My
New Web Site
sites.google.com/site/stefanosciascia
Trinity College of Music
London
28-30 September 2011
Stefano Sciascia
Double Bass Master Class .
Stefano Sciascia Double Bass
Dianne Frazer
Piano
Friday 10 June 2011
Knut
Hall 15 p.m.
San
Francisco State University CA U.S.A.
Bass
Love Recital
Conservatorio
Tartini Trieste
April
13 14 2011
Double
Bass Master Class .
Chris
West -Trinity College London.
CONCERTO
2 Marzo 2011
2 Marzo 2011
Conservatorio
Tartini Triest
Conservatorio Tartini Trieste
Aula Magna ore 20.30
Stefano Sciascia Contrabbasso
David Giovanni Leonardi pianoforte Ma
Cancion
de Amor Trad. Spagna
Se
tu
m'ami G.B.
Pergolesi 1710-1736
Sposa
son
disprezzata A.Vivaldi 1678-1741
Apres
un
Reve G.Faure' 1854-1924
Mon Coeur s'ouvre a ta
voix C.Saint Saens 1835-1921
Les
Berceaux
G.Faure'
Chanson
Triste
S.Koussevitzky 1874-1951
Reverie
G.Bottesini 1821-1889
Tarantella G.Bottesini .
Stefano Sciascia Contrabbasso
David Giovanni Leonardi Pianoforte
PREMIO LETTERARIO INTERNAZIONALE
S. MARGHERITA LIGURE
” FRANCO DELPINO ” 2010
Primo Premio sezione “Oltre
la Vita”
BASS WORLD Review 2011
by Jeremy C. Baguyos
Lux Ex Tenebris
Stefano Sciascia, bass and electronics
Nahama, Voices
Davide "Deiv" Baro, Bag
Pipe-Piva in E
Stefano Sciascia Production SSP
2010
www.stefanosciascia.it
Stefano Sciascia, a frequent recitalist at ISB
conventions, is on the double bass faculty of the Conservatorio di Musica “G.
Tartini” in Trieste, Italy.
Lux Ex Tenebris is the tenth CD of his discography and features his
innovative artistry as a double bassist and composer of electronic music.
In addition to
the performance of the double bass parts, the music on the CD was
conceptualized and composed by Sciascia.
The Latin
phrase lux ex tenebris translates to
“light out of darkness.
” The Gothic-inspired cover of Lux Ex Tenebris
invokes a dark spiritual context, but the overall effect of the music on the CD
evokes a more general imagery of solemn ceremony and invites meditative
interaction.
The music of Lux Ex Tenebris is reminiscent of
Sciascia’s 2004 release, Mantra 22.22, in terms of aesthetic stance
(meditative atmospheres),
compositional approach (use of horizontal layering of
compatible gestures that do not have to strictly adhere to a vertical harmonic
structure or rhythmic organization),
and production (multi-track recording of one solo
double bassist).
Unlike Mantra 22.22, however, Lux Ex Tenebris
leverages contributions in the creative commons by incorporating appropriately
chosen sounds from Freesound, a creative commons repository of audio
clips designed and contributed by computer musicians, sound designers, and
composers.
Launched in Barcelona at the 2005 International
Computer Music Conference of the International Computer Music Association, the
Freesound database is an important resource for both established and
emerging artists in technology-dependent composition and can be found at
www.freesound.org.
Orior utilizes the classic layering approach that was a standard
compositional practice in the era that Sciascia is evoking and is also a
standard compositional approach among contemporary electronic composers. The
foundation of the composition consists of multiple filtered drones punctuated
occasionally by sparse interjections of metallic percussive samples.
Enabled by multi-tracking, the double bass is
judiciously layered with multiple voices in a statuesque non-developmental form
and provides the soundtrack for the twisted statue on the jewel case cover and
label of the CD. For the listener, there exists a cantus firmus
whereupon listeners can focus their singular attention.
Or listeners can focus their singular attention on one
of the upper lines in the polyphonic texture. Or the listener can take in all
the lines at once and allow the music to create a meditative tapestry of
simultaneous continuous variations and provide an opportunity for the listener
to realize a state of deep awareness where all parts and sentiments are heard,
felt, and understood at once.
Later in the CD, Requiem will also follow this
same approach.
After a short electronic prelude, Stabat Mater
begins with responsorial antiphony between a monophonic Gregorian chant and
antiphonal choir. It is interesting how the double bass will take on multiple
roles in this composition.
At first the double bass functions as a cantus
firmus that surreptitiously convolves itself into the texture of the work.
At times, the double bass interjects an instrumental
interlude. At other times the bass
doubles one of the vocal melodies.
Sometimes the double bass performs a countermelody.
