Carillon Concert with Electronics
June 29,
2003 at 3 p.m.
Jeffrey Bossin, Carillonneur, Berlin
Electronics: Folkmar Hein and Daniel Teige
Electronic Studio of the Technical University of Berlin
Program
I.
Six Treatments for Carillon (2002) German premiere Stephen Rush
First Treatment/Tilted Waltz/Cloud Bowls/River Teeth/Homage to Ives/Bolts
II.
Elevation (2001) Ed Osborn
III.
Paesaggio con campane (2003) World premiere Stefano Giannotti
IV.
Vox Veterrima (1988) Ricardo Mandolini
New version created with the help of Michael Hoeldke and Daniel Teige
Organized by
CarillonConcertsBerlin in cooperation with the Electronic Studio
of the Technical University of Berlin
and with the support of the Haus der Kulturen der Welt and the
Initiative neue Musik Berlin e. V.
Stefano
Giannotti was born in 1973 in Luca, Italy, and is a composer, author,
gitarrist und performance artist. He studied composition with
Pietro Rigacci. From 1983 to 1990 he gave concerts in many
european countries as a member of the group "Trio
chitarristico lucchese". From 1998 to 1999 he was a guest of
the DAAD Berlin artists program. He has composed orchestral
works, songs, chamber music and music for dance productions
and for radio programs in Australia and several European
countries. His music has been performed at many festivals in
Europe, Japan, and the USA since 1989 including during the
Donaueschinger Musiktage in 2002. He has won several prizes
for his compositions including the Karl-Sczuka-Prize given by
the Südwestrundfunk Baden-Baden in 2002.
Daniel Teige and Folkmar Hein at the computer
Stefano Giannotti and Jeffrey
Bossin
The
composers
Mario
Verandi
and
Stefano
Giannotti
at
the
concert
Concert announcement 2003
The first page of Paesaggio
con campane by Stefano Giannotti
Click here to listen to an excerpt of
Paessagio con campane performed by
Jeffrey Bossin on the Carillon in Berlin-Tiergarten
Paesaggio con
campane consists of phrases
and sections that use stylized bell ringing motives (repeated
notes, intervals and motives), arpeggios and arabesques played
on the carillon at irregular intervals. The piece ends with a
four voice texture in the style of a polyphonic Baroque cadence.
The electronics are divided into three sections with short rests
between them and consist of both electronic sounds as well as of
prosaic noises such as pealing bells and children laughing.
According to the directions provided by the composer the piece
can also be performed as a carillon solo without electronics.