New music for sopranino saxophone and piano

Website(s) : http://www.isabellastabio.com

Biography

Isabella Stabio and Carmelo Luca Sambataro play in duo from July 2013. Isabella Stabio (1985), saxophonist, has studied in the Conservatory of Turin and Lyon (class of Jean- Denis Michat), She has impressed in many national and international competitions. She performs as soloist, with many chamber music groups and with orchestras in Italy and abroad.
Carmelo Luca Sambataro (Turin, 1979), composer, orchestral and choir conductor, he has perfomed as pianist, organist and improviser in Italy and abroad. He has composed many orchestral and chamber pieces.

More information

Eight short episodes seamlessly compose “Limnoùla” (λιμνούλα = “pond” in greek), composition of twelve minutes for sopranino saxophone and piano. From the bottom of a shadowy pond, life germinates mysteriously (mezzopiano, harmonics: static theme in dialogue between darker notes of the two instruments). Among the mud and the water lilies rises the Princess, full of life (modal counterpoint, solemn and moved, middle register, crescendo). Soon she discovers love: first of all she loves herself as the perfect being (Andante cantabile). A swarm of dull frogs flatter her (slapping, presto, percussive piano) and submits her to an endless stream of eulogies (minimalist form), that pleases her (sovracuti) but gently puzzles her and leads her to exhaustion (allegro agitato, in canon): finally, literally, it dissolves her, like the “dentelle” (“lace” in French) of Mallarme that “s’abolit dans le doute” (Cantabile – Tempo primo).

The piece Man-Mou was commissioned in 2011 by the saxophonist, Kevin Ling and was premièred at the 2012 World Saxophone Congress.
The title ‘Man-Mou’ was inspired by the two types of Cantonese Opera plays. ‘Mou’ plays emphasize war, conflict and strife. In contrast, ‘Man’ plays tend to be gentler, more elegant and poetic. ‘Man-Mou’ is not intended to be programmatic or imitative of Cantonese Opera, rather an evocation of the myriad of musical styles and instruments (both Western and Eastern) that have influenced Cantonese music. The ornaments are only suggestions allowing the performer to embellish in a quasi improvisatory style. After a brief introduction, the main theme (Man), a lyrical melody follows. This evolves into a more tense, jazz/funk section (Mou). A restorative calm leads to a peaceful ending.