This record is devoted to three American composers who I only met once but whose work I listened to a great deal before and after I met them. And each of those composers provided me with their own illuminating guidance through what is now known as New Music. ………..
While I know that many people have to spend their lives rushing here and there, I should like to suggest that they listen slowly to everything on this recording as a single, whole event. Only by doing this and absorbing the actual sound of the guitars themselves, the vibrations of their strings and the overall architecture of what is here will listeners hear that each piece is not an independent document but that its identity exists precisely in relation to what comes before and after it.Elena Càsoli
Castagnoli has always been receptive to Scelsi's approach to composition and to his art, unlike many others over the years who have shown no interest whatever in Scelsi's music. Common to all five pieces on the present recording is the idea of a natural, organic development of form - the development of a single, complex sound starts from within the sound itself and its duration is stretched out over a far longer period than one would expect. The complexity of this single note and single sound leads the listener to hear the entire work as one sound moving within itself, rather than "going somewhere".
Giulio Castagnoli was born in Rome into a family of physicists. He attended Turin University where he read classics and archeology. He obtained a degree in music history and diplomas in composition under Gilberto Bosco and in pianoforte with Maria Golia. He went on to complete his musical studies at the Hochschule fur Musik in Freiburg under Brian Ferneyhough (1986) and Franco Donatoni at the Accademia di Santa Cecilia in Rome (1987). Since 1984 he has lectured in composition at the Giuseppe Verdi College of Music in Turin and in 1999 was appointed professor at Turin University. He was composer in residence in Berlin, a guest of the DAAD (1998–9).
He worked on music education with Sergio Liberovici whose unfinished opera Malzel he orchestrated with Luciano Berio in 1995. Like Giacinto Scelsi, Castagnoli employs a sophisticated style directed towards timbral inventiveness, and it was to Scelsi that Castagnoli dedicated not only his first orchestral work Klang, but also an analytical essay for the series Quaderni di Musica Nuova which he founded in 1987.Martin Wilkening from the attached booket