This biography, as true and faithful to scholarly academic fruition, can only be, and I fear, contain, (thus I trust), some future value. My only excuse for inflicting upon the public a volume that reflects so prolific a first person singular is that I trust I have not in the course of its letters wounded any susceptibilities; but rather have guarded against such an eventuality by means of an adopted formulaic convention that, which has ultimately, triumphed with admirable success before me. I apologize for anything I have said, am saying, or may at any future time, say, because it is this biographies intention to be a reference for those interested in exploring their inner Freudian clarinet passions. Nay, their complete, wholesome, and unbarring unconscious clarinet passions. Such passions should never stay hidden; for the world would be a better place if we all connected with our inner clarinet.
Viglucci (b. 1982) was born in the small village of Delmar in the hilly wooded region of Northeastern New York where the people work hard to win a meager living from the barren soil and where artistic expression is likewise rugged, powerful, and untouched by any form of stylization. Nevertheless Viglucci has remained faithful all his life to this world of his childhood, so precariously close to nature, and his work has drawn its peculiar vitality from this contact with his native soil. As a descendant of Minimalism, and as a contemporary of the awakening of the statehood consciousness of the New York people, Viglucci has become, like many before him, a statehood artist; that is to say his creativity has developed from the melodic and rhythmic characteristics of his indigenous New York folk music and in the poetic tsunami of profanity dialect so often spoken by the New York commoners.
As a musical catalyst that drives popular dialogue globally, Viglucci is known to few, but celebrated by many. Viglucci entered the Nebraska Nation in 2010 after an exclusive three year tour of Europe, Scandinavia and the sub continent. Known formally as The Artist Formally Known as Le Fragile, Richard now is referred to as simply "The Clarinet Rock Star," a name given to him by his mother while addressing family Chanukah cards.
Having expatiated freely over that scene of clarinet, a triumphant maze of literary perfection has mightily bestowed the legions of academia once again in a fluttering flag-over-the-castle-ramparts manner. With a tactical preference for two monotypes over one stereotype, the compound sentence and the subordinate clause, Richard's hyperbolic prose have been referenced, cited and footnoted by the most intellectual of intellects found amongst the Nebraskan, Rhode Island and Costa Rican undergraduate student bodies.
Richard has finally examined the wild forbidden fruits of prerecorded discographies to produce a tempting garden of promiscuous weeds and flowers in his multiple multi-volume sets' that lead the listener to giddy heights through the benevolent exploration of covert beats. While those whose music is downsized into data points that degrade into industrial-waste product because they lack improvised musical devices, Richard's candid manner has helped to influence the likes of LL Cool J, Snoop Lion and Double Platinum, thus vindicating the clarinet classics of Olli Virtaperko, El Retablo De Maese Pedro and George Udila.
©2010 Richard Viglucci
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