The great thing about a composer’s pencil is that he gets inspired by the most diverse experiences.

Sometimes I start writing a piece after reading a novel. Other times after a conversation. Still other times after listening to a concert. In this case – along with the desire of the committant – the spark was a void, an absence. But nothing dramatic or melancholic, mind you: the point is that the repertoire for violin, horn and piano is very limited (the great pieces, really performed, are the three by Mozart, Brahms and Ligeti) and there are basically no concerts for this formation and orchestra that really circulate. Which is a pity. So I took up the challenge and tried to invent this unicorn, this chimera, this impossible animal.

Now, in the dialogue with the orchestra, each of the three solo instruments brings with it a colourful baggage, where its timbral identity, its musical habits, its technical constraints, its repertoire from the past coexist: all aspects that cannot be disregarded. But rather than being limitations, these were powerful stimuli for my fantasy. And after a while I realised that, following my imagination, I was performing a curious manipulation, fusing different genetic heritages (the tradition of the three instruments) into a new DNA (their strange and unprecedented relationship with the orchestra).

So I found myself watching with curiosity, and with much affection, the crossbreeding and fusions that took place before my eyes, before my ears, as this impossible animal came to life. And, as always happens with one’s children, I eventually fell in love with it.

I know, it is a curious, strange piece. It has the arrogance of youth and the tenderness of sprouts. I finished writing it in winter but I was already thinking about spring. Now I hope the performers and the audience will take care of it – I have done my part.

Nicola Campogrande, December 2023

I. Andante
II. Larghetto
III. Andantino

Nicola Campogrande explora a menudo formas tradicionales en clave moderna y aquí ha producido un trabajo que se inserta en un contexto más bien limitado para esta tipología de concierto. El intento del autor de crear una nueva obra para instrumentos poco comunes junto a la orquesta, hace emerger la originalidad de la composición. Este concierto afronta la fusión de estilos, géneros y tradiciones musicales, haciendo del evento una importante ocasión de condivisión cultural. En el diálogo con la orquesta cada instrumento aporta su individualidad tímbrica, su idiosincrasia musicale, sus constricciones técnicas, aspectos todos que no se pueden ignorar, pero para el compositor estas limitaciones se han transmutado en estímulo de su fantasía. Los tres solistas fueron largamente aplaudidos y ovacionados. Numerosos aplausos también para el autor, presente en la sala, que al final subió al escenario.
– Magda Ruggeri Marchetti, Codalario.com

Da musicista, devo dire che Campogrande è riuscito a risolvere questo rebus in modo eccellente, e sono sicuro che verrà apprezzato anche dal pubblico. Non a caso lo stile di Campogrande racconta di una rivoluzione che arriva dal basso, se vogliamo individuare una componente del rinnovamento di cui questo compositore in qualche modo si fa portavoce. Questa musica nuova, che è aperta alle provocazioni e aperta al dialogo, è composta per le orecchie di chi la suona ma anche di chi la ascolta, senza però perdere tutto il fascino dell’ardimento tecnico, della scrittura particolarmente intrigante.
– Alessandro Taverna, Il Giornale della Musica

solo vl, sono hn, solo pno – 2.2.2.2 – 1.2.0.0 – perc (2) – str

Duration 20′

Commission Festival Internazionale di Musica di Portogruaro

World Premiere
13 September, 2024
Portogruaro (Italy)
Francesca Dego (vl)
Martin Owen (hn)
Alessandro Taverna (pno)

Published by
Breitkopf & Härtel
MM 2311125