Luca Belcastro: ... germinación y canto
The Hilliard Ensemble : discography


Moretti Multimedia MOM001

Playing time: 62'13

lucabelcastro.it

Luca Belcastro: ... germinación y canto

Hilliard Ensemble / Neue Vocalsolisten / oh ton-ensemble / Orchestra Cantelli / Orchestra Milano Classica


Contents:

1. ... cristal verde del mundo - for clarinet, percussion and strings (1998) - 8'10"

Enrico Gabrielli, clarinet
Orchestra Milano-Classica
Massimiliano Caldi, conductor

2. caminando hacia el mar - for soprano, flute, cello and piano (1998) - 9'20"
(verses from "Oda a la flor azul" by Pablo Neruda)

oh ton-ensemble
Angelina Soller, soprano
Stephania Lixfeld, flute
Graham Waterhouse, cello
Michael Wendeberg, piano
Alain Franco, conductor

3-4. spotlights on "The Tempest" - for vocal quartet (2002) - 9'30"
(text from William Shakespeare)

Neue Vocalsolisten
Daniel Gloger, countertenor
Martin Nagy, tenor
Guillermo Anzorena, baritone
Andreas Fischer, bass

5. ... passo leggero - for piano (1998) - 5'20"

Katya Kostova Bratovanova

6. la voce delle creature - for vocal quartet (2001) - 10'50"
(text from Saint Augustine)

Hilliard Ensemble
David James, countertenor
Rogers Covey-Crump, tenor
Steven Harrold, tenor
Gordon Jones, bass

7-16. la hora fría - for spoken voice and 11 players (1999) - 19'03"
(verses by Federico García Lorca)
I - mariposas pálidas, II - suspiros y miradas, III - lunas blancas

Carlo Mega, spoken voice
Orchestra Cantelli
Raffaele Mascolo, conductor


Description:

The already wide output of Luca Belcastro is certainly crossed by a common trait: i.e, the communicative intent of his poetics. As a proof, here are included the compositions representing the creative period between 1998 and 2002. One may enjoy and appreciate Belcastro's music on different levels: the subtleties of his composing and the complexity of his musical structure can be appreciated by both a musicologist and a learned listener accustomed to contemporary music. But at the same time, it allows - encourages it, actually - an immediate approach by means of the music's strong evocative character: actually, each musical event has its own life, following each other throughout the composition with an incessant interplay of repetitions and recalls to memory.