In questa pagina raccoglierò opinioni e citazioni
a mio riguardo, fatte da musicisti, perditempo o semplici amatori di musica
(pareri positivi
e pareri negativi)
Chi ne dice bene (smack!!!!......)
| Testo o riferimento a link | Nominativo |
Speaking of Pacchioni, those ocarinas are amazing - I tried several of them and most of them sound unbelievably beautiful. They have a very specific tone (which some people might not like - I, however, adore it) which sounds a bit like a recorder - very rich, textured and sweet. They are also very comfortable to play, both in ergonomics, breath and plenty of alternative fingering combinations. -Traduzione- Parlando di Pacchioni, quelle ocarine sono sorprendenti - Ho provato alcune di loro e la maggior parte aveva un suono incredibilmente bello.
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Krešimir Cindric (musicologo e musicista) |
Giorgio, |
Da: andrea.bornstein@flauto-dolce.it |
| See also Neoclassicism in music Some examples of composers living after the Baroque period who use or have used Baroque idioms or forms (such as counterpoint or fugues) in their works: * Ludwig van Beethoven (1770–1827), German |
http://en.wikipedia.org/wiki/Neo-baroque |
There are several instances of contemporary pieces being published as "rediscovered" Baroque masterworks. Some examples of this include a viola concerto written by Henri Casadesus but attributed to Handel, as well as several pieces attributed by Fritz Kreisler to lesser-known figures of the Baroque such as Pugnani and Padre Martini. Today, there is a very active core of composers writing works exclusively in the Baroque style, an example being Giorgio Pacchioni. |
http://www.experiencefestival.com/a/Baroque_music_-_Brief_History_of_Baroque_Music/id/614663 |
Giorgio Pacchioni (a neo-baroque master!) |
http://anaigeon.free.fr/e_liens.html |
Everything Old Is New Again "Isms" always work their way into discussions of contemporary music. Academicism, populism, serialism, minimalism, romanticism—if you wanted to take the time, you could probably add a few yourself. To a certain extent they are road maps for the uninitiated, but they have less value when you're discussing a synthesis of old music and new. So much of this music defies categorization; how can we pigeon-hole Sir John Tavener? Where are we going to place Stefania de Kenessey and the "Derriere Guard" composers when the history of twenty-first-century music is written? What do we do with the contemporary Italian composer Giorgio Pacchioni? Pacchioni is one of the composers whose music can be heard at the Menelik Music site. Pacchioni studies Renaissance and Baroque counterpoint, performs on a number of period instruments, including recorder and transverse flute, bombarda, crumhorn, cornetto, viola da gamba, and lira da gamba. What makes Pacchioni particularly interesting is the skilful way he has taken the core of his studies and worked them into a valid style that is firmly locked into earlier musical forms. Some composers may write as if the twentieth century never happened; Pacchioni writes as if the nineteenth never happened. |
http://www.newmusicbox.org/page.nmbx?id=29tp01 |
| NEW COMPOSERS OF TONAL CLASSICAL MUSIC: | David Arditti (Compositore) |
| Giorgio Pacchioni: "un maître du néo-baroque!" | Alain Naigeon (Flautista) |
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(Riguardo il mottetto "Luce" op.55,3) "Splendid!! I would give anything to have half your talents" |
Pierre R. Schwob (CEO Classical Archives LLC) |
| "In the area of 'classical music', my favourite
composers are: Mozart, Chopin, Bach, Schubert, Beethoven, Liszt, Gottschalk,
Anton Rubinstein, Tchaikovsky, Rachmaninov, Grieg, Schumann, Brahms, Giorgio
Pacchioni, Moskowsky, Godowsky, Paderewski, Scriabin, and others". |
L.M. Gottschalk (alias) |
| Caro Giorgio Più passano gli anni, più mi rendo conto di quanto devo ai tuoi insegnamenti, e capisco perché, dopo di te, non ho cercato altri maestri. Sono orgogliosa di essere una fogliolina fra tante del grande albero di cui tu sei radici e tronco (che tu creda o no). Mi rendo conto che nessuno di noi allievi [tuoi] potrà ringraziarti adeguatamente (anche perché la consapevolezza di quanto abbiamo ricevuto, matura poco per volta) ma forse questo è il destino dei maestri come delle madri. Come una madre, tu ci hai dato molto di più di quanto ti accorgessi di dare, soprattutto per l’esempio di onestà e di coraggio nell’andare contro corrente e da solo. Con affetto Livia Modena 27.11.1998 |
