Cd produced for the italian label Musicaimmagine.

In Italy, there have been first-rate interpreters who dedicated ample space, in some cases, the predominant part, to the production of contemporary composers. This was an important phenomenon that appeared during the 1960s in the wake of the experience of Darmstad, a phenomenon that exercised enormous influence on international customs regarding concerts both from the point of view of programming and that of the audience.
Te protagonists in the limelight were Severino Gazzelloni, Lothar Faber, Bruno Maderna, Pierre Boulez, Bruno Canino, Antonio Ballista and then Giancarlo Cardini, Massimiliano Damerini, Roberto Fabbriciani, Daniele Lombardi and a few otre chosen personages. During the 1980s the phenomenon seemed to have exhausted itself or was at least limited to some rare occasions.
Now we are in the middle of the 1990s and the young Italian instrumentalists and singers of merit seem to have retroceded to the more certain territories of traditional repertoire. Maybe this is a reflection of the tendencies of the record market. Te music "that is sold" is what is proposed. This is why the courageous and original appearance of Margherita Porfido is very important. Liberated from cryptical appurtenance or from groups of cultural power, the interpreter is aware of her right-duty to mediate in listening to musical pages of the authors of her time, claiming a primary role in giving them an unmistakable and dramatic interpretative form such as to challenge the excessive arrogance of the great means of communication.
Next to authors of academic formation such as De Santis, Salvatori and Franci, others appear, that, while certainly expert also in academics, have however become known over time due to otre experiences, from free-jazz to rock, from experimental music to ethnic sounds: such are Trovesi, Tommaso, Colombo, Schiaffini, Minafra and the undersigned, Gaslini. For these six authors, the tendency seems to be (without any prior agreement) that of an advanced syncretism of a number of musical languages of the recent or distant past, syncretism or "total music" as this tendency was called from way back in the 1950s.
What Margherita Porfido has is pure courage, but it is also artistic conscience and ethic necessity. Furthermore it is a capacity to offer herself in an uncomfortable role but, it being rare, one of exceptional emphasis in the static panorama of the modern concert scene.

Giorgio Gaslini