Sylvano Bussotti (1931-2021)
Quattro pianoforti (2011)
12 Folie d'après François Couperin le Grand (2008), pour violon et piano
La vergine ispirata (1982), pour clavecin et clavier
PER TRE sul piano (1959)
Bartók-Busoni, capriccio di 34 mikrokosmos (1995), pour piano
Olof Palme (1987), pour piano
Le pietre di Venezia (1984), pour piano

Sylvano Bussotti, pour clavecin et piano
Aldo Orvietto, piano
Ciro Longobardi, piano
Giovanni Mancuso, piano
Debora Petrina, piano
Carlo Lazari, violon
Claudio Ambrosini, piano
Alvise Vidolin, électronique live

There are not many composers of Sylvano Bussotti’s generation – here by generation we mean a poetic more than numerical fact – for whom the piano has represented the, or an, authentic centre: a specific place for the invention and production of sounds which radiates towards other ideas, other fields of application. Not really a composer-pianist, in the sense of former times, nor still less a musician linked to a craft learnt on and by means of the keyboard, notwithstanding this at the end of the fifties Bussotti succeeded, like Cage, Boulez and Feldman, in defining authoritatively a contemporary language of the piano which is at the same time idiomatic, experimental and imbued with history. The presence of the piano in Bussotti’s extensive catalogue is not only frequent, but also indicative of innovation, of turning points, sometimes even of ‘manifesto’; it is also not only the fruit of composition but also the living presence of the composer as (still) a skilled and charismatic performer.