Angelo Sormani, Federico Agnello, Flavio Bar, Francesco Speranza

Basic Series 10

Seagull Flying
is inspired by the emblematic figure of the flight of seagulls and, in particular, by the short novel Jonathan Livingston Seagull, a best seller of the seventies with a moral and spiritual content, which tells the story of Jonathan Seagull who learns to fly and live through sacrifice and joy. The initial theme, almost fluctuating, is entrusted to flutes and alto saxophones and describes the words,'... the flight of the seagulls is released in the silence of the morning sky ... and paints the sky with the feathers and the irregular art of white wings ...' Then follows a marked and determined movement (Animato), which highlights the will and desire of Jonathan Seagull to learn to fly in an increasingly perfect and precise way that will lead him in a short time to perform incredible stunts. A short development in the central part leads to the conclusion of the piece where the initial theme is repeated and emphasized several times as if to underline the free and fluctuating style that characterizes the flight of the seagull.
Old Legend
An old medieval legend says: Once upon a time there was a dragon named Ferolock that lived in Italy on a very high mountain. It did not like living in the mountains and therefore sometimes it went to the city of Terni. The citizens, tired of these continuous encounters with the dragon, went to the king to discuss this matter. The king hired two knights, the first was named Jack and the second Dazor, and promised them that whoever managed to defeat the dragon would ascend the throne after his death. The knights decided not to face the dragon immediately, but to wait until he returned to the city. A couple of months passed, and the dragon finally showed up the two knights did not miss such a favorable opportunity and immediately rushed to the scene to begin the battle against the dragon. They knew that the weak spot of the dragon was the neck and, drawing their swords, they immediately pointed there one from the right and the other from the left. The dragon, who was ready for the attack, rose in flight and the two knights, no longer with the dragon in the middle, pierced themselves with their swords dying on the spot. The dragon, seeing the bodies of the two dead knights, felt compassion, and decided not to attack the city anymore, becoming the symbol of Terni.
Aeolus
Wind gusts chase each other, the hissing and rustling of leaves alternate to announce Aeolus, the god of winds. His majesty is solemn and decisive as a brass fanfare announces the thunder of his voice. But, as if by magic, the gusting slows down, and the threatening and feared wind turns into a sinuous and delicate breeze that caresses the foliage of the trees. But the power of the god of Olympus soon reappears with swirling melodies that are intertwined in a new canon, to the point of determining, with absolute arrogance, the magnificence of his mythical breath.
Young life
This work for youth band immediately arouses a disposition to listening due to its simplicity of writing. Its delicacy and its sweetness, which caress the ear and penetrate the heart, catch the listener's attention. The composition's main structure with its smooth harmonization features an imposing beginning followed by a very linear and joyful musical writing, which produces in the listener happiness and positive feelings. itself, Young Life, tells us about the author's desire to convey the sense of positivity and openness to the novelty and emotion typical of young people. Music arouses emotions and moods that reach the mind and go straight to the heart and involve the listener. The epic themes of this work will bring the young musician closer to a fantastic and enchanted world. Despite its simplicity, the composition offers interesting melodic ideas, which will improve the youth band's ability and pleasantly surprise the listener.