Nuccio D'Angelo

BIOGRAPHY

Nuccio D'Angelo received his earliest musical training at the tender age of six from a musician uncle, who initiated him into an especially joyous relationship with music and the guitar that would be open to all forms of experimentation.  In fact, in addition to his classical music studies, between his fourteenth and nineteenth birthday he also dedicated himself to improvisation in popular music and jazz, among other genres.  At the end of his boyhood years he became fascinated with composition and has continued to practice it ever since.
Crucial in his career were his studies between 1976 and 1983 at the Conservatory of Florence, where he still resides.  His compositional language took shape in Florence, where he studied with Gaetano Giani-Luporini, at the same time that he perfected his guitar performance and interpretation skills under the guidance of Alvaro Company. In 1984 he graduated magna cum laude in guitar and wrote one of his most striking works, the “Due canzoni lidie”.  The piece has been recorded on many occasions, was included in the program for the finalists of the 1988 "Radio France" competition, and in the diploma program at the "Cortot" school in Paris and continues to be played throughout the world and presented at many guitar competitions.
In Nuccio D'Angelo's career, the compositional and interpretive experience are complementary and interconnected.  In his concerts he alternates his own compositions with pieces taken from the Spanish and South American repertoires.  Thanks to the youthful experiences that have led him to appreciate and practice many musical genres, from time to time he revisits and reworks pieces in various genres (popular music, jazz), or scrutinizes non-Western forms of making music.  Some examples include his Suite barocca (1991) based on Renaissance themes by Sanz, Corbetta, and Murcia for orchestra of guitars and percussion premiered in 1991 by the Guitar Symphonietta conducted by Leo Brouwer; a “Raga” for prepared piano (imitating the sounds of a sitar); a jazzy “Ballad” for piano; two Quintets (1993 and 1994) dedicated and inspired by the style of Astor Piazzolla; and a reworking of Piazzolla's “Café 1930”.

Always along the line of exploring stylistic mixtures, for his CD Homages he invited jazz performers such as double bass players Raffaello Pareti and Pippo Pedol, the percussionist Alessio Riccio, and the pianist Peppe Porcelli.The latter has requested Mr. D’Angelo’s collaboration in his CD “Isola”.

“Electric Suite”, a tribute to the electric guitar but intended for an acoustic instrument, is a result of these experiences and musical outlook.  This piece explores and evokes various effects and harmonies inspired by the electric guitar and the many genres in which it is used. 

Nuccio D’Angelo often endows his pieces with characteristic melodic cells and special harmonic colors.  It is possible to understand such features as non-strict structural elements, allowing for free invention and providing recognizable features to related pieces.  Modern formal elements and traditional parameters such as rhythm, harmony, and melody coexist and interact in his compositions.

Internally his pieces alternate diverse stylistic and instrumental elements, used according to the emotional states to be conveyed, where inspiration, taste, and atmosphere substantially occupy the main role and are not controlled by the chosen structures.

Over his professional career Nuccio D’Angelo has been a guest of festivals presented by numerous concert associations in Italy, and he has performed both as a soloist and chamber ensemble player in France, Belgium, Greece, Switzerland, Portugal, Germany, Spain, Australia, U.S.A. and Canada.

Some of his works, appreciated by important musicians such as T. Riley, R. Smith-Brindle, O. Ghiglia, A. Pierri, have been published by editions Max Eschig, Ricordi, and Lemoine, and frequently appear in recitals by well-known guitarists.

He has received several composition awards: "Onyukai Association" (Tokyo - 1984): First prize for "Due Canzoni Lidie"; "A.Segovia" (Granada -1991): First prize for "Magie"; "Ibla Foundation" (New York - 1996): "Special Prize" for "Corale" "Quattro Travestimenti" and "Spazio"; "La chitarra d'oro per la composition” (Alessandria - 1997);
He has also received two career awards: in Agropoli (SA) in 1995 and the "I Mulini" award in Erice (TP) in 2010.

Since 1994 to 2023 he was a guitar teacher at the "Mascagni" music institute in Livorno and held guitar and composition seminars in Germany, U.S.A., Canada, Spain, Belgium, Australia and in many Italian cities.

During the first semester of 2005 he held the guitar chair at the University of Bloomington (Indiana - U.S.A.), returning in 2006 to the same university to hold a composition course and a concert of his own compositions with American musicians.

