Most followers of electro-acoustic music recognize the contributions both Bruno Maderna and Luciano Berio have made to the field, mainly due to their collaborative work Ritratto di Citta, which established the Studio de Fonologia in 1955. Fewer, however, are familiar with their individual projects from the late '50s and early '60s that clearly set them apart from their counterparts in Cologne. Berio and Maderna were both obsessed by the human voice as a basis and endpoint in electro-acoustic music…
…The Burwell lute tutor states: "[On] other instruments we sing, but on the lute we speak". That is exactly what Bailes does, and in a very eloquent manner.
Since the end of the seventeenth century French composers have shown a particular skill and deftness of touch in writing for the flute. The instrument owes much of its prominence in French music of the twentieth century to the use made of it in orchestral colouring by composers such as Debussy and Ravel, as well as to a group of highly gifted players associated in one way or another with the Paris Conservatoire. They include the soloist on this recording, Patrick Gallois, a pupil of Jean-Pierre Rampal. This collection of works composed during the last sixty years ranges from Poulenc’s Sonata, marked by rhythmic vitality and a delicate vein of sentimentality, Messiaen’s Le merle noir, inspired by bird song, to Boulez’s Sonatine, which the composer himself has characterised as ‘organised delirium’.
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