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@stefanopenazzi
In my music, I search for balance between polar-harmonic made relations, avant-garde formal approaches, orchestration extending techniques and thematic handling of musical material.
After the teachings of maestros Nicola Straffellini and Alberto Colla, I strongly believe in a nature-based structure of musical phenomenon. Sounds must entangle and combine themselves in a harmonic way. The logic of attraction between sounds as harmonic partial polarities is a physical evidence and reflection of the underlying foundation of many harmonical phenomena (not only sound related), forming the cosmos.
However, I also think that all historical evolutions of musical structures, from monodic chant to post-webernian serialism, must be included as an archetypical settlement in musical piece writing. Therefore, using scales and chords from a purely auditive tension-relaxation perspective, could give inner structural solidity to the music flow. We must not forget that music only flows in time, linearly, so structures such as similarities, melodic cellules and all the traditional inner genetic matrix of musical phenomenon cannot be set aside. This is the baseline for comprehension of a musical happening, in order to be understood by musicians and listeners.
Both of these pillars must be sustained by an orchestration able to underline and clarify the structure but in a perfect fit with the harmonic verticality. Extended techniques from the avant-garde conquests could help in that way: enlarge expression, sharpen pitch and magnify gesture as key roles in the score. I believe in using these techniques properly to define borders and perspective rather than per se, as a sensationalism and meaningless spectacle. Integration of these techniques with the traditional way of producing sound is my personal goal, to achieve a floating expressive and functional balance evolving in each piece. In this way the use of thematic cellules, rhythms or chords form a generating idea gives shape and meaning to all material. I deduce from a single “theme-cloud” all scales, chords and harmonic polarities of a piece, in a constant effort for coherence, holding onto the time flow of the music.
All of these characteristics give a clear traditional taste to each piece, enriched with a layer of glimmering complexity describing the overflowing contemporaneity of the over-input-environments we are living in.
Stefano Penazzi
So dynamic
Wind Orchestra2015
TONAL MUSIC
The Piece develops in four parts describing different memories related with landscapes of composer’s living place, Verona. The first panel takes from a main theme exposed by horns and Saxes on a percussion pattern by trombones and percussions. In this part a playground it’s represented with all the childish energy and cute solemn approach to simple things. After this the solemnity flows into a severe church litany by the euphonium solo. Third part represent a well know walk in Montorio Valley near Verona: starting from shady wood a country path disentangle slowly until a wide landscape view which includes all beauty in valley, from rivers to ancient church at the top of a hill surrounded by vineyards and framed by weeping willows leaves. Reaching the climax this section ends sharply into a joyous rondò that would represent the happiness and energy of diving by any way in this beauty and sunny landscape.
Score