Livia Caffagni (flautista) http://www.lareverdie.com/ |
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*Riguardo il Concerto op.53 per Corno ed orchestra* A rebirth of Mozart – this thought comes into my mind! Especially movements 2 and 3 are so Mozart-like that I just can marvel ... and what a better word of praise can I bring to such a work like this? Bravissimo, Maestro from Italy! (Prengel) |
Gerd Prengel Reviewer of Pixel-Arts |
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*Riguardo il Concerto op.53 per Corno ed orchestra* Una composizione eccelente. Bravo! Excelent composition. My congratulations! Great melodies almost perfectly arranged and orchestrated. Very much in the Mozart style, really. (Pawell) |
Reviewer of Pixel-Arts |
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*Riguardo il Concerto op.53 per Corno ed orchestra* Excellent classical styled piece, "Mozart reincarnated." Fantastic progression, key changes, harmonies, etc. No doubt one of the finest pieces I have heard since, um, last month. Midi effects used well, but no controller 11, volume, etc (but then, key velocities seem sufficient for this style). Some reverb, panning, tempo changes and the like make it sound quite realistic. Great instrumentation. I don't often hear the French horn featured, but it is one of my favorite instruments. (Ernst) |
Joseph Ernst Reviewer of Pixel-Arts |
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*Riguardo il Concerto op.43 per clarinetto ed orchestra* Dear God, where did all of these great compositions come from all of the sudden? My average score is approaching 9. I love this piece. And there is little if anything I would change or suggest. (Ernst) |
Joseph Ernst Reviewer of Pixel-Arts |
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*Riguardo il Concerto op.43 per clarinetto ed orchestra* Wonderful! Very melodious! Brilliant treatment of the clarinett, especially in the development. I love both the c minor main theme and the second theme! Right after hearing this piece I had to listen to Mozart's corresponding Concerto KV 622 - you really don't have to hide behind that one! The only thing I miss a bit is a more individual use of the string voices. Mostly they are playing pretty much alike. Some polyphony here would enrich the piece very much. (Gerd) |
Gerd Prengel Reviewer of Pixel-Arts |
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Search Result 10Da:Giacomo Andreola (andreola@tin.it)
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Giacomo Andreola mailto:andreola@tin.it http://www.iinet.net.au/~nickl/makers.html#Andreola |
Sometimes a large body of work can be summarized very quickly. Pacchioni writes expertly in the style of Bach; like Padre Martini he is the conservator of older ideas and forms and methods from which many young composers could learn. Early music ensembles should consider programming his works along side Teleman and others - as they are of the same style and idea, and would please an audience looking for arabesque in that mode. Thus almost any one of his compositions is worth listening to, and given the popularity of much neo-Baroque music, could probably be recorded with some success. Thus a link to his page on the Classical Midi archives his placed on the Graces list. Stirling Newberry War and Romance (March 1997) |
Stirling Newberry http://pub1.ezboard.com/ustirlingnewberry.showPublicProfile?language=EN |
| Search Result 30From: () Subject: Re: BAROQUE? Newsgroups: rec.music.composeView: Complete Thread (4 articles) | Original FormatDate: 1996/06/12 > >Wes & Ann Judkins <"judkins@ic.mankato.mn.us"@ic.mankato.mn.us> wrote: > I find unparallelled in today's music) as well as Giorgio Pacchioni (his ecclesiastical works are quite superb, perhaps rivalled only by his 18th century predecessors). Their works may also be found at the site I posted. |
M.Moya mailto:m.moya@ix.netcom.com |