Regardless of the role of the double bass in Stabat
Mater, Sciascia’s playing is expressive and explores the wide emotional range
that is afforded by his ability to tame the endless possibilities of electronic
composition.
Scotland the Brave invokes Scottish scenes with bagpipes, horn, and
drums. Again, it utilizes the layering approach.
The chosen samples do not necessarily have to line up
rhythmically or harmonically.
There are inherent limitations of horizontal layering
approaches with technology, and in this case, the duration of more than eleven
minutes and the static gestures define the composition as more of a meditative
ceremonial soundscape that would be more appropriate for activating a physical
space with sound as opposed to a concert hall setting.
As a soundscape, Scotland the Brave is
ominously majestic and overwhelming in its emotional power.
The Temple begins with a monophonic Gregorian chant alternating
with a pizzicato bass line using a tonal progression. Sciascia demonstrates
maturity and restraint when using the wind samples. Although wind samples are
some of the more trite and hackneyed sounds of current electronic music
composition, Sciascia uses them in such a tasteful way that they do not sound
like a broadband cliché.
In Lacrimosa, the electronics dwell on higher pitches. Although it
would appear at first that the listener is being set up for juxtaposition, the
bass line, instead, weaves in and out seamlessly within the electronic
texture. Sciasica makes this work
because he has the ability to blend his tone with the electronic timbres both
in his playing and in the engineering. This is especially true in the
multi-tracked double bass part, where tertian structures are implied but never
referenced formally.
Lux ex Tenebris is the final work, and the crash of thunder signifies
that the entire CD is, indeed, a larger, unified multi-movement work nearing
its epic conclusion. It utilizes sequential statements in the voice with a
contour consisting of a leap followed by descending stepwise motion in
sequential pattern. The voices will do more of the same with rhythmic
augmentation.
This CD Lux ex Tenebris is exciting because it
is apparent that it was conceptualized first and implemented later. This is often not the case with recordings
(with double bass or otherwise) that utilize creative technology.
Although it is heavily dependent on sound created by
technology, the technology is never the focus.
Instead the
technology is merely an effective tool when wielded by Stefano Sciascia, a
mature and forward-thinking composer and double bassist.
-----Review by Jeremy C.
Baguyos
http://www.kingrecords.co.jp/saisin/bass/2nd/stefano_info.html
Stefano and the Karr Koussevitzky
bass . U.S.A. 2009 ISB Convention Penn State University .
10th CD for Stefano
Sciascia
2010 March .
Vibo Valentia Conservatorio
Marzo 16-19 2010
Master Class Stefano Sciascia
Stefano Sciascia and his Friend Prof.Michele Cosso.
Trieste Conservatorio Tartini
Double Bass Master Class
Lasse Lagercrantz
9 10 11 March 2010
Teppo Stefano Lasse – Helsinki September 2009 -
Ludwin Music New Music for double bass arr. Stefano
Sciascia
Stefano with the Karr Koussevitzky Bass at the ISB
Convention 2009 .
Performance on the 12th of June 2009 4 p.m.
at the Esber Hall
College State University Pa U.S.A.
The video of all the recital is here 
Sibelius
Academy Helsinki Finland
Corso
contrabbasso 18 25 Luglio 2009
Friday, June 12,
2009 at 4 PM.
Penn State
University in State College,
Stefano Sciascia Solo Double Bass
U.S. Premiere
Mantra : Concert for Tibet
Interview
Intervista news 2009
click
9 10 11
Dicembre 2008
Conservatorio
Tartini Trieste
Dan Styffe Oslo Norway
Master Class
Il primo disegno originale della Favola Il Regno di Ibbi Obbi
IL Regno di Ibbi Obbi anche su CDBaby
Ascolta
tutti i brani e la favola qui’ : cdbaby
Neraspina , la strega della Favola in Musica Nel Regno di Ibbi
Obbi , e’ la copertina del nuovo numero di Bass World !
Grazie a Laura per averla dipinta e regalata all’ I.S.B .
Norges musikkhřgskole
5 6 7 8 Maggio 2008
Master Class – Il Contrabbasso Solista –
Stefano Sciascia
Conservatorio
G.Tartini Trieste
Mercoledi’ 5 Marzo 2008 ore
20.30
AULA MAGNA
Contrabbasso Stefano Sciascia
Pianoforte David Giovanni Leonardi
Programma
Non ho occhi che per piangere
Benedetto Marcello 1686-1739
Se tu
m’ami
Giovan Battista
Pergolesi 1710-1736
Sposa son
disprezzata
Antonio Vivaldi 1678-1741
Les
Berceaux
Gabriel Faure’ 1845-1924
Les chemins de l’amour Francis Poulenc 1899-1963
Apres un reve
Gabriel Faure’ 1845-1924
Elegie
Jules Massenet 1842 – 1912
Jewish song
Ernest Bloch 1880-1959
Reverie
G.Bottesini 1821 –1889
Tarantella
G.Bottesini 1821 –1889
Kol Nidre for Double Bass and Piano
The original melody with the arrangement by
Stefano Sciascia .