In 2007 he was invited to the "Darwin International Guitar Festival" to hold a concert of his own chamber compositions with Australian musicians.

In 2009 he was a guest teacher at the "Guitar Summer School" in Sydney where he conducted one of his works commissioned by the "Classical Guitar Society", also holding a recital and a master class.

In 2012 he held a recital and conducted some of his compositions for guitar ensemble at the international festival "Spegtra Guitar Festival" in Aachen (Germany).
He was also a guest in 2017 at the “Thessaloniki International Guitar Festival” in Thessaloniki for a conference on his compositions and, in 2018, at the “Ligita gitarrentage” in Eshen (Liechtenstein), as a concert performer.

(Translated by Luiz Fernando Lopes)

DISCOGRAPHY

"Magie" ed. Magie Record
"Oneiron" ed. Suvini-Zerboni
"Ensemble Ricercare, dir. L.Brouwer" ed. Giulia Record
"R. Luciani Contemporary Classics"  ed. Primrose-Music
"Leo Brouwer Presents" ed. Frame
"Isola" ed. Parc Music
"Forbidden" ed. Athena records
“Homages” ed. Magie Record
"Allucinated memories"   ed. Unorthodox recordings
“Omaggio ad Alvaro Company” ed. EMA Vinci
“J. S. BACH J. DOWLAND S. L. WEISS”  ed. Magie Record

RECORDINGS OF D'ANGELO'S WORKS BY OTHER MUSICIANS

"Da Milano, Schubert, D'Angelo" (Pablo Marquez)  ed. CD LEG (contain “Due Canzoni Lidie”)
"Winners: Aniello Desiderio" ed. Frame  (contain “Due Canzoni Lidie”)                                 
"Alberto Vingiano" ed.E.G.T. (contain “Due Canzoni Lidie”)
"Crossing over" (Flavio Cucchi)  ed. Arc Music (contain “Electric Suite”)
"Contatos" (Cristina Azuma) ed.  GSP  (contain “Due Canzoni Lidie”)
"Recital" (Everton Gloeden) ed. EGTA  (contain “Due Canzoni Lidie”)
“Canzoni” (Franz Halàsz) ed. BIS  (contain “Due Canzoni Lidie”
and “Magie”)
“Fragments”(Marek Wegrzyk) ed.Cascavelle (contain “Due Canzoni Lidie”)
“Musik für 1 und 2 gitarren” (Pia Green & Matthias Klåger) ed. Antes (contain “Due Canzoni Lidie”)
"Resonance" (Daniel Bolshoy) ed. Boldan music (contain “Due Canzoni Lidie”)
"Printemps de la Guitare 2002" (Rèmi Jousselme) ed. Kiwanis International (contain “Due Canzoni Lidie”)
"Classicos del  Siglo XXI" (Victor Villadangos ) ed. SADAIC (contain “Due Canzoni Lidie”)
“Recital” (Everton Gloeden) ed. EGTA (contain “Due Canzoni Lidie”)
"Ritmata" (Hughes Kolp) ed. GHA (contain “Due Canzoni Lidie”)
“Guitar Recital” (Florian Larousse) ed. Naxos (contain “Due Canzoni Lidie”)
"Minimal Modal Guitar" (Anton Koudriavtsev) ed. Classic 2000 (contain “Due Canzoni Lidie”)
"Duo Cordes et Ames" (Sara Chenal and Oliver Pelmoione) ed. GEC (contain “Introduzione e Aria”)
“Blu” (Arturo Tallini) ed. TM (contain “Due Canzoni Lidie”)
“Hommage à la Guitare” (Eugenia Kanthou) ed. Preiser Records (contain “Due Canzoni Lidie”)
“Journey - Podròz” (Grzegorz Krawiec) ed. MA Recordings (contain “Due Canzoni Lidie”)
“Lyics” (C. René Hirschfeld and Sebastian Albert) ed. Ragaprong (contain “Introduzione e Aria”)
“Mirrors” Duo Atzori - Brunini ed. EMA Vinci (contain “Mirrors”)
“Controluce” Duo Atzori - Brunini ed. Retropalco (contain “Magie”) “Retratos” (Otto Tolonen) ed. Alba (contain “Due Canzoni Lidie”)
“For aces” (Four aces Guitar quartet) ed. Antarctica (contain “Nelle regioni del sogno”)