| Search Result 5From: Subject: Re: New Music - Symphony in B - II Largo Newsgroups: rec.music.compose, rec.music.classical, rec.music.classical.contemporaryView: Complete Thread (598 articles) | Original FormatDate: 2002-08-15 02:33:08 PST More over - knocking people producing in older styles won't create more space for newer ones - the people interested in older styles will simply go to some other purveyor of the older style. New styles require new audiences, and new means of presentation. If you are creating new art, you will almost certainly need to be looking for new people to support it, people whose concerns are peripheral to older styles - whether those older styles date from 1750, 1850, or 1950. Pacchioni is a better student of Bach's style than say - Krebs was. Why not accept that and go on? |
stirling s newberry (stnewberry@earthlink.net) |
| I recommend Pacchioni's music as exemplifying the
true spirit of baroque-style composition in modern times. Many composers
use a rush of 16th notes to try to paint a mask of Vivaldi on their rock
music, but Pacchioni actually creates works that are stylistically accurate
and structurally sound. -- |
Matthew H. Fields http://www-personal.umich.edu/~fields |
| Search Result 13From: Subject: Re: If I woul been Bach.... Newsgroups: rec.music.composeView: Complete Thread (2 articles) | Original FormatDate: 1999/04/19 Just a note that I, for one, find it refreshing to turn to one of the many web pages pushing "fugue" and find clear counterpoint and not another hack enamored of the copy-paste-transpose features of their sequencer or of the misconceptions in Hofstadter's "Goedel, Escher, Bach". I recommend Sr Pacchioni's pages as an antidote to the blight of self-indulgent fugitis that afflicts so many young composers before they develop the craft to back up the stuff.-- Matt Fields, DMA http://listen.to/mattaj TwelveToneToyBox http://start.at/tttb |
Dr.Matt (fields@zip.eecs.umich.edu) |
| Search Result 22From: Subject: Re: Fuguing Practice: Brass Quintet Newsgroups: rec.music.composeView: Complete Thread (13 articles) | Original FormatDate: 2001-07-20 19:56:53 PST On Fri, 20 Jul 2001 21:18:40 GMT, fields@login.itd.umich.edu (Dr.Matt) wrote: >In article <3b58989b.62773347@news.fuse.net>, >dana (Carl Dana Jackson) <cdjacksoNO-SPAM@fuse.net> wrote: . No, nobody -- read that, you -- said it word for word. You wrote, "Suggestion: set fugue aside and don't even bother with it for a number of years. If you can't do what Giorgio Pacchioni does (stick his name in a search engine...), you'll be beating your head against a wall." I interpret that to mean, hold off on writing fugues until you can do what Giorgio does. I still say, why set the fugue aside? But I pointed out that without counterpoint, you run the risk of sounding bookish, pompous, and foolish at the same time, and counterpoint takes a bit of work to learn. |
Carl Dana Jackson (cdjackso@fuse.net |
| I've certainly done a lot of that myself--see my
pieces "Call of the Shofar" and "Music for Amy's Birthday"
for tonal fugues, and see Giorgio Pacchioni's web pages for a surprising
number of tonal fugues. I say, use whatever works. The opening of Strings, Percussion, and Celeste certainly achieves all that one could want from a fugue within a world of sound and rhetorical devices that Bartok had been prototyping in his piano music, with very different characteristics from tonality and modality.-- Matt Fields DMA |
Matt Fields DMA http://listen.to/mattaj |
| Check out the work of Pacchioni on the web. A fugue
for old fugue's sake can be wonderful, so long as it's still a piece of
music and not a boring catalog of techniques the composer has mastered for
making little sections. What's the difference? Well, I suppose a catalog like that can be cute in small doses but if it isn't also somehow exciting, intriguing, frightening, soothing, or just dang groovy then what's it doing there? -- Matt Fields DMA |
Matt Fields DMA http://listen.to/mattaj |
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Search Result 10From: Dr.Matt (fields@choplifter.rs.itd.umich.edu) |
Dr.Matt (fields@choplifter.rs.itd.umich.edu) |
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Search Result 10From: Iian Neill (s367558@student.uq.edu.au) |
