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Andrea Amici: La Fleur Nuptiale per pianoforte

La Fleur nuptiale is a short piece for piano, a musical meditation on the beauty of the unique and unrepeatable moment of marriage, dedicated to my beloved American friends Leonardo Ciampa and Jeanette McGlamery for their wedding.

Echoes of music of the past come together in the synthesis of a language that spans musical time, suspending the atmosphere in a perpetual waiting to reach a final climax with a quote from the wedding song par excellence, the chorus from Wagner’s Lohengrin, seen as if a reflection in the water.

The piano writing tends to dilate the melodic ideas across the width of the keyboard, even hinting at a Romantic style of pianism, with a succession of episodes, linked together by some basic motivic ideas, sharing a common fundamental idea and harmonic procedures typical of the writing of the author, based on a form of free diatonism, without extreme simultaneous chromatic complications, with chord structures built from time to time on characteristic intervals.

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A.Amici: Salmo 116 per coro e pianoforte

Psalm 116 for chorus and piano by Andrea Amici was premiered on April 27, 2009, at the Lutheran Church in Naples, during the final round of the Ninth Annual Composition Contest on Sacred Texts “Musica e Cultura a Piazza dei Martiri“, sponsored by the Comunità Evangelica Luterana in Naples, Italy.

The chorus, directed by Eduardo Bochicchio, performed the works of the five finalists, and at the end of the concert the jury, consisting of Patrizio Marrone (Director of the Naples Conservatory), Carlo Galante (composer), Gaetano Panariello (composer), Daniele Spini (Artistic Director of Music and Dance, Udine Opera House), and Eduardo Bochicchio (Director of the Lutheran Choir of Naples) awarded Andrea Amici First Prize.

The work is a musical rendering of one part of the splendid text of Psalm 116, expressing hope for redemption and for the final reward. The composition goes through different atmospheres, suggested by the text whose literal and spiritual meaning is enhanced by a musical language that hearkens back to older choral forms (Madrigals, etc.). The vocalism is molded on the text, and the harmony combines tonality and modality. These various sonic textures are woven with the piano accompaniment, seeking to synthesize notes with words.

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Click to listen to the live recording of the first performance of Salmo 116, Naples (IT), April 27, 2009. Coro Luterano di Napoli, Eduardo Bochicchio (conductor)

A.Amici: Regina Coeli op.4a

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Regina Cœli for soprano, chorus, & organ (Op.4a) was composed in 1997 for a cycle of concerts organized by the composer to celebrate that year’s Easter festivities.  The original idea was to create a song of praise that expresses itself with a free, tonal harmony, which seems to circulate like the angels circulating in the celestial spheres.  The constant and static repetition of melodic phrases and rhythmic schemes depicts this “circular fixity.”

In 2008, the composer transcribed Regina Cœli for double chorus and orchestra (Op. 4b).

Recorded by Andrea Amici on Apple computer with the following virtual instruments: Vocaloid Prima, EastWest/Quantum Leap Symphonic Choirs, Schantz Organ.

A.Amici: Inno a S.Andrea

Digital recording by Andrea Amici on Apple Computer with virtual instruments (Schantz Organ, EWQL Symphonic Choirs)

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 The cover of this edition, designed by Andrea Amici, depicts St.Andrew and an ancient print of the Dome of Amalfi.

Meditazione su ”Victimae Paschali Laudes“

 Elegia su ”In Conspectu Angelorum“

Toccata su ”Dies Irae“

The Trittico Gregoriano (Gregorian Triptych) for organ was composed in 1997, on the occasion of the commemorative events, held in Amalfi in July of that year, for the 50th anniversary of the death of Antonio Tirabassi.  An important musicologist and organist, Tirabassi was born in Amalfi and later moved to Brussels, where he composed his important studies on the tactus as the basis of the interpretation of early Renaissance music. The Triptych is divided into three “panels,” each movement characterized by a different atmosphere and based on a theme taken from the Gregorian chant repertoire.  The chants are immersed in very changeable harmonic and contrapuntal atmospheres, with the intention of reviving the great patrimony of ancient Church music, expressed in a modern language and transmitted through that greatest of sacred, liturgical instruments: the organ.

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 The music on this page was recorded with the Schantz organ sampleset of First Baptist Church of Riverside, CA, on a Apple Computer system, by Andrea Amici. Thanks to Jonathan Orwig who made and donated the sampleset to the CIC.

Prayer for organ op.7 n.1
“De Profundis“

Prayer II for organ op.7 n.2
“Sub tuum praesidium confugimus“

Prayer III for organ op.7 n.3
“Veni Creator Spiritus“

The Tre Preghiere (Three Prayers) are a cycle of compositions for organ, written on the invitation of Maestro Leonardo Ciampa, who performed the first two in Austria in July of 2008 and the third in Virginia (USA) in August of 2009. 
Each preghiera is a meditation in music on a sacred Latin text, carried over to the score, and expressed in its inner meaning through allegorical figures that link musical motifs closely with parts of the text — thus rendering the contact between notes and words even more explicit.  These allegorical figures are developed over the course of the music, making the specific moods of the prayer more expressive and intense.

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Andrea Amici: Ave Maria op.2

A work for mixed chorus S.A.T.B. a cappella, on the Latin text “Ave Maria,” dedicated to the Holy Virgin Mary.

Written between May 18 and 22, 1994, it was revised in 1995 and again in 1997.

It is characterized by a formal classical architecture and an expressive use of chromatic harmony that never strays far from tonality, except in the final measures where the voice leading is characterized by a free diatonism.
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