PRESS MUSIC - Mendelssohn, happy soul of Romanticism - the Concert Hall
Antonio Martinelli
not often give that same concert appear in three different chamber ensembles.
Yet this was the case Sunday, November 9, also when the Municipal Theatre opened its season with the first of the "Concerti Aperitivo" dedicated to Felix Mendelssohn-Bartholdy - key composer of the Romantic era - the bicentenary of his birth.
As in past cycles, even in this initial round crown to the other musicians were celebrating: Brahms, which embodies this period, the overcoming of this most "naive" and feverish, but at the same time it anticipates the fatal resolution; with him, that Webern incipient twentieth century is a fixed point along the evolutionary line of modern musical language, the crisis in the twelve-tone tonality, and beyond. The program was well illustrated consequentiality that path - and made it more noticeable to the listeners - if the sequence of songs he had planned traced the chronology, in fact overturned.
The afternoon was so open with the "Langsamer Satz (Slow Time, 1903) by Webern, Brahms clear imprint page, but which are reflected echoes of the beloved Mahler, and even Richard Strauss. He's had the clear impression listening to the clear, balanced reading of the excellent New Italian Quartet: Alexander Simoncini first violin, second violin, Luigi Mazza, Demetrio Comuzzi viola, cello Luca Simoncini. Then, working backward, the proposed layout of the most sustained work of Brahms, finalized after two decades (1855-75) of relentless, tormenting thoughts. Score much discussed at the time, because its design is too dissimilar from the classical patterns and romantic, with its transparent autobiographical content (the ambiguous, unresolved relationship with Clara Schumann) obeyed primate instances personal expression. But the breath of self-indulgence that breathes it is also enlivening the appeal to the youthful exuberance of the tumultuous encounter with fatigue wisdom of maturity.
To make the difficult beauty of the 'Op 60 "were named artists of merit: Stefano Pagliani, persuasive violin from the intense, varied phrasing, Demetrio Comuzzi that with the color of burnished his throbbing purple made the most weary gloom, Luca Simoncini that the bent cello in the mood for a moving song, and finally, copy the figure as a performer, Charles Guaitoli was the authoritative dialogue that gives the driver dynamic and expressive richness. Implementation of a participatory and engaging way, and yet seemed to sedimentation romantic moments we remember some more than others capturing: the vehemence of the Scherzo, a sort of wild ride from the Nordic ballad, and work with many contrasts, the melancholy dell'Andante purity, with that 'love' of the cello melody.
The second part of the concert, addressing the theme of celebration, it was reserved for a singular work, and totally lacking in evidence in the past: the 'Octet in Bb. Maj., Op. 20 "of Mendelssohn's just sixteen, but already able to provide a first - and so new - the rate of true maturity. Written for double quartet, and complex polyphonic structure, the score is the equally unusual organism as a whole, and not as the sum of two entities that correspond to and meet, and indeed sometimes expected to write eight shares real well individualized. After listening to what never ceases to amaze is the consummate skill with which the composer manages to give a teenage character in a symphonic architecture of small size through the brilliant plot of the parties and the contrapuntal play. Responsible for the remarkable agreement that the two well-coordinated complexes assembled for the occasion: even the New Italian Quartet, joined by all Pagliani led by Stephen, who mustered Bellu violin Gabriel, Duccio Beluffi viola, cello Beatrice Pomarico. The execution, provided a good level, reached its apex in the Scherzo, page of brilliant, amazing invention: a palette of timbres capriciousness, a sort of whispering thick and light, where the rapidity becomes poetry. Convinced
consents have welcomed the work of Meldelssohn, but not less agreement thunderous applause and went to the music of the first part and their talented performers.
by Informa LOMELLINA
"thunderous applause
have witnessed the tremendous success during the evening of Saturday
Auditorium on the stage where there were the" New Italian Quartet "and the Pianist Marco Vincenzi.
It could not be otherwise given that the City Auditorium stage Mortara was one of the greatest string quartets in the world, "New Italian quartet.
And certainly the talk last Friday by Paul Zeccara, musicologist vigevanese
one of the largest collectors and Italian record, helped prepare you to listen to informed and allow a better appreciation of the concert on Saturday. It's meetings before the concerts started from this event will continue, making a great service to music. "It 's been a triumph for the concert on Saturday - said
happy Alessandro Marangoni, artistic director of the Auditorium - the people were happy, one can argue with the facts that
chamber music proves to be the kind that like most about all the others to our audience. Certainly we will continue with other events of this type. Over 10 minutes of applause
eventually led to the musicians, in addition to the already demanding program with two great pieces of Schumann Dnorak or to grant a great effect: the 'Scherzo' from the Quintet of Brahms. Another score to great effect which was much appreciated by the public. " This success, however, not unexpected since the forces involved high quality of the musicians on stage and carefully chosen music for the evening ...."
Giorgio Giuliani
FESTIVAL TORRECHIARA "Renata Tebaldi"
NEW ITALIAN QUARTET
Acclaim TORRECHIARA
.... The musicians of the New Italian Quartet are well known interpret the various spirits and characteristics of compositions, so different, providing great balance of performance, full of colors and shades, in a refined musical dialogue
very responsive to the words of Berio, who was ideally to resume and complete
the exhilarating monologue offered last week by the violinist Sergei Krylov. A
executive excellence which, in addition to the indisputable quality of technical and interpretive
artists, have contributed significantly to the perfect harmony and understanding that only the habit of playing together can give
, customary in the case of the musicians of the New Italian Quartet is renewed successfully
For over twenty years .....