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Impromptu Variations on the Stravinsky’s “Three Pieces”; Homage to Puccini; Homage to Poulenc; Study on Quarter- tones; Study on Microtonal Trills and Tremolos; Fantasia for Demi-Clarinets; Fragment #5; Fragment #4; Fragment #6; Mosquito; Divertimento #4; Divertimento #9, “The Damnation of the Dreamer”; Divertimento #12, “La redentrice del Sognatore”; Divertimento #7, “Fuga, cadenza e finale on a theme of Prokofiev’s Lt. Kije’ “; Divertimento #11; Divertimento #13; Divertimento #8, “Thamon”
Luca Luciano: clarinet
The chamber music compositions for clarinet solo or clarinet ensemble included in this album are part of a broad selection of pieces published over the past years that the author himself has premiered at some of the most prestigious venues of the UK and overseas including St Martin in the Fields in London, Cambridge University and the European Clarinet Festival in Belgium. The music is informed by an on-going research on extended techniques, unconventional sound production, sound effects (and their application on composed or improvised music) and new music for solo clarinet that started when holding a position of clarinet professor in the UK and continued over the years with presentations at renowned universities and colleges in Europe and the Americas. Luca’s will to explore the full range of sound resources and colours that the clarinet has to offer is clearly evident on his Fragments (using multiple sounds, the voice into the instrument, quartertones or micro-tones, flutter tonguing or growling, glissando, etc); the Fantasia (exploring the possibilities of the lower or upper joints of the instrument when played separately); the two contemporary studies also part of his “Introductory Method to Extended Techniques”; tracks for clarinet and pre-recorded instruments, in particular Mosquito (featuring slap-tonguing technique over a pre-recorded clarinet played without the mouthpiece). Besides improvised variations and cadenzas, the album does include tracks showcasing the melodic and lyrical possibilities of the instrument, as on the two homage pieces, as well as “groovy rhythms” on his Divertimenti.