Various Artists - Multitude of Voices - COMPACT DISCS [CD]

Various Artists - Music / Various [COMPACT DISCS] date 04/23/2002

Voies(x) de femme is an album grouping twenty-six pieces for soprano and piano, performed by the soprano Theodora Cottarel and the pianist and composer Tiziana de Carolis. It also includes a piece for choir and piano performed by the choir Florilegium vocis, conducted by Sabino Manzo, and accompanied by the pianist Maria Gabriella Bassi. The works which make up this album have one thing in common and that is they are all composed by women; past and present composers who have succeeded through sheer willpower in making their voices (voix) heard and in following their artistic paths (voies), despite prejudice and masculine predominancy in the musical world. The album Voies(x) de femmes desires to reveal to the general public pages of music of great quality, often unpublished, unknown or underestimated.

I compose music because I love it. I love melodies, I love singing. And I have found out with pleasure that there is a public out there who is very interested in my music whenever I publish it. That's fantastic! I refuse to just compose music designed to be discovered and understood by future generations. With these words Carlos Guastavino (Santa Fe, 1912 - Buenos Aires, 2000) expressed himself, aware that his art belonged to those who wanted to hear and sing it, reneging on the customary exercise of the composer who seeks to be recognized by the umpteenth harmonic discovery never before tried out. Guastavino enriched the young voice of the Argentine people with his music, giving it a unique and identifiable tone, supporting the tip of his feet in a folklore to which he gave wings to surpass himself. InchCinco canciones argentinasInch (Five Argentinean songs), Op. 10. This work exemplarily shows the most characteristic features of what has come to be known as Ginastera's period of objective nationalism. Namely, the use of folkloric elements and tonal techniques together with other techniques which are typical of atonalism, especially in piano accompaniment.