Nuove musiche per clavicembalo

Margherita Porfido: harpsichord

Repertoire: Gianluigi Trovesi, Carlo Franci, Grazia Salvatori, Bruno Tommaso, Eugenio Colombo, Francesco De Santis, Pino Minafra.

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

Here VolumePills in the International Festival of Urticanti in Bari (Italy) the 20th october 2009:

Minotauro (Eugenio Colombo)

Mémoire m’émoi (Michel Godard)

Schegge (Livio Minafra)

Here in Fondazione Piccinni Stagione 2010/11 at Teatro Petruzzelli/Circolo Unione with Livio Minafra:

Herbalk (Gianluigi Trovesi)


Articolo Puglia

About “Nuove musiche per Clavicembalo”:


Margherita Porfido, musicienne italienne, qui joue du clavecin, a fait appel pour cet enregistrement à des compositions qui nous sont plus familières que la sonorité du clavecin rarement utilisé il est vrai dans les musiques improvisées. Qu’importe, il serait dommage de se laisser à des préjugés qui nous empecheraient d’ouvrir grandes les oreilles.

Saluons l’interprétation de Margherita Porfido ainsi que sa volonté de vouloir renouveler le répertoire du clavecin en faisant appel à des compositeurs qui ont sans nul doute le talent d’y contribuer.


It is worth while informing jazz fans a record by Margherita Porfido, an excellent harpsichordist who, to make up for the shortage of contemporary literature designed for her ancient instrument, resolved to ask a number of musicians for specific pieces.

Trovesi, Tommaso, Colombo, Minafra and others who were not as new to this kind of job, namely Gaslini and Schiaffini. A very interesting record, therefore. And what is most surprising does not consist as much in the well known skills of the authors as in their general earnestness. All of them took the request very seriously, looking in that unusual sonority for the colours, the nuances and the right melody lines, refraining from more or less easy jazz effects. Ironically enough, perhaps the piece where the rhythm is strongest is the one provided by one of the academic composers, Carlo Franci.



Interpretazione: OTTIMA.

Un disco utile per orientarsi nel panorama della nuova musica italiana degli anni Novanta: nove profili d’autore. Il filo conduttore che li unisce è il clavicembalo di Margherita Porfido, ispiratrice e dedicataria. Un clavicembalo il suo – si badi bene – storico, una copia da Ruckers, con un manuale solo. Già in questa scelta si nota un segno di novità rispetto alla musica clavicembalistica degli anni Sessanta e Settanta. Non aspettatevi quindi i vecchi giochi coloristici, i cambi improvvisi di registro, i salti tra le tastiere, insomma quel rumore di ferraglia dei cembali moderni, perché oggi anche nei compositori più radicali accettano la purezza originaria della tastiera antica. Sono da ammirare le eccellenti doti mimetiche della nostra clavicembalista, che sa cogliere con precisione il punto essenziale di ogni compositore.