Giuliano Di Giuseppe

The three suites, which compose “Italian Musical Landscapes”, are based on different guiding principles, feeding them from end to end.

The guiding principle that encompasses “Lagunaria” is the fog, which envelops an imaginary lagoon. Stanzas and refrains, shrouded in haze and distorted in their metric, rhythm and harmony, are perceived with poorly defined contours, to the point of becoming almost unrecognizable.

On the other hand, “Grottesca” is inspired by the idea of ​​Rondò, i.e. the periodic return of a musical episode, alternating  itself with intercalated sections of a different and contrasting nature. The opening and closing refrains are the only moments in the song, which resonate similar to the original and are therefore recognized as authentic. The stanzas, i.e. the movements between the the refrain, are poetic shells, filled with originally conceived music.

“Introduction and Vesuviana” aims to represent the happy encounter between two musical genres: songs – specifically those from the great Neapolitan tradition – and sonatas. The songs, set like pearls within a sonatistic architecture, integrate themselves within the musical discourse, adapting to the dramatic and dialectical form eighteenth-century sonatas, without losing their dignity and expressive identity.

The Italian Cultural Institute in Haifa is pleased to present the program “Italian Musical Landscapes”, a series of original elaborations of popular or authored melodies by the Italian composer Giuliano Di Giuseppe. “Italian Musical Landscapes” is a musical, literary and visual journey through the folk songs of XX Century Italy, created by the Ensemble “I Bricconcello”, exclusively for the Italian Cultural Institute in Haifa.

The three suites, which compose “Italian Musical Landscapes”, are based on different guiding principles, feeding them from end to end.

The guiding principle that encompasses “Lagunaria” is the fog, which envelops an imaginary lagoon. Stanzas and refrains, shrouded in haze and distorted in their metric, rhythm and harmony, are perceived with poorly defined contours, to the point of becoming almost unrecognizable.

On the other hand, “Grottesca” is inspired by the idea of ​​Rondò, i.e. the periodic return of a musical episode, alternating  itself with intercalated sections of a different and contrasting nature. The opening and closing refrains are the only moments in the song, which resonate similar to the original and are therefore recognized as authentic. The stanzas, i.e. the movements between the the refrain, are poetic shells, filled with originally conceived music.

“Introduction and Vesuviana” aims to represent the happy encounter between two musical genres: songs – specifically those from the great Neapolitan tradition – and sonatas. The songs, set like pearls within a sonatistic architecture, integrate themselves within the musical discourse, adapting to the dramatic and dialectical form eighteenth-century sonatas, without losing their dignity and expressive identity.