Ensemble
- bio
Mutta (1997)
by Jukka Tiensuu
© RIVOALTO
Instrument: Ensemble
Germano Scurti bayan
Dario Flammini bayan
Walter Di Girolamo bayan
The Trio Solotarev is a chamber ensemble absolutely new: it is a classical accordions trio (using a specifical accordion called "Russian bayan"). The aim of this ensemble is to propose in the classical contemporary concert repertoire a musical product completely unknown, but rich in innovative and original contents. Its specificity is a repertoire - characterized by unpublished works coming from the collaborations with the composers - that goes from the contemporary experience of the "Russian school" to the latest experiences of the 'north-European school', that we want to synthetize and condense through three elements: rhythm, expressive strength and timbrical research; the exploration of a rhythmicity of percussive and primordial kind and the expressive strength of a bright radiance, hard and harsh. It's music that assumes the spirit of the continuous variation, in which the sound material is compelled to reveal always new aspects of its nature.This means a structure rich in timbrical variations and rhythmic starts, to arrive to the vortical interlace of sound levels that confers to the music a true collision force. The output is a genre absolutely in syntony with the idea of 'dynamical symmetry' characterized by a sense of unceasing growth, of tension and of thrust in forward. A music that embodies the vitalistic idea of the modernism, and - through the use of sparkling sound mixtures, of strong harmonies, that create the rough percussive effect of an obstinate rhythm, repeated in haunting way, up to edges of pure colour, moved around a central note - the suggestions of a contemporary neoprimitivism. That is, that research able of producing a tension that must be liked for its sound, for its elasticity, for its energy; so. that sort of body excitation - output of the relation between the music, the location idiom, that is the earth, and the physicalness of that vital organism that is the body - that creates a suggestion of primitive strength. The Trio Solotarev proposes a music that wants to be understandable: further the typical solipsistic subjectivism of the Romanticism and the typical formal autoreference of the contemporary 'inespressionism', is characterized by a language that tries to incorporate different stylistic elements, held together by the exuberance of a Dionysiac vital energy; a product that contains in itself, further the contemporary 'purism', the twentieth century's ideas: from the polytonality to the atonalism, from the expressionism to the classicism, from the ethnic music to the constructivism, from the lyricism to the pure dynamism, from the primitivism to the intellectualism. There are a lot of elaborated parts, it's true, but here the music 'sounds' or better 'sounds again' with effects that embody a non intellectualistic communicative relationship, that wants to shake, to urge alive and shared reactions. A product able to enter the concert repertoire attributing to the classical-contemporary music the substance of a place culturally and socially significant.
Dario Flammini bayan
Walter Di Girolamo bayan
The Trio Solotarev is a chamber ensemble absolutely new: it is a classical accordions trio (using a specifical accordion called "Russian bayan"). The aim of this ensemble is to propose in the classical contemporary concert repertoire a musical product completely unknown, but rich in innovative and original contents. Its specificity is a repertoire - characterized by unpublished works coming from the collaborations with the composers - that goes from the contemporary experience of the "Russian school" to the latest experiences of the 'north-European school', that we want to synthetize and condense through three elements: rhythm, expressive strength and timbrical research; the exploration of a rhythmicity of percussive and primordial kind and the expressive strength of a bright radiance, hard and harsh. It's music that assumes the spirit of the continuous variation, in which the sound material is compelled to reveal always new aspects of its nature.This means a structure rich in timbrical variations and rhythmic starts, to arrive to the vortical interlace of sound levels that confers to the music a true collision force. The output is a genre absolutely in syntony with the idea of 'dynamical symmetry' characterized by a sense of unceasing growth, of tension and of thrust in forward. A music that embodies the vitalistic idea of the modernism, and - through the use of sparkling sound mixtures, of strong harmonies, that create the rough percussive effect of an obstinate rhythm, repeated in haunting way, up to edges of pure colour, moved around a central note - the suggestions of a contemporary neoprimitivism. That is, that research able of producing a tension that must be liked for its sound, for its elasticity, for its energy; so. that sort of body excitation - output of the relation between the music, the location idiom, that is the earth, and the physicalness of that vital organism that is the body - that creates a suggestion of primitive strength. The Trio Solotarev proposes a music that wants to be understandable: further the typical solipsistic subjectivism of the Romanticism and the typical formal autoreference of the contemporary 'inespressionism', is characterized by a language that tries to incorporate different stylistic elements, held together by the exuberance of a Dionysiac vital energy; a product that contains in itself, further the contemporary 'purism', the twentieth century's ideas: from the polytonality to the atonalism, from the expressionism to the classicism, from the ethnic music to the constructivism, from the lyricism to the pure dynamism, from the primitivism to the intellectualism. There are a lot of elaborated parts, it's true, but here the music 'sounds' or better 'sounds again' with effects that embody a non intellectualistic communicative relationship, that wants to shake, to urge alive and shared reactions. A product able to enter the concert repertoire attributing to the classical-contemporary music the substance of a place culturally and socially significant.