Daniele Ghisi Stradivarius Pròxima, per soprano e ensemble (2011-2012) iCi (in ècho), per elettronica (2010) aborad, per soprano, ensemble ed elettronica...
By Marta Ceron
Data / Ora
Date(s) - 08/05/2018
György Kurtág (1926)
1) from Játékok, for piano
…eine Blume für Ulrike Schuster…
Claudia – Litaneien …
Hommage à Georg Kröll
2) from Signs, Games and Messages
Schatten, for cello and piano
3) Three pieces op. 14e, for violin and piano
4) from Signs, Games and Messages
Az hit…, for cello
5) from Játékok, for piano
(quiet talk with the devil)
In dark days – for Ferenc Farkas
6) from Signs, Games and Messages
Hommage á Cage, for violin
Doloroso, for violin
Calmo sognando, for violin
7) Varga Bálint Ligaturája, for violin, cello and piano
Claude Debussy (1862–1918)
Ariettes oubliées, for voice and piano
Il pleure dans mon coeur
L’ombre des arbres
Chevaux de bois
Aquarelles – Green
Aquarelles II – Spleen
Zeno Baldi (1988)
In punta, for flute, clarinet, violin, cello and piano
Peter Maxwell Davies (1934–2016)
Eight Songs for a Mad King, for baritone and small ensemble
Sandro Gorli – conductor
Barbara Massaro – soprano (Debussy)
Maurizio Leoni – baritone (Maxwell-Davies)
Lorenzo Missaglia – flute
Maurizio Longoni – clarinet
Maria Grazia Bellocchio – piano
Elio Marchesini – percussion
Lorenzo Gorli – violin
Martina Rudić – violoncello
The concert opens with an homage to Claude Debussy in the centennial of his death. The young soprano Barbara Massaro, accompanied by pianist Maria Grazia Bellocchio, interprets one of the most fascinating compositions of the French composer, the Ariette oubliées for voice and piano with texts from Paul Verlaine, written between 1885 and 1887 and revised in 1903.
A violin, a cello, and a piano, in a duet or a trio, conclude the first part of the concert, which anthologizes the more brief works of György Kurtág (1926), played through without stopping.
In the second part of the concert, the ensemble will present to the public of Società del Quartetto a new piece written by Zeno Baldi (Verona, 1988) and commissioned for this concert by Divertimento Ensemble, Opus XXI and the Ulysses Network. Despite Baldi’s young age, Divertimento Ensemble has five of his compositions in its repertoire, and will release a monographic CD of his works in 2018 with the Stradivarius label.
The concert concludes with a famous composition by Sir Peter Maxwell Davies (1934-2016), Eight Songs for a Mad King, written in 1969, inspired by both the senile madness of King George III, as well as a music box, which still exists and belongs to Sir Stephen Runciman. The music box is said to have been used by the King, who would use it to pretend to teach birds in the park to sing. It is a monodrama of about 30 minutes from a libretto by Randolf Stow, and based on George III himself, written for the South African singer Roy Hart, a baritone with an enormous vocal range (more than 5 octaves); as a result, a performance which could rarely be followed. During the performance, the King converses with the instruments, which sometimes embody his hallucinations.
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