, shaped
freely, fragmentarily but lucidly. The thickening and expansion of the
contrapuntal lines leads to the highest point of tension which brings out
the individual character of each instrument.
In the second section, the presence of violin and viola Obroken1 chords,
in opposition to the dark and submerged atmosphere realized by the
low-pitched sounds of the piano, bass clarinet and cello, pushes one1s
attention towards the vertical aspect, which concentrates the maximum
energy of each instrument in the process of shaping a sharp, distinct
musical picture.
In the final part, small soloistic gestures lead to a progressive
rarification of sound, until they Oclose1 in the last Ochord1 around its
deepest note.
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