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Nicola Campogrande Hauptstimmen per oboe o sassofono soprano for Oboe or Soprano Saxophone

Edition Breitkopf 9673

Nicola Campogrande Hauptstimmen per oboe o sassofono soprano for Oboe or Soprano Saxophone

Edition Breitkopf 9673 Printed in Germany

Nicola Campogrande | Hauptstimmen per oboe o sassofono soprano for Oboe or Soprano Saxophone

Le cose importanti

The Important Things

Mi ha sempre divertito il fatto che, nell’ analizzare partiture

I have always been amused by the fact that, in analysing

dodecafoniche, si facesse ricorso alle due categorie di Haup-

twelve-tone scores, recourse was made to the two categories

tstimmen e di Nebenstimmen per indicare le linee principali

of Hauptstimmen and Nebenstimmen to indicate the principal

e quelle secondarie. Non per l’analisi in sé, ma perché, in as-

and secondary lines. Not because of the analysis itself, but be-

senza di lavoro analitico, la differenza gerarchica e persino la

cause, in the absence of that analytical work, the hierarchical

presenza stessa di linee, all’interno della maggior parte delle

difference – and even the very presence of lines – within most

partiture dodecafoniche, non è percepibile. In altre parole: sen-

twelve-tone scores is not perceptible. In other words: without

za qualcuno che te la spieghi, quella musica rimane estranea

someone explaining it to you, that music remains alien not only

non soltanto alla nostra percezione sensoriale (tradotto: non

to our sensory perception (translated: we don‘t like it), but we

ci piace), ma non riusciamo nemmeno a capire come è fatta.

cannot even understand how it is made. As has been the case

Così come è stato per molte, moltissime partiture della passate

with many, very many scores from the avant-gardes of the past.

avanguardie.

When Marika Lombardi commissioned a work from me for solo

Quando Marika Lombardi mi ha commissionato un lavoro per

oboe, I therefore decided to use the category of “principal lines”

oboe solo, ho dunque pensato di utilizzare ironicamente la ca-

ironically, to indicate four important things to which I wished to

tegoria “linee principali” per indicare quattro cose importanti

try to give a sound: light, shadow, trees, the sea.

alle quali desideravo provare a dare un suono: la luce, l’ombra, gli alberi, il mare.

Nicola Campogrande

Commissione

Commission

Festival OBOE – Autour du hautbois

Prima esecuzione mondiale

World Premiere

15 marzo 2014

March 15, 2014

Paris, Festival “OBOE-Autour du hautbois”, Cité des Arts

Marika Lombardi (ob)

Se eseguito con il sassofono soprano, il brano risulta un tono

When performed on a soprano saxophone, the piece sounds a

sotto l’altezza scritta.

whole tone below the written pitch.

A Marika Lombardi A Marika Lombardi

Hauptstimmen A Marika Lombardi Hauptstimmen A Marika Lombardi Hauptstimmen Hauptstimmen

Nicola Campogrande, 2013 Nicola Campogrande, 2013 Nicola Campogrande, 2013 Nicola Campogrande, 2013

1. Licht 1. Licht

5 Moderato ( = 72)            1. Licht 5  Moderato       (  =  72)                                          1. Licht                                                     Moderato     5       ( = 72)                      5                    Moderato (  = 72)                   5    5                        

    5     5                                   5         5                        5 5 5 5 5  5 5    5        5 4 5        5      5    4                                                               5          5            5                      4     5                   4   5   5             5                      5              5                               5                           5    5    5            8               5 5 8                                                  5         5          8                   5  5    5 5         5 5      5               8                                  5                         5 5  5   5 5     5               11                             5   11                                         5     5            11   5             5                 5 5  11                                                         5        5     5  5 5 5 5  14       5 5                5   14                                                          5 5           5       14    3                          5 5   5 3   14   5 5                                                                                          5  33       5      17       17                                                                                                         17   3                  5     5    3 17                       5                                                 5                3   5 5   5 3 5 5 5 5 5 20     5    20                                            5             5                5                 5  20      5                           5  5      20    5                 5                  5                         5                                       5  Edition Breitkopf 9673 © 2026 by Breitkopf & Härtel, Wiesbaden 5 Edition Breitkopf 9673 © 2026 by Breitkopf & Härtel, Wiesbaden Edition Breitkopf 9673

Edition Breitkopf 9673 Edition Breitkopf 9673

Hauptstimmen             

  

 

  

  

    

 

                                  5 5   5  

                                               3 5         5   

Leseprobe

   

  

5                                         5 5 5





                                        

    

    

  

                             

Sample page

                                                        5 

 

      

              poco   rit.                          Breitkopf EB 9673

Nicola Campogrande

2. Schatten (vibrato)

                              

Adagio  = 56

    







                      (  )      







             

       

Leseprobe 

                          8                                            10                                    3   13                                                               



gliss.

    

   



   

 

Sample page 

     

   

                             5  5  20                              17

   

                 

Breitkopf EB 9673

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

 

    









  

 



   

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Further chamber music works by Nicola Campogrande at Breitkopf & Härtel 150 Decibel Version for Violoncello and Piano, 2015 Duration 10′ EB 9641

Urban Gardens Version for Piano Quartet, 2022 Duration 17′ EB 9452

150 Decibel Version for Viola and Piano, 2019 Duration 10′ EB 9573

Urban Gardens Version for Piano Quartet – Movement Nr. 2 “In a jazz club courtyard”, 2024 Duration 7′ EB 9571

Soffio blu for Flute or Piccolo and Piano, 2025 Duration 10′ EB 9570

Nudo after “R (A Portrait for Piano and Orchestra)” for Piano, 2015 Duration: 15′ EB 8990

Forme di felicità for Violin and Piano, 2020 Duration 9′ EB 9413

Preludi da viaggio for Piano, 2021 Duration 4' EB 9428

Musica trasparente for String Quartet, 2024 Duration 7' EB 9554 (Score) EB 9555 (Parts)

Io cammino muovendo le dita for Violin, 2026 Duration 5′ EB 9636

9 790004 191682

ISMN 979-0-004-19168-2

9 790004 191682 A 26

EB 9673

Breitkopf & Härtel KG Walkmühlstraße 52 65195 Wiesbaden Germany info@breitkopf.com www.breitkopf.com