PUBLISHED WORKS

"Due Canzoni Lidie" for guitar (1984) ed. Max Eschig (M.E. 8608)
"Quattro Travestimenti" for recorder (or transverse flute) and guitar (1988) ed. Max Eschig (dedicated to David Bellugi) 

1: Alba  (M.E. 8750)
2: Barcarola (M.E. 8751)
3: Mercato (M.E. 8752)
4: Sera (M.E. 8753)
"Magie" for guitar (1990) ed. Ricordi (135827)
"Spazio" per bassoon and piano (1993) ed. Max Eschig (M.E. 9103)  (dedicated to Franco Perfetti and Maria Grazia Dalpasso)
"Electric Suite" for guitar (1995) ed. Ricordi (137452) (dedicated to Flavio Cucchi) 
"Introduzione e Aria" for violin and guitar (1995) ed. Lemoine (27 174 H.L.)

UNPUBLISHED COMPOSITIONS

Original compositions

“RAGA” (1984) for preparated piano - dur. 3'

“BALLAD” (1988) for piano - dur. 6'

“AD HOC” (1988) for baroque guitar and classical guitar)  - dur. 7’10)

“LES FLUTES” (1990) for ten flutes - dur. 1’            

“CORALE” (1992) for guitar, vibraphone and electronic harpsichord) - dur. 15’44

“DUE LIRICHE ” (1992) for string orchestra - dur. 11’37 

“ASTOR, VECCHIO ASTOR!” (1994) for piccolo or sopranino, bassoon, two synthesizers [one player], guitar and percussion) - dur. 4’44

“LA LEGGENDA DI ASTOR” (1995) - for flute, guitar, piano, double bass or bassoon and drums - dur. 10’ 

“HOR “ (1999) for guitar and orchestra - dur. 20’21 (dedicated to Flavio Cucchi)

“TRE INVENZIONI LIRICHE”  (2001) for guitar - dur. 15’ 

“POLYMODALE” (2004) for guitar - dur. 11’50 

“MELOS” (2004) for guitar and synth guitar [one player], piano and synthesizer [one player], double bass and percussion) - dur. 7’50 

“MIRRORS” (2008) for guitar duo - dur. 7’22

“SYDNEY” (2009) for guitar duo, guitar orchestra and electric bass - dur. 7’07

“DOVE SEMPRE” (2012 – for eight flutes and bass clarinet) - dur. 16’13

“NELLE REGIONI DEL SOGNO” (2015 – for guitar quartet) - dur. 12’21

Elaborations

Nuccio D’Angelo – Orlando di Lasso "MORESCA" (1989 - for voice, guitar orchestra and percussion) dur. 3’24

Nuccio D’Angelo – Anonimo "LI SARACINI ADORANO LU SOLE" (1990 - for voice, guitar orchestra and percussion) dur. 3’10

Nuccio D’Angelo – Santiago De Murcia, Francesco Corbetta, Gaspar Sanz  “SUITE BAROCCA” [Aria – Passacaglia - Canarios] (1991) for guitar orchestra and percussion - dur. 16’

Nuccio D'Angelo - Gaspar Sanz “CANARIOS”  (1995) for flute, guitar, piano, bass, bassoon (or double bass) and percussion - dur. 4.13)

Nuccio D’Angelo – Robert Wyatt   ”REFLECTIONS ON SEA SONG" (2001) for guitar and tabla- dur. 8’

Nuccio D’Angelo - Robert Wyatt  "AROUND VANDALUSIA" (2001) for guitar - dur. 4’

Nuccio D’Angelo – Hug Hopper (“REFLECTIONS ON AMBER” (1998) for oboe, viola, guitar and synthesizer - dur. 9’

Nuccio D’Angelo – Rocco Giorgi “TARANTELLA DEI VICINI” (2009) for guitar orchestra - dur. 5’

Background Music

"ADAGIO" (1978) for string orchestra - dur. 4'

“BAMBINI" (1991 - from an idea from 1967) for oboe, G-recorder, celesta, bass - dur. 3’26

"TRIO BAROCCO" (1991) for flute, viola and bassoon - dur. 1’21

"TEMA IN FA" (1996) for orchestra - dur. 3’29

Composer's analysis, comments and errata corrige regarding some published pieces 

"DUE CANZONI LIDIE"

Presentation (1984)

