Campogrande: Musica trasparente
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- Composer: Nicola Campogrande (1969-)
- Instrumentation: String Quartet (Violin I, Violin II, Viola, Cello)
- Work: Musica trasparente (2024)
- ISMN:
- Size: 9.1 x 12.0 inches
- Pages: 32
Description
A transparent quartet, with my mind on the radio
On October 6, 1924, the Italian Radio Union began broadcasting in Rome. Thus was born what would become Italian public radio.
The first and second movements of Haydn's "Quartet, Op. 2, No. 1" were chosen for the inaugural concert. When you think about it, it was a curious choice for a country like ours, which at that time was still completely dedicated to the celebration of opera and moreover was immersed in the Fascist regime, which favored Italian composers and works. But this is what happened: for the first national radio broadcast it was decided to play chamber music by an Austrian composer.
Perhaps it was the clarity of Haydn's music, suited to the technology of the time, which was pioneering, still imperfect. Perhaps there were contingent factors I do not know of. in inventing this little quartet of mine to commemorate that date, I liked to think, in an imaginative way, that the choice of that piece was meant to emphasize two of the characteristics that radio, in its cultural version, still proposes to this day: honesty and politeness. I am writing this as a composer, but I could also subscribe to it in my role as a radio host (for almost thirty years, in between composing, I have worked in Italian radio), and I am sure I am not wrong. Because in front of the microphone it is impossible to lie, the voice betrays emotions, the listener understands on the fly whether you are really talking to them or if you are squandering their time with aseptic, useless words; and the best way, the right way to bring music, ideas, thoughts to the thousands of listeners is to deliver them gracefully, seeking exchange, dialogue, civility. Exactly as it happens in the quartets of the classical period and those inspired by it.
This little tribute of mine to October 6, 1924, composed one hundred years after that first radio broadcast, is therefore intended to offer listeners a moment of light, transparent music; and in the sonorous conversation of the musicians it tries to remind us how much more beautiful the world would be if we knew how to listen to each other and respect each other with the affection that music always knows how to offer us in an exemplary way.
(Nicola Campogrande, July 2024)
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Campogrande: Musica trasparente
