piano solo repertoire 2019
Bird songs, absurd mechanisms and hallucinations in the contemporary piano repertoire
(duration 65 min.)
The program Imaginary Landscapes is a circular journey through the hallucinated landscapes of contemporary musical creativity. Nocturnal connects to magical, auroras occasionally emerge from the darkness and the organized daylight mechanisms leave space for contorted and unpredictable nocturnal mechanisms. Nature manifests itself in echoes of bird songs and bucolic landscapes. Spaces overlap creating congestions of different images and the dances become delirious and obsessive.
The program opens with three excerpts from Makrokosmos I -Twelve Fantasy-Pieces after the Zodiac(1972) by George Crumb. The bucolic and debussyan Pastorale (from the Kingdom of Atlantis, ca. 10,000 B.C.), the enigmatic Crucifixus and theluminous mechanism of The Magic Circle of Infinity (Moto Perpetuo). The Nigh's Music, from the suite Out of doors (1926)by Bela Bartók follows whit his overlapping of sounds of nature (birds, cicadas, and frogs) a chorale and a folk tune. From the same geographical region, and from the same roots of Bartók comes the Romanian composer Doina Rotaru, she is present in this program with the piano piece Samaya (2005), the title is a combination of three words from the Indian philosophy: sama (quiet, meditation), maya (illusion) and samaya (immutable time, obsession of rhythmical pulsations). At the end of the first part of the program the Études après la Salomé(2019) by Benedetto Boccuzzi resultant from the stage music written for the Salomè by Oscar Wilde. These are both studies of sound architecture, juxtaposition of musical gestures and tonal colours textures, and studies of piano technique in homage to those of Debussy and Ligeti.
The second part of the recital opens with three Italian composers. