Ivan Fedele: Works for Violoncello

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Sui poteri illimitati della musica e delle sue forme antiche la musica contemporanea ha sviluppato spesso un’opposizione naturale sulla quale però riflettere. Quando al festival di Venezia al compositore Tan Dun gli fu chiesto perché usasse la passacaglia, il cinese rispose che in quella forma musicale intravedeva gli esseri umani, una combinazione di staticità e variabilità di intenti

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Articolo precedenteBefore then: Guazzaloca/Mezei/Trevor-Briscoe
Articolo successivoMartin Taxt’s Second Room
Music writer and founder of Percorsi Musicali, a multi-genre magazine focused on contemporary music and improvisation's forms. He wrote hundreads of essays and reviews of cds and books (over 1800 articles) and his work is widely appreciated in Italy and abroad via quotations, texts' translations, biographies, liner notes for prestigious composers, musicians and labels. He provides a modern conception of musical listening, which meditates on history, on the aesthetic seductions of sounds, on interdisciplinary relationships with other arts and cognitive sciences. He is also a graduate in Economics.