Iian Neill (s367558@student.uq.edu.au) |
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Search Result 169Da:keith edgerley (keith.edgerley@bluewin.ch)
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keith edgerley (keith.edgerley@bluewin.ch) |
| From: John Paul [mailto:j.pb@nts-online.net] Sent: Saturday, August 24, 2002 1:22 PM To: Pierre R. Schwob Subject: I stand amazed. Oh Pierre, Today I downloaded Giorgio Pacchioni and stand in awe of his mastery. It thrills my heart to know this. I have always appreciated the truly great composers/performers of music, but now I am learning the mastery I love so much is not dead but still very much ALIVE. Before CMA showed me these things I was fretful that there was no hope for truly wonderful music in our age. I cannot thank you enough for what I have learned thanks to CMA and You... And I am very apologetic for being so ill informed about these matters. I spent so many years buried in my career that I was oblivious to what was happening all around me. My first free membership will be sent to Jack Boyd, PhD. And yes his doctorate is in music. Thank you again for expanding my horizons. JPB |
John Paul [mailto:j.pb@nts-online.net] |
| Opus 54 in D minor A perfect baroque form of concerto grosso. The music is very much in the climate of such composers as Mozart, Haendel, Scarlatti or Vivaldi. Baroque music is one of my favorites, so I was listening to this composition with great satisfaction. No doubt, it’s one of the best in this contest. Congratulations. Opus 40 in C+ Very similar in form as Opus 54 with almost equal musical values, but I liked the melodies and orchestration in the Pawel |
Reviewer of Pixel-Arts |
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Concerto per piano ed orchestra op.31,2
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Wittenburg, Karl-Helmut Reviewer of Pixel-Arts |
| Opus 54 in D minor A wonderful Baroque piece like the Handel concerto grossi is the 1st movement! What depth in expression ! My scores refer only to the first movement, the others do not touch me that much... Opus 40 in C+ How great is the first movement, what a great use of counterpoint! I always sense the glorious atmosphere of the Finale from Mozart's Jupiter symphony. Outstanding! Again my scores refer only to the first movement, the other I find rather boring ... Prengel |
Gerd Prengel Reviewer of Pixel-Arts |
...e chi ne dice male (grrrr....)
| Search Result 2Da:Andrea Sangiacomo (lwb@libero.it) Soggetto:Re: Appello ai giovani compositori Newsgroups:it.arti.musica.classicaView: Complete Thread (160 articles) | Original FormatData:2001-10-16 10:52:10 PST "Leonardo Bignami" <lbignami@tiscalinet.ch> ha scritto nel messaggio news:ctkost0j6husdb0b3l4v5tu2bvmhad1qhu@4ax.com... > On Mon, 15 Oct 2001 20:53:19 GMT, "Andrea Sangiacomo" <lwb@libero.it> > wrote: > >>Pacchioni non é geniale. Puó insegnare come ha >>insegnato czerny con i suoi (anche bellissimi) studi ma nulla di piú. > > Ah Ah Ah!!! Aaaaahhhh Francescooooo!!!! Ti hanno demolito una vita di > lavoro !!! :))) > > >Quando > >si lancia nelle sinfonie poi fa piuttosto pietá (nulla di personale G. )GP é > >un grand' uomo che puó insegnare molto nello stesso modo in cui insegnano i > >papiri egiziani. > > LOL! > > >Sentire la sua musica é sentire la mummia del barocco > > ROTFL! > > Povero Giorgio. L'hai praticamente ucciso! Mi spiace ma ho detto ció che pensavo e che probabilmente corrisponde a veritá. Di pacchioni ho sentito praticamente tutto e si salvano al massimo due pezzi. Ció non toglie che sia una persona straordinaria e un eccellente falegname ma non riesce ad andare oltre alla riproduzione in stile delle statuine del presepe barocco. Andrea |
Andrea Sangiacomo (lwb@libero.it) |
| Search Result 1Da:Claudio Rampini (strad@claudiorampini.com) Soggetto:Re: L'inzio del concerto per viola Newsgroups:it.arti.musica.classicaView: Complete Thread (6 articles) | Original FormatData:2001-05-27 01:03:42 PST In article <keKP6.7602$WT5.271826@news.infostrada.it>, alberto.donofrio@NTISPAM.it says... > mi riassumete come e' iniziato il thread superlungo sulla fine > del concerto per viola ? > pigri saluti > a, vn Giorgio Pacchioni ha messo a disposizione di tutti una versione midi del suo concerto per viola. Tutti gli hanno fatto i complimenti a cui mi sono unito anch'io pensando si trattasse di un suo passatempo domenicale, della serie: niente male per un dilettante! -- Claudio Rampini Liutaio www.claudiorampini.com |