This publication begins a series of collaborations
Between Stefano and Ludwin Music .
Sabato 27 Ottobre 2007
Premiata la poesia Silenzio di
Laura Menegozzo
Con Mantra 22.22 di Stefano
Sciascia
Verona ,
Biblioteca Civica via cappello ore 18
in prima esecuzione dal vivo, “Mantra
Stefano Sciascia al contrabbasso, con lettura poetica di Laura Menegozzo
Visit this site to listen to my Music !
http://www.myspace.com/stefanosciascia
Conservatorio G.Tartini Trieste Italia 23 Luglio 2007
HANS STURM Master Class – The Art of the
Bow -
DOUBLE BASSIST Magazine Summer 2007
Review by Chloe Cutts
ISB CONVENTION
OKLAHOMA CITY USA 4-9 JUNE 2007
Friday 8 JUNE 2007
Kirkpatrick Theater 5 p.m.
Stefano Sciascia
Contrabbasso
Dianne
Frazer Cross Piano
Conservatorio Tartini Trieste
14 Marzo 2007 ore 20.30
AULA MAGNA
Contrabbasso Stefano Sciascia
Pianoforte David Giovanni Leonardi
EREV/LAILA Sera/notte
Programma
Cancion de Amor
trad . Spagna-sefarditica
A
Dudele
trad.
Israele
Kol
Nidrei
trad. Israele
Nign
Klezmatic
Bukovina 212
Klezmatic
Nigun
trad. Israele
Valse Sentimental
P.I.Tchaikowsky 1841 – 1893
Les chemins de
l'amour F.Poulenc 1899 – 1963
Mon Coeur s'ouvre a ta voix C. Saint Saens 1835 –1921
Jewish
Song
E.Bloch 1880-1959
Reverie
G.Bottesini 1821 –1889
Tarantella
G.Bottesini
Tavagnacco-Udine
Sala
Consiliare del Comune
29
Marzo 2007 ore 20.30
Stefano Sciascia Contrabbasso
David Giovanni Leonardi Pianoforte
Cancion de Amor
trad . Spagna
Londonderry air trad.Irlanda
Nign
Klezmer/Israele
Bukovina 212
Klezmer/Israele
Nigun
trad. Israele
Valse Sentimental
P.I.Tchaikowsky 1841 – 1893
Les chemins de
l'amour F.Poulenc 1899 – 1963
Mon Coeur s'ouvre a ta voix C. Saint Saens 1835 –1921
Gnomen
Tanz
D.Popper 1843-1913
Reverie G.Bottesini 1821 –1889
Tarantella
G.Bottesini
Trieste Conservatorio Sala Tartini ore 20.30
8 Marzo 2006 omaggio a Pavle Merku’
Epistola a Franco Feruglio per Contrabbasso-solo
*** Trieste Conservatorio ore 20.30
CONCERTO DEI DOCENTI
2006
26
Aprile Mercoledi’ AULA MAGNA
Contrabbasso Stefano Sciascia
Pianoforte David Giovanni Leonardi
“ L’ultimo dei romantici “
Programma
F. Chopin - studio n.7 op.25
1810 – 1849
A. Scriabin - studio n.1 op.2
1872-1915
S. Rachmaninoff – vocalise
1873 –1943
C. Saint Saens – Mon Cśur s’ouvre a ta voix
1835 –1921
C Saint Saens - Le cygne
F. Poulenc – Les
chemins de l’Amour
1899 – 1963
Tchaikovsky – Valse Sentimentale
1841 – 1893
G. Bottesini – Reverie
1821 –1889
G. Bottesini – Fantasia su ”
G. Bottesini – Il Carnevale di Venezia
***
Museo Ebraico Trieste
18
Luglio 2006 ore 20.30
Programma
Stefano Sciascia Contrabbasso
David G.Leonardi pianoforte
Cancion de Amor
trad
. Spagna
A Dudele
trad. Israele
Kol
Nidrei
trad. Israele
Nign
Kletzmatic
Nigun
trad. Israele
Valse
Sentimental
P.I.Tchaikowsky
Les chemins de
l'amour F.Poulenc
Mon Coeur s'ouvre a ta voix - C.
Saint Saens
Jewish
Song
E.Bloch
G.Bottesini
Reverie
G.Bottesini
Tarantella