In a imaginary place where memories of ancient “melos” and archaic modal forms reside,  “Due Canzoni Lidie” is about an enchanted traveller who discovers the charm  fascination of a primeval forgotten world. The sonorous spaces encountered during this revisitation are enlightened and embellished by a strict respect for the ancient modality, rediscovered beyond any intellectual vision without diminishing its expressiveness. Recurring in its original melodic form, the Lydian mode here becomes vivid with the magic of its resonance and, thanks to a wide use of harmonic and melodic sounds produced in various strings, generate precise polyphonic elements full of ambiguity and harmonic polyvalences. From a purely technical point of view, “Tranquillo” is a free divertimento made up several recurring thematic phrases, in a contest where the primary compulsory structural pillars are made of the recurring Lydian Gregorian modality (alternating with two other harmonic fields and not without chromatic exceptions) and of the almost ever present 7/8 rhythm. “Agitato” is a “Fantasia” characterized and generate by a melodic-transportable cell (Eb-D-B) where the primary Lydian scale is enriched by chromaticism.

A panoramic description (1991)

“Due Canzoni Lidie” is a brief intense voyage in the old world of the modalism (“Lidio”  is the name of one of the modal-gregorian scales) that here is rediscovered and showed by a visual that  praises highly the great expressive potential and its harmonic ambiguity. In this “celebration” guitar is a formidable colour palette by virtue of its innumerable timbre and its varied resonances and harmonic sounds. In specific, “Tranquillo” use some melodic recurrent phrases and a rhythm of 7/8; “Agitato” is instead characterized and structured by the continual use of a three notes cell (transposed and interpolated) and by the use of chromaticism, from which a more troubling atmosphere derived.

A short analysis (2000)

The Lydian mode is on the tendency to remark some notes and the strength of them intervals:  A/Eb (namely A with Eb in the bass) or D/Eb are presented as tensive intervals that well characterize the lydian mode of Eb. You can see the use of modality isn’t rigorous and in the develop (from  page 3) we can meet many extraneous notes respect the basic scale.
Infact, my first original harmonic exploration  was based on the continue overlapping of G-Bb (begin of page 2) respect some basses, to produce some particular harmonic effects. For example  G-Bb/Eb is a chord of Eb, G-Bb/A seem an A with b9, G-Bb/E is a E minor b5, or G-Bb/G sometimes I used with F# high to give the effect of G minor-major 7 (7th of 6th species). So the idea of Lydian mode arrived in a second moment. When I observed that the Eb scale was a continue tendency of the itinerary of my phrases (as the natural resolution and a relaxation of the harmonic tensions) I used the term “Lidie” in the title, also with a poetic sense, not exactly rigorously structural.

In this piece I began my compositional experience based on some “harmonic cycles” system (in the 1st song) and with the use of a melodic cell (in the 2nd song). The “harmonic cycles” system consist in creating a sequence of chords (whit scales connected to them) that in a underground way generate the elements of the piece. In some other pieces that I composed later I used this sort of “germinative choral system” continuously, but in “D.C.L.” we can only speak of some “harmonic fields” clearly visible  above all in the 1sts two pages and in them tranformed repetition on page 5.
These harmonic fields consist in 3 groups of notes presented in sequence and giving 3 different harmonic colors. The 1st is based on the notes of the Eb scale; the 2nd consist in the entry of F# (on the bass Eb), that create an atmosphere about of G minor-major 7 (but also Eb minor and major together); in a more modern vision (used mainly by jazz musicians) it could be defined as a “Lydian mode - #2”, that is the VI mode derived from the G harmonic scale. The third harmonic field is instead characterized by the introduction of the E natural which, with the presence of the A in the bass, is configured as a Phrygian mode of A.
In the third line on page 5, the sequence of the three harmonic fields created by the intervention of the basses on the recurring G-Bb is clearly identified.
About the 2nd movement, the presence of the downwards cell is evident in many points and hidden in other. It consist in a half-tone followed by a minor 3rd. I made a large use of this element. This element is also widely used in inversion, retrograde and verticalized. The first time it appears in an “open” manner is at the end of the first line, where it is doubly presented in the up-steam dyads.

