Before he began writing music as a mature composer, Osvaldo Coluccino (b. 1963) was a literary artist. Although he had studied composition and classical guitar, had performed in concert halls in his teens and had begun to compose in 1979, from the end of the 1980s to the early 2000s Coluccino was mainly engaged in writing: poetry, drama and prose. Poetry in particular demands an ear for words as sonorous objects as well as a grasp of language as potentially an instrument of condensed meaning—of saying much with little. And while Coluccino may consider his work with poetry and with composition to occupy two separate and largely unconnected spheres, it does seem that both of those qualities of poetry—sonority and economy of expression—carry over into his compositions.
This is especially true of Interni, a 2017-2018 series of five solo compositions for various flutes and one for flute and electronics. As he did with earlier works, like the Emblema series for small chamber ensembles and Atto, which was composed for objects rather than musical instruments, Coluccino with Interni makes music focused on the quiet details of sound production and color.
From the opening notes of Primo interno for C flute, Coluccino’s sensibility reveals itself. In as pure an example of klangfarbenmelodie as one could want, Coluccino calls for each of the first four notes—all of them a G—to be played with different extended techniques, yielding a melody consisting of a sequence of changing timbres over constant pitch. As with the first Interno, so with the rest: the entire series stands as a kind of encyclopedia of extended flute techniques. These include key clicks, whistles, palate snaps, tongue rams, air pizzicato, multiphonics, harmonics and more. Coluccino draws attention to the specific characteristics of his sonorities by separating them with palpable rests; these islands of sound then function as brief meditations on sound in its qualitative dimension.
Interno sesto for contrabass flute, bass flute and electronics maintains the consistency of the preceding Interni by couching complex timbres at relatively low dynamics. The electronics serve as a kind of background curtain of undefined noise and a screen on which the flutes can project their sounds.
This music requires a technically advanced performer with an ear attuned to nuance; Coluccino is thus fortunate to have these fine works realized by the Italian flute virtuoso Roberto Fabbriciani.