Claudio Rampini (strad@claudiorampini.com) |
| Search Result 3Da:Clo (strad@claudiorampini.com) Soggetto:Re: R: Termine del concerto per viola Newsgroups:it.arti.musica.classicaView: Complete Thread (157 articles) | Original FormatData:2001-05-08 16:16:47 PST Se Pacchioni scrive un concerto per Viola che in realtà è un concerto per violino trasposto di una quinta, con l'aggravante della banalità e superficialità dei temi, forse sono anche felice di avere qualche pregiudizio. Niente di personale con Pacchioni. Se poi è il caso di essere indulgenti di fronte ad un amico che ha bisogno di lavorare, non credo gli si faccia un gran favore a nascondergli una realtà di mediocrità. Ciao. -- Claudio Rampini Liutaio www.claudiorampini.com |
Claudio Rampini (strad@claudiorampini.com) |
| Search Result 2Da:Roberto Maria Avanzi Mocenigo
(mem102@sp2.power.uni-essen.de) Soggetto:Re: R: Termine del concerto per viola Newsgroups:it.arti.musica.classicaView: Complete Thread (157 articles) | Original FormatData:2001-05-09 08:45:51 PST On Wed, 9 May 2001, Leonardo Bignami wrote:> >Il problema di Pacchioni infatti NON e' che scrive musica del > >passato ... > > Questo è rigirare la frittata. > >... ma che scrive PESSIMA musica del passato. > Intendevo dire materiale che non sembri una canzoncina dell'asilo, che si presti a variazioni e sviluppi interessanti. Ho trovato, tanto per restare in tema, il concerto per violoncello sostanzialmente randomizzato. E rabbrividente il curioso frammento di plagio con elementi carioca del concerto per clarinetto. Il concerto per viola ha momenti piacevoli, ma non lo sento andare da nessuna parte. E i momenti in cui il ritmo si "ferma" come osservato dalla signora Guidi, sono momenti in cui si ferma proprio (non suonano, come nelle intenzioni di Pacchioni, come un elemento dialettico).Bene. Roberto |
Roberto Maria Avanzi Mocenigo (mem102@sp2.power.uni-essen.de) |
| Search Result 2Da:Luca Logi (llogi@dada.it) Soggetto:Re: R: Variazioni IAMC : I NOMI !!! Newsgroups:it.arti.musica.classicaView: Complete Thread (30 articles) | Original FormatData:2000/04/05 Solo due righe di commento a questo messaggio. Oh parola, oh parola tu mi manchi. Il Pacchioni detta i precetti, il Pacchioni pianta i paletti, il Pacchioni addirittura scrive le cadenze con gusto piu' naturale di Bach. Affermazioni che si commentano da sole. L'intera discussione e' istruttiva - al di la' del suo specifico argomento - in quanto dimostra quale tipo di didatti puo' capitare di trovare nei nostri conservatori. Non penso che nemmeno dalla penna di un Cervantes sarebbe potuto uscire uno spaccato di vita conservatoriale piu' vivo di come il Pacchioni descrive se stesso. Questo a dimostrazione di quello che sostengo sui conservatori e che qualcuno considera esagerato. Certo non tutti i professori sono cosi', in compenso ce ne sono anche di peggio del Pacchioni.-------------------------------------------------------- Luca Logi - Firenze - Italy e-mail: llogi@dada.it Home page: http://www.angelfire.com/ar/archivarius (musicologia pratica) |
Luca Logi - Firenze - Italy e-mail: llogi@dada.it |
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Search Result 3Da:Roberto Maria Avanzi Mocenigo
(mem102@sp2.power.uni-essen.de)
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Roberto Maria Avanzi Mocenigo (mem102@sp2.power.uni-essen.de |
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Non mi sarei certo permesso di pubblicare qui le
mie idee se lo stesso autore non fosse venuto qui di recente prima a mostrarci
il trofeo vinto per non so quale conposizione, poi ad organizzare concorsi
di composizione e poi a inserire il link dei commenti. Sarò accusato
di corporativismo ma mi sento di condividere la stragrande maggioranza
dei commenti dei vari Ngisti. |
Daniele Zini <kakabuku@libero.it> <it.arti.musica.classica> Giovedì, 22 agosto 2002 14:38
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