Edvard Munch, The Kiss, etching ,1895
Edvard Munch, The Kiss, etching ,1895

Francesco Filidei — Ballata No. 7

Over the years, I have repeatedly felt the need to change my musical language, namely from one consisting entirely of mere noises to one made of pure sounds. But a few elements have remained unchanged and point to a clear, internally consistent path.

Looking through my list of works, the first thing one notices is the frequent use of titles that refer to musical forms of the past – toccatas, sonatas, ballades and preludes. In these cases it was always less a matter of filling an empty formal shell with unusual material than of contextualising a musical object, offering the listener a possible frame of reference. Once this path had been taken, it was a matter of repeatedly breaking up and questioning it.

It is in the writing of music that I have found the best possibility to keep the memory of my own story – and of many other past stories – alive, for music is like a running thread that can colour time, that time in which the memory operates. The necessity of limiting this time in order to observe it better led to a focus on the closed arched form, as well as an economic use of a minimum of material, both of which guide the attention to the linear development of the musical language.

My Ballate do not simply evoke a Romantic form; beyond that, they are also parts of my path on the way to a comprehensive construction process.

Ballata No. 7 continues this search and, at the same time, draws several lines to previous things: to Ballata No. 2, as both works – in contrast to all the other Ballate – feature no soloist; to Ballata No. 6 because of the kinship with language; and it resembles Ballate No. 4 and No. 5 through the close connections to works written at the same time. In Ballata No. 7, the material draws its form from the notes for the opera Inondation, based on a text by Evgueni Zamiatine, which will be premiered in September 2019 at the Opéra Comique in Paris. This resulted in a music that retains a dynamic character and is closer to the ballades of Liszt than to my own previous works. Ballata No. 7  is dedicated to Shinichi Baba, a Tai Chi master who recently passed away.
—Francesco Filidei, 2018

 in Werke
21 October 2018
11 a.m.
Donaueschingen, Donauhallen, Mozart Saal Donaueschinger Musiktage Case White UA UA UA UA

For the ninth time, Klangforum Wien will be performing in Donaueschingen. This year their programme features works where the experimental and the open are in the foreground.

Francesco Filidei — Ballata Nr. 7 World Premiere
Eduardo Moguillansky — Resilienztraining World Premiere
Koka Nikoladze — 21.10.18 World Premiere
Mirela Ivičević — Case White World Premiere

Peter Böhm, sound design
conductor: Ilan Volkov

The composer Francesco Filidei on his new piece:
Francesco Filidei — Ballata Nr. 7

The composer Eduardo Moguillansky on his new piece:
Eduardo Moguillansky — Resilienztraining

The composer Koka Nikoladze on his new piece:
Koka Nikoladze — 21.10.18

The composer Mirela Ivičević on her new piece:
Mirela Ivičević — Case White

13 January 2019
7.30 p.m.
Vienna, Wiener Konzerthaus, Mozart Hall AugenSchein Triptych EA EA EA

A Triptych both reveals and conceals. In the overview, the seemingly disparate becomes the meaningful new.

Francesco Filidei — Ballata Nr. 7 Austrian premiere
Eduardo Moguillansky — Resilienztraining
Austrian premiere
Jorge E. López — Triptychon op. 25
Austrian premiere

Christoph Walder, horn
Peter Böhm & Markus Urban, sound design
conductor: Ilan Volkov


Before the concert:
In the Ears of the Others or: how musicians listen to this, 6.30 p.m.

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