 WALTMANSEARLY AND CONTEMPORARY MUSIC |
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ROBERTO TOSCANO (BR) In regards to my aesthetic, I suppose I should start by paying tribute to my immediate influences which have shaped my musical language. Mainly composers out of Eastern Europe which are best known for their works after the Second World War - these composers being: Penderecki, Ligeti, and Lutoslawski for the most part. Also, I am greatly interested in the music of Messiaen and Scelsi, to name but a few composer from western Europe that have had some lasting impact in how I view music and in particular my own aesthetic. More importantly I feel, has been the influence that the so called plastic arts have had on my work, mainly painting and to a lesser extent sculpture. A few of my compositions have been created around the technical issues that I feel arise from some of my favorite works from that artistic realm; the Pollock Concerto being an obvious example of a piece of music being sculpted out of non-musical "properties". Here I want to make the distinction that my work is in general not suppose to be directly representational, meaning that I do not set out to "copy" and transfer a work via say, some system of organizing pitches to represent a specific "picture". But, in essence, I want to take the abstract property I feel within a work and in turn transform that into an abstract "piece" of my own - here the distinction must be made clear, my work retains to me the abstract quality/energy of its inspiration, but is by now an abstract entity on its own. Even the works that are not influenced directly by the plastic arts still contain this mode of working, I would say that the process of composing is very much like painting in that respect, at least in so far as I feel it. Here clearly, the words of Messiaen mean the most to my process, in that we (composers) are indeed painting with "musicians colors" as he once put it. This textural relation to composing is at the heart of the music I write and this concern for "color" (and I should specify that "color" here does not always mean a visual property per se) is one of the leading elements in my aesthetic as I see it today. Roberto Toscano (born 1982) is a Brazilian composer who resides in the United States awhile he seeks to complete his masters’ degree in composition (Tufts University). Toscano attended Berklee College of Music in Boston, MA, USA (2002-2006) where he studied composition with Vuk Kulenovic. Roberto has been greatly influenced by the music of Ligeti, Penderecki, Lutoslawski, Messiaen, and Kulenovic. Toscano’s music has been performed and premiered in South America, North America, and Europe. His current projects include: Double Concerto for Violin, Piano, and Orchestra; Atmospheres: Cascades for Organ Solo; Krajcberg Sinfonia for Baritone Saxophone and Symphony Orchestra; as well as commissions from Spain and the Firebird ensemble of Boston. Along side Kota Nakamura (Boston based composer), Toscano has created the Nova-Composers Association. Nova-Composers is a composition society that organizes concerts and events in the United States and abroad. Roberto is also one of the founding members of the Appareo composers trio, a composers collective that was created to put together workshops, concerts and projects which feature the work of those involved. E-Mail: rtoscano23@gmail.com |
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