 ERRATA CORRIGE IN THE PUBLISHED EDITION                       
(also that of the 1st edition)

The numbers refer to the page, line and bar

"Tranquillo"

2: on begin: 4/8+3/8; 3, 2, 3: the II slur go from G until G (play A with thumb);
4, 2, 1: the II note of the triplet is a B natural; 4, 4, 1:  the II D on the bass is a dotted eight;
4, 5, 2:  change the A natural on the bass in D natural (open string) 4, 6, 1: hold F on the bass;
4, 6, 1: remove the tie between the two Bb in the centre of the line; 4, 6, 3: the 1st C on bass is a dotted eight;
5, 4, 2: after the corona the numbers are inverted (1, 4, 1, 4 is the corrected fingering); 5, 6, 1: I suggest to play A on the 5ft string to have a little more resonance;
5, 6, 2: E is natural.

"Agitato"

6, 1, 1: after the dashed bar line: the C following the 2nd Db is natural;
6, 3, 1: the last A before the dashed bar line is natural;
6, 4, 1: the 2nd E on bass is flat;
6, 4, 1: the third number is “4” and not “2” (the following “4” is to be eliminated);
6, 5, 1: the 2nd A on bass is an eighth;
6, 5, 1: remove the dashed line between the numbers 3 at the end of 1st bit;
6, 5, 2: a natural in parentheses should be added to the E in the first line of the third movement and to the E in the fourth space of the fourth movement;
6, 6, 1: add an up steam to the 1st C and joint it with the following F (both 32nd);
6, 6, 1: after the 2nd corona, the 2nd G and the 2nd F# must be both semiquaver;
6, 6, 2: in the last group the number 2 can be changed in 1;
6, 7, 1: the 2nd C of the line (with double steam) is a dotted semiquaver in the lower voice;
6, 8, 1: at the end of the 1st bar from the E to A is a "quintuplet";
6, 8, 4: the last note of the frame  is a D;
7, 1, 2: all the notes with down steam are to be dotted;
7, 2, 1: add a dot to the 1st and 2nd bass Eb;  
7, 2, 3: add a dot to the Eb bass;
7, 3: add a dot in the 1st, 2nd and 3rd basses (E, Eb, Eb);
7, 3: the 1st A with up steam is a eight;
7, 4: the last high G of the line is natural;
7, 5, 2: the last A (before the dashed bar line) is natural;
7, 6: after the bar with dashed bar line the value of the G and the A on the bass is of 32nd.

"MAGIE"

A synthetic description (1992)

In “Magie” the main theme-material is presented whole in the second movement (“Sospeso”) and given earlier by some fragments of its in “Divertimento”. We can find also two episodes besides this material (every time existing - enough hidden): one in the middle of the 1st movement and one about at the end of “Sospeso”. In this point the main theme is developed until the end of the composition, with pattern used in  “Divertimento”.

Some  composer's analytic informations (2004)

