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| Latest update: | 06-04-2024 |
Carlo Forlivesi
1971 -
Italy
| C. Forlivesi |
Carlo Forlivesi (23/10/1971), an Italian composer and researcher, born in Faenza (Ravenna). He studied piano, harpsichord and organ, conducting, analysis and composition with Ivan Vandor at the National Conservatory of Bologna from 1986 to 1995, where he obtained the ten-year diploma in piano in 1994. He also studied ancient music in Barcelona with Jordi Savall. Then he moved to the National Conservatory of Milan and graduated in composition studying with Alessandro Solbiati in 1996 as the best diploma of the year with the special mention in analysis. The same year he received the Centre Acanthes bursary, and entered the National Academy Santa Cecilia of Rome where he completed in 1998 the diploma of specialization in composition. Simultaneously he studied composition and computer music following the one-year study residency at IRCAM in 1997 - 1998. He further studied computer interactive music in 2000 - 2001 at DIEM as a Danish Rectors' Conference Research Fellow. From 2002 to 2004 he was a Japanese Government Monbukagakusho Post-graduate Researcher at the Tokyo Music College and tutored by Joji Yuasa (composition) and Yukio Tanaka (Japanese traditional instruments). During 2003 and 2004 he was Guest Lecturer and Researcher at the University of Sapporo. In 2004 he was awarded in Kyoto the Rohm Music Foundation Grant for his commitment on the field of music research. In 2005 and 2006 he will be a Fulbright Visiting Scholar and Lecturer at the Northwestern University of Chicago (tutored by Augusta Read Thomas).
Requiem
| Period: | Modernism |
| Composed in: | 1999 |
| Musical form: | free |
| Duration: | 14'59'' |
Requiem, for 8-channel tape, made up of sounds and samples of choir, strings and ritual objects.
It contains:
01. Komm
02. Les pleurs
03. ( )
Duration: 14'59. Date and place of composition: 2-13 Dec 1999 - DIEM, Aarhus, Denmark.
To compose this music I elaborated sounds and samples of female voice, choir, strings and ritual objects. The ritual objects in use are from different cultural areas: rain stick (Central America), whistles (Africa), tinklers (South India), dobachi (Japanese bronze vessel), matches and crystal glasses. This composition titled Requiem does not make use of the formal model of the traditional catholic prayer, but it opens into a personalized structure bearing different meanings and spiritual implications. I choose the word Requiem primarily for its old Latin literal meaning: to get peace and cessation of tiredness and grief.
Requiem is composed of three sections separated by silence.
1) Cold strings appear from a deep space (pppp) to a full sonority (ffff) until all attention is drawn on a match burning in the foreground. It is the beginning of Komm, a solemn funeral oration developing a syllabic (but not textual) choir and followed by knelling bells. This synthetic choir is a computer elaboration outcome of the first measures of the J.S. Bach's Motet BWV 229.
2) A souvenir of life comes up in Les pleurs, title of a piece for viols by Monsieur de Sainte-Colombe (17th century) quoted in this movement. I also used a female voice moaning between bitter sobs and orgasmic pleasure.
3) The last movement ( ) is a vacuum between two brackets. It is made up of materials rejected while working on the first two movements.
The piece must end in silence.
Requiem was composed at DIEM, Danish Institute of Electroacoustic Music, with funds provided by the Italian Association for Young Artists and the Rolo Bank 1473 Foundation.
It contains:
01. Komm
02. Les pleurs
03. ( )
Duration: 14'59. Date and place of composition: 2-13 Dec 1999 - DIEM, Aarhus, Denmark.
To compose this music I elaborated sounds and samples of female voice, choir, strings and ritual objects. The ritual objects in use are from different cultural areas: rain stick (Central America), whistles (Africa), tinklers (South India), dobachi (Japanese bronze vessel), matches and crystal glasses. This composition titled Requiem does not make use of the formal model of the traditional catholic prayer, but it opens into a personalized structure bearing different meanings and spiritual implications. I choose the word Requiem primarily for its old Latin literal meaning: to get peace and cessation of tiredness and grief.
Requiem is composed of three sections separated by silence.
1) Cold strings appear from a deep space (pppp) to a full sonority (ffff) until all attention is drawn on a match burning in the foreground. It is the beginning of Komm, a solemn funeral oration developing a syllabic (but not textual) choir and followed by knelling bells. This synthetic choir is a computer elaboration outcome of the first measures of the J.S. Bach's Motet BWV 229.
2) A souvenir of life comes up in Les pleurs, title of a piece for viols by Monsieur de Sainte-Colombe (17th century) quoted in this movement. I also used a female voice moaning between bitter sobs and orgasmic pleasure.
3) The last movement ( ) is a vacuum between two brackets. It is made up of materials rejected while working on the first two movements.
The piece must end in silence.
Requiem was composed at DIEM, Danish Institute of Electroacoustic Music, with funds provided by the Italian Association for Young Artists and the Rolo Bank 1473 Foundation.