Fany Maselli Videos
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Giulio Briccialdi Guercia 2013
Esecuzione dei "MUSICI Wind Quintet" del Primo movimento (Allegro Marziale) del Quintetto in RE Maggiore Op. 124 di G. Briccialdi in occasione del Concorso Musicale Internazionale "I Colori dell'Arte" di Bari del 18/05/2013 vincendo il PRIMO PREMIO ASSOLUTO. FLAUTO: Marilisa Maselli CLARINETTO: Andrea Zecchillo OBOE: Giuseppe Coro CORNO: Eugenio Guercia FAGOTTO: Simone Tirotta
Casali Maria Chiara Tamburini Bartolotti Spina 2016
Ensemble Baroque à la coque 28 giugno 2016 Alliance Française di Bologna Flauto sopranino: Valentina Franzaroli Flauto traverso: Sofia Matis Oboi: Giovanna Casali, Leonardo Travasoni, Filippo Matis Clarinetto: Elena Daini Fagotto: Maria Chiara Bignozzi Chitarra: Giovanni Tamburini Arciliuto: Giovanni Maselli Continuo: Giorgio Musolesi Violini: Alberto Vallieri, Fabio Speraggi, Giorgia Boldini, Fiamma Kamenchtchik, Tommaso Bartolotti Viola: Marta Cappetta Violoncello: Francesco Spina Contrabbasso: Andrea Govoni
L'amore in città è un film in sei episodi. Regia di Carlo Lizzani, Michelangelo Antonioni, Dino Risi, Federico Fellini, Francesco Maselli, Cesare Zavattini, Alberto Lattuada Cast: Giovanna Ralli; Valeria Moriconi; Ugo Tognazzi; Maria Nobili; Paolo Pacetti; Marisa Gallo. DVD: (http•••) - "Amore che si paga" di Carlo Lizzani (11') è una inchiesta sulla prostituzione a Roma; - "Tentato suicidio" di Michelangelo Antonioni (22') inchiesta su protagonisti di tentati suicidi; - "Paradiso per quattro ore" di Dino Risi (11') descrive l'ambiente delle sale da ballo dei quartieri periferici, frequentate la domenica da giovani in libera uscita; - "Agenzia matrimoniale" di Federico Fellini (16'), sceneggiatura dello stesso Fellini e Tullio Pinelli, inchiesta sulle agenzie matrimoniali; - "Storia di Caterina" (27') di Francesco Maselli e Cesare Zavattini, in cui una madre nullatenente abbandona il figlio per poi recuperarlo, pentita, dalle suore il giorno dopo; - "Gli italiani si voltano" (14') di Alberto Lattuada, sorta di candid camera nelle vie di Roma che riprende le reazioni degli uomini al passaggio di una bella ragazza. (http•••) (http•••)
Isang Yun Fany Maselli Eduard Brunner Hauser Bavarian Radio Symphony Orchestra 1971 1976 1981 1982 1983 1984 1985 1987 2015
00:00 - I. Monolog (a.k.a. Monologue) / Bassoon: Fany Maselli Year of Recording: 2015 / "Isang Yun’s Monolog for bassoon was mainly composed between the years 1983 to 1984, however the actual roots of this work had begun some years prior along with his other work Clarinet Concerto. The Clarinet Concerto was composed by Yun in the year 1981 especially for Swiss clarinetist Eduard Brunner, who was the principal clarinetist of Munich’s Bavarian Radio Symphony Orchestra for about 30 years. He premiered the work in Munich on January 29, 1982. Certain points which were notable about the Clarinet Concerto is the usage of bass clarinet instead of clarinet because of the solo voice during the middle movement. In the following year, Yun removed the solo line from the second movement and then used it as the structural basis for a solo bass clarinet work. The resulting composition of this which was written for Dutch bass clarinet virtuoso Harry Sparnaay, became Yun’s Monolog for bass clarinet and was then premiered on April 9, 1983. Expecting some changes and more likely to accommodate range, Yun also published a version of the same work for bassoon. Yun was quoted in an interview with Bruce Duffie in 1987 that he composed strictly by commission, and his scores typically included a dedication to the commissioner. However, the Monolog for bassoon contains no such dedication and it is unknown whether it was created for a particular individual. It was premiered on February 3, 1985 by French bassoonist Alexandre Ouzounoff. Precedent for Yun’s solo works being performed on other instruments had been set several years prior with Piri, a composition for solo oboe. Piri was composed in 1971 for oboist Georg Meerwin, which immediately gained quick popularity. Before long, musicians of other instruments took notice of Piri and began to perform it. Clarinetists specifically performed and recorded Piri, which also including Eduard Brunner. Wolfgang Sparrer was quoted on his observation about about Piri as: “Although it was originally written for oboe, the composer has allowed interpretations for other instruments. Due to its high demands regarding playing technique and successful balance between construction and expression, Piri achieved so much popularity within only a few years that it was often chosen as a compulsory piece in music competitions.” Due to this well spread acceptance and versatility of Piri, Yun may have anticipated the idea of creating an alternate edition of Monolog for bass clarinet for bassoon. Since there are distinct differences in range, key, and clef notation between the two instruments, publishing a new version of the work for bassoon was necessary to encourage performances." (Laura Hauser) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
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