My way to develop the composition - in this and some other pieces too - consist in various manipulation of some thematic cells. In this case the main thematic material reside in the 3 groups of "Sospeso" on page 6 beginning from F# (with corona) until G#. I'll call these groups “A”, “B”, “C”. Having drawn inspiration for much of the piece from the melodic designs and harmonic color of these groups, it is not difficult to find the numerous points in the composition where these notes are used and how they are transformed, hidden, transfigured, transposed. We find “A”, “B”, “C” also immediately at the begin of  "Sospeso" with an less rich harmonic density.
Some other thematic and rhythmic textures there are too, alternating or mixing to the main above mentioned elements.
The 1st page initially shows an atmosphere a bit "sospesa", but gradually it became more rhythmic coming to "Deciso". In this introduction some preferred intervals are introduced too: minor 2nd, augmented and diminished 5th .
In the 1st group we find immediately two important and very used rhythmical cells. The melodic group at the begin of the 4th line is an element not derived from “A”, “B”, “C” of "Sospeso", but is a melodic cell of secondary importance you'll find in various moments of the piece (I'll call this “D”).
When "Deciso" arrive the rhythmical cell is new and the “D” cell is at the end of the line, with another rhythmical pattern. At the centre of the last line the melodic part of the group is freely derived from “B”: C# is added and the next C natural is transformed respect to C# that might have been from a rigorous transposition of the element “B”. The last group is a 6th above element “C” (shown at the beginning of “Suspended”) with a similar harmony.
On page 3 the 3rd group is “D” again. It follow a homecoming of the rhythmical part with variants (center of the 2nd line) and F# B contained in the 3rd line are a transfiguration of element B. In "più cantato" the “D” cell make a dialogue with “B” cell (transformed but recognizable in the 4th group) and the 3rd group of the last line is the element “D” again with the last note changed.
In page 4 there is an new zone to create a contrast, a curiosity in the listener. Here I used the rhythmical elements of the begin and, on 3rd line, a new theme "E" (the head of this theme is also a variant of the 1sts notes of the piece). In the "forte" of the 5th line we find again the element “D” and at the centre of the 6th line another transformation of cell “B” (F#, G#, C#).
Page 5 is an area of ​​full development, where once again the rhythmic elements of the beginning (written with an up-stem) take value especially in the 5th line. I consider this a tribute-quote (rather transfigured) of “D”. Gillespie's song "A night in Tunisia". In this page there is principally a develop of "E" with some insert of “D”. At the begin of the last line there is a recap of the head of theme "E" to go toward the final zone.
In "Sospeso" I used the theme in many ways.
Here’s some examples:
in the 4th group of the line, immediately after the 1th exposition of “A”, “B”, “C”, (page 5 ter 3rd line) the “A” material is contained in the quintuplet (G, Bb, C, D);
the end of the 2nd group (4th line) is a transformation of “C”;
the 4th group of the 5th line is “C” transformed (I added E);
the last group of the same line it is a transformation of the head of “A”;
the 1st group of the 2nd line of page 6 is “B” in which the 2nd note (D) was transferred in the middle voice;
3rd line of page 6: “A” and “B” are contained in the two groups at the begin, from Bb until B (Bb might have been A# in a perfect transposition);
In page 8, after the 1st corona, we are in a new zone inspired from the "E" theme (for example the group at the begin of the 2nd line is a contraction of the 2nd up-steam group of "E").
At the 5th line we meet “D” once again (from high F#) and successively in "tutto più ampio".
Page 9 is a progressive crescendo toward the finale where all the elements are together.

ERRATA CORRIGE IN THE PUBLISHED EDITION                            

The numbers refer respectively to the page number and line

"Divertimento"

2, 4: before the short corona the number 3 is to remove;
3, 1, 2nd group: the fingering 1, 2 is to reverse;
5, 2: the last note of the 1st group is a D# and not a C#.

"Sospeso"

7, 3: in the grace notes, the natural sign in bracket refers to D and not  A; 
8, 1: add “More rhythmical and concrete” after the double-dashed bar;
8, 3: the 1st high note (B) is a quarter tied with another B semiquaver. A dotted eighth rest follows.

"ELECTRIC SUITE"  
ERRATA CORRIGE IN THE PUBLISHED EDITION EDITION

The numbers refer to the page, line, bar (when it there is) and beat

Pag. III
(Percussive effects with the right hand):

eliminate the indication “Strike on the bridge”;
2nd indication: change “strokes on” with “strike”;
4th indication: change “strokes on” with “strike”

"Funky"

1, 4, 2, 3: G is natural;
2, 3, 3: all the bass notes are G# and not F#;
2, 5, 1: every dyad is to play with L. H. (add the crosses);
3, 3, 2, 4: the 2nd G is to play on 4th string;
3, 4, 1, 1: play A# with 1;
4, 2: the # in C of 2nd triplet is useless;
6, 6, last triplet: add a bracket on # of A.

"Soft"

8, 2, 1, 3: B is natural (it’s possible to play it with 2 or 3);
8, 3, 2nd and 3rd bar: the angle and the triangle above the bar indicate  2nd and 3rd beat of the bar. In fact the writing of the value of the notes could be intended like a 6/8. This ambiguity cannot happen in the 1sts four bars where the correct subdivision is well suggested by the feet-percussion.
8, 4, 2, 2: F natural;
9, 1, 1, 4: add a slur between E and F;
9, 1, 2, 1: add a slur between B and C;
9, 1, 2, 3: B is to played with 3;
9, 1, 2, 4: A# is to played with 2 and the following chord with 0, 1, 3. The suggested fingering for the last dyad (B-C#) is 0-1.

"Raga - Blues"

10, 4: first rest is 1/32;
11, 3: add a dot to 1st C;
11, 4, 2: the bass of the 2nd group is a F#;
12, 2: the 1st bass (A) is a minim;
12, 2: the fingering of the 2nd dyad on the bass (Db-F) is to reverse.

