Francesco Di Fiore
TRE PAESAGGI (Three Landscapes)
for guitar, piano and strings
Lapo Vannucci, guitar
Luca Torrigiani, piano
Bacau "Mihail Jora" Philharmonic Orchestra
Robert Gutter, conductor
Very often my music is, more or less explicitly, linked to images or to more complex visual experiences.
It is also the case of TRE PAESAGGI (Three Landscapes), concerto for guitar, piano and string orchestra.
I composed it for guitarist Lapo Vannucci and pianist Luca Torrigiani, two great artists whom in the past I collaborated with, always with great pleasure.
A very unusual organic which offered me the chance to explore the universe of three categories of stringed instruments, having chosen an ensemble of strings only, in a single sound experience.
It is amazing how the contemplation of a landscape can be so exciting, as well as witnessing a weather event that can distort and modify that very same environment. The magic of nature, fortunately, still manages to touch every human being without any limitation of knowledge, age or temperament. It is absolutely impossible that nature, with its symmetries and asymmetries, could not excite every single human being.
Three Landscapes is in three movements, three different naturalistic paintings. The first movement, ALBA (Dawn), would like to describe the stages of the awakening of nature, from earlier to full light. From a formal point of view it is presented in two sections announced by a brief introduction. As the two sections may appear to be contrasting, they are actually sharing the exact same harmonic structure.
The second movement, VETTE (Peaks), evokes the serenity of the mountain. Winter sun, mountains in the horizon. It is a slow movement, a short theme with two variations where the two soloists take turns as protagonists.
The MAESTRALE (Mistral) is a wind from the northwest with whom I had a stable relationship since its blowing invests in full the place where I have been living the most of my life. It can be very intense and powerful enough to significantly modify the perception of the site itself. I just wanted to describe its lashings in the third movement. The piece has a tripartite form with a contemplative middle section, almost passacaglia, with overlapping and layering of previous elements, fragments uprooted by the force of the wind and then stored, according to the logic of the wind itself.
