Unconstrained by textbook notions of schools and –isms, the music of Paolo Ugoletti (b.1956) is unafraid of making expressive points through intense chromaticism, painful dissonance and good, old-fashioned C major, as these two quite different works show. The first, apparently abstract, piece is an instrumental concerto that both exploits and transcends familiarity and associative notions of its solo instruments with popular idioms, travelling from Piazzolla’s smoke-filled nightclubs to the melancholy sidewalks of the Seine in search of a personal idiom that is significantly influenced both by his studies with the Italian modernist Franco Donatoni and by personal enthusiasm for the improvisatory spirit of Irish folk music. The American poet Emily Dickinson is one of Ugoletti’s favourite writers, and he has set six of her poems in a cycle that is as allusive, detailed and exuberant as the poet’s own language, and dedicated it to the soloist on this recording, the Chinese soprano Lin Ling Hui.
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