"Song"

13, 4, 2, 3: the bass note (A) take 2 quarters and the next A is to remove;
14, 5: add a natural sign to B of the 4th triplet;
15, 2, 1, 2: B is a minim;
16, 1, 1, 2: the 1sts two notes are semiquavers and the 3rd is an eight;
16, 3: add a slur between the 1st B and the following E (open string).

"QUATTRO TRAVESTIMENTI" 
A short composer's description

The piece where commissioned in 1985 by the film director Paolo Carradori for a documentary on the lagoon of Orbetello. So the sense of the project is contained in its nature and titles: in four movements it identifies four phases in a day spent at these places. The first three movements are mainly descriptive: the gradual forming of the musical discourse in  “Alba” represent the growing fervor of nature re-awakening and I was referring to a raga-introduction (alap) too. In “Barcarola” I took inspiration  by a kind of fishing called “ciurma”, in which the fishers go slow on long boats, breaking sometimes the silence of the lagoon striking the flank of boats to correct the route of the fishes. In “Mercato” we can well see the music representation of confusion and overlaying of situations, noise, overlapping of sonorous effects sometimes strident, primitive rhythms. “Sera”, on the other hand, is mainly an expression of the inner sensations stirred by those places or surfacing “emotive places” of memory.

The main germinal and unifier rule is given to a four notes group  (C D A G). These notes, used like melody or grouped like harmony, are continually present, but made almost unrecognizable by some interpolations, fragmentation, overlapping, “Disguises”.

ERRATA CORRIGE IN THE PUBLISHED EDITION

F= flute line; G= guitar line. The numbers refer to the page, system, bar (when it there is) and beat
TECHNICAL NOTES - PAGE “E”
Last indication: Improvise by interpolating the notes contained in the frame with irregular rhythmic formulas as you like, trying to avoid the use of simultaneous notes.

"Alba"

G, 2, 1: the tuning (only for "Alba") is: 2nd C and 6th F;
G, 2, 4: the 2nd  grace note is an A (harmonic sound - XII fret);
F, 5, 3: the 1st note take 1 quarter;
G, 5, 3: the 1st  and 2nd group take one eighth for each (64th the 1st group and 32nd the 2nd  group);
F, 6, 1: add “mf” at the begin of the line ;
F, 6, 3: add “f” at the begin of the line and a short corona on the last rest (like guitar);
G, 6, 5: add a dot on A of the second group;
F, 9, 1: the number above the 1st note is to be 3.

 "Barcarola"

C, 3bis, 1, 2: (little line) number 2 refers to F;
G, 3bis, 1, 2: the 1st  note of the 3rd group (on the big line) is A and not C.
C, 3bis, 2: in 3rd group, 2nd number 1 refers to A.

"Mercato"

G, 4, 4, 1: remove the 2nd rest (between F and B); G, 5, 3: the last dyad of the 4th beat with up steam is composed by C# and D natural;
G, 5, 3: add # to the 1st D of the last group; F, 6, 3, 1: change ## in a simple #;
F, 6, 4, 1:  put a phrase tie from G sharp until F#; F, 6, 4, 2:  add a dot on the last note of the bar;
F, 7, 2, 2:  add “p” before the G #; G, 8, 3, 2: remove the accents;
G, 8, 3, 3: add accents on the 1st and 2nd note.

"Sera"

G, 3, 4: the group take an eight: C and 1st E are a eights and the other notes 32th;
F, 14, 1: the last grace notes group and the following F are to play one octave above. 

"INTRODUZIONE E ARIA" 
ERRATA CORRIGE IN THE PUBLISHED EDITION

V= Violin line; G= Guitar line. The numbers refer to the page, system and bar (when it there is)

G, 4, 3, 1: the 2nd and 3rd arrows of of every group are to reverse until the 1st bar of the 5th line; G, 5, 1: B in the last chord is natural;
G, 8, 5: the two F of 2nd group are sharp; G, 9, 2: bass F in the 4th group is sharp;
G, 9, 5: F in the last group is natural; G, 9, 6: F in the 1st group is natural;
G,11, 5: replaced the last A# (high) with a G# a tone below.

"SPAZIO"

ERRATA CORRIGE IN THE PUBLISHED SCORE

B= Bassoon line; P= Piano line. The numbers refer to the page, system and bar

In the score the metronome indication at the begin is wrong. The number 84 is related to a quarter (in the separated part it's correct); P, 7, 2, 3: the rhythmical pattern of the bass line is to be like that of the previous bar.

