Composer - Lardelli, Dylan

Between Strings, for piano trio and guzheng (NZTrio Commission 2013) – 10′

Shells, for piano trio and guzheng (2016) – 5′

Dylan Lardelli was born in Wellington and holds a Bachelor’s degree in Guitar Performance and a Master’s degree in Composition from Victoria University of Wellington. He has studied with Stefano Bellon in Venice and, from 2009-2010, held a DAAD stipend to work with Dieter Mack at the Lübeck Musikhochschule in Germany.

Dylan has been the recipient of many scholarships and awards and won first place with his piece, Four Fragments, in the Asian Composers League Young Composers’ Competition in Tokyo in 2003. Among the musicians to commission and perform his works are Yuji Takahashi, Mark Menzies, Lucas Vis, the Cygnus Ensemble, the New Zealand Symphony Orchestra, and members of Ensemble Modern and Musik Fabrik respectively. As a guitarist, Lardelli has performed with the New Zealand Symphony Orchestra, Stroma, 175 East, and also in Korea, Thailand, and Germany. He has recorded numerous New Zealand compositions.

 

Between Strings presents a musical world of shifting intimacy and distance. The intrinsic differences and similarities between each voice of the ensemble is explored and placed in simultaneous proximity.

The piece wavers between disparate states of harmonicity, activity and resonance of strings; and a casting of shared physicality, precise energy, and common harmonic language. The work occupies harmonic spaces between traditional tuning, provided by the inherent flexibility possessed by each of the string instruments.

Often verging on liminal edges of noise and silence, Between Strings displays the combined efforts of intimate chamber music-making, and music-making with musicians from differing traditions.

Between Strings was commissioned by NZTrio with funding from Creative New Zealand.

Lardelli Note by Joy Aberdein © 2013

 

Of Shells, Dylan writes: ‘Shells presents a performance world where the gestures and actions of the musicians have largely been emptied of sound content. This produces an intentional distant sound world, where the semblance of musical shapes wash between stronger block-like interruptions.’

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