"This CD is a reissue of two compositions that I originally planned as part of a larger work. My intention is to use, one by one, the various modes adopted in different places and times." – Piero Milesi
Modi is for chamber orchestras of between 12-18 musicians; this is two extended works of unique beauty.
Piero Milesi (1953 - 2011) studied electronic and experimental composition at Milan’s Conservatorio “G. Verdi” after early training as a cellist. He later graduated from the University of Architecture in Milan, where he wrote his dissertation on the relationships between space and music. His interest in correspondences between musical and visual composition is evident in the fact that many of Milesi’s works are composed for visual spectacles ranging from ballet to film to fireworks displays. One of his pieces was featured at the “XVII Triennnale” of Milan, one of the most important exhibitions of modern industrial art in Europe.
Milesi was one of a number of young, interesting composers in Italy who, although little known here, quietly changed the way we think about music and its usage via their work with soundtracks and installations and which were echoed by many other composers internationally. A former member of the Italian musical cooperative “L’Orchestra”, in which he worked as both a composer and performer, Milesi now works primarily as a composer, performing only his own works. He has scored numerous film, video, and television soundtracks, and has composed music for several ballets and live performance events.
Modi, originally released in England by Cherry Red Records in 1983, was Milesi’s first record release. Since Cherry Red was a “rock” label, Modi gained a wider audience than it might have, had it been released by a specialty label. The release brought Milesi to the attention of New Music fans who were attracted by Milesi’s fine melodic sense and command of orchestration. Modi had been out of print since the mid 80’s. Cuneiform's 1994 reissue marked its first appearance on CD.
Since the original release of Modi in 1983, Milesi recorded two further releases, both on Cuneiform, The Nuclear Observatory Of Mr. Nanof (1986) and La Camera Astratta (1989) [done in collaboration with Daniel Bacalov]. He released his fourth and final album, Within Himself, in 2000 also on Cuneiform.
Piero died relatively young of a heart attack in 2011. A posthumous release of an orchestral work, Le Voci Della Terra, was released in 2013.
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MODI consists of two works written for different groups.
The first, Modi n° 1 in six movements, was written in the
fall and winter of 1977/78 for the following instruments:
Harpsichord
Flute
Oboe
Clarinet
Bassoon
Percussion (Marimba, Timpani and Snare Drum)
2 Violins
Viola
Cello
Double Bass
Practically speaking, the piece was begun by cresting
thematic ceils, organized in a Gregorian Authentic
Proteus or Dorian made. These cells generated other
cells, using the by now traditional processes of
fragmentation, inversion, retrograde procedure, etc.
Repetitive groups of cells, based on the tempo of k =126
and played by the harpsichord are derived from and
organized chronologically according to geometric and
Numerical criteria (algebraic progressions,
combinations, permutations, reductions, rarefactions,
etc.). These groups of ceils form a pseudo-repetitive
grid from which the individual movements of the work
were developed. The function of the harpsichord,
therefore, instead of having a role as ostinato
accompaniment, is used as a basic constructive
element of the piece. This is confirmed in the fifth
movement where the harpsichord has a real pre-classic
style cadenza. In the sixth movement also, the
organization of the inductive and deductive cells results
in a greatly increased time concentration, especially in
relation to the general time dilatation previously used.
This sense of time expansion is also obtained by
rhythmic insistence aimed at intentionally using the
elaborative possibilities of the germ motives, which are
hot developed in the traditional ways, but are transformed and reiterated within the same limits of time.
The same methodological approach is also used for
the orchestration and vertical aspects: the layering of
differently manipulated material gives us 3 spatial
perception of the themes on different levels. These
levels each keep their own harmonic autonomy
following the criteria of Gregorian modes (organum,
lowered leading tone, etc.).
The aspect of colour and timbre is also important. The
strict control of the interchange of single instrumental
and sectional orchestral parts has 6 constructive
function in the shaping of the piece, and therefore the
orchestration is a structural part of the composition.
Modi n° 2 has three movements (Andante, Allegro,
Andante) written in the summer of 1980 for a larger
group than the preceding work:
Voices: Soprano, Alto, Tenor, Bass
Instruments
Flute
Oboe
Clarinet and Bass Clarinet
French Horn
Tuba
Celtic Harp
Percussion (Marimba, Timpani, Snare Drum and Tubular Bells)
2 Violins
Viola
Cello
Double Bass
This piece is a typical closed A-B-A form. The second
movement (B} differs from the other two movements in
its material (tonal not modal), as well as its elaboration,
in which the repetition refers to typical Late Romantic
sonorities. In the other two movements (A and A’),
ancient Chinese modes are taken as the basic material.
By using progressive interval changes in the pentatonic
scale, perceptive factors gradually undergo transformation, and consequently so do the semantic values of
the archaic oriental modes. This is most evident in the
reprise of A’ where all the modal combinations are
displayed in an unresolvable logic of recurrances.
The compositional procedure takes advantage of geometric and numerical combinations used and drawn up
in a rigorously analytical way, as in Modi n°1.
There is also an instrumental use of the voice where
the hand beats rhythmically against the lips with the
resultant repeated notes combined in s schematic play
of dynamics.
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