CD "MAGIE" [1992]

CD tracks:
1) ”Due Canzoni Lidie" (1984)
per chitarra
I. Recitativo - Tranquillo
II. Agitato
Nuccio D'Angelo: chitarra
2) ”Ad hoc" (1988)
per chitarra barocca e chitarra classica
Paolo Paolini: chitarra barocca
Nuccio D'Angelo: chitarra classica
3) ”Corale" (1989)
per chitarra, vibrafono e clavicembalo elettronico
I. Festoso
II. Dialogando
III. Movimentato
Nuccio D'Angelo: chitarra
Jonathan Faralli: vibrafono
Maria Grazia Dalpasso: clavicembalo elettronico
4) ”Magie" (1990)
per chitarra
I. Divertimento
II. Sospeso
Nuccio D'Angelo: chitarra
5) ”Quattro Travestimenti" (1988)
per flauto dolce (recorder) e chitarra
I. Alba
II. Barcarola
III. Mercato
IV. Sera
David Bellugi: flauti dolci (recorders)
Nuccio D'Angelo: chitarra
[T.T.: 64’4’’]

CD “HOMAGES” [2006]

CD tracks
1) "La leggenda di Astor"
(N. D'Angelo - per flauto, pianoforte, chitarra, contrabbasso e percussioni - 10')
2) - 5) "Electric Suite"
(N. D'Angelo - per chitarra - 9')
6) "Reflections on Amber"
(Hug Hopper - N. D'Angelo - per oboe, viola, synth e chitarra - 9’)
7) - 8) "Introduzione e Aria"
(N. D'Angelo - per violino e  chitarra - 8')
9) "Reflections on Sea Song"
(Robert Wyatt - N. D'Angelo - per chitarra e tabla - 8')
10) "Café 1930"
(Astor Piazzolla - N. D'Angelo - per chitarra, chitarra synth, tastiere, contrabbasso e percussioni - 10')
11) - 13) "Tre Invenzioni Liriche"
(N. D'Angelo - per chitarra - 15')
14) Canarios
(Gaspar Sanz - N. D'Angelo - per flauto, pianoforte elettronico, chitarra, fagotto, contrabbasso e percussioni - 4.13)

Nuccio D'Angelo: chitarra classica e chitarra synth
Pietro Horvath: violino
Stefano Agostini: flauto e ottavino
Paolo Nardi: oboe
Pietro Scalvini: viola
Maria Grazia Dalpasso: pianoforte in ”La leggenda di Astor"e synth in "Reflections on Amber"
Peppe Porcelli: pianoforte e synth in "Cafè 1930"
Franco Perfetti. fagotto
Raffaello Pareti: contrabbasso in “Café 1930”
Pippo Pedol: contrabbasso in "La leggenda di Astor" e “Canarios")
Alessio Riccio: percussioni
Rino Adragna: tabla

CD “J. S. BACH J. DOWLAND S. L. WEISS” [2025]

CD tracks
1) - 8) J. S. Bach: Suite BWV 1006a
9) - 12) J. Dowland:  “A Fancy” “Lachrimae Pavan” “The Right Honorable Robert, Earl Of Essex, His Galliard” “Fantasia”
13) - 20) S. L. Weiss: Sonata in mi minore (dal manoscritto di Dresda in re minore)
21) - 23) J. S. Bach: “Preludio, Fuga, Allegro” BWV 998
24) - 25) J. S. Bach: “Sarabande, Bourrée ” dalla Suite BWV 996
T.T.: 81’ 28’’

Nuccio D'Angelo's three CDs are on sale exclusively in the shop
Ebay - OMNIALOGOS

AUDIO DEMO

"Astor, vecchio Astor!" (MIDI Realization - Nuccio D’Angelo guitar)
"Raga" (Live performance by Maria Grazia Dalpasso)
"Due Liriche" (MIDI Realization)	2nd Part
"Hor" (MIDI Realization)	1st Part     2nd Part   3rd Part
“Bambini”  (MIDI Realization)
“Ballad” (MIDI Realization)
“Les flutes” (MIDI Realization)
“Tema in fa”  (MIDI Realization)

Contatti

MAIL:
nucciodangelo@libero.it

LINKS:
https://it.youtube.com/nucciodangelo

David Bellugi
Flavio Cucchi
Alessio Riccio
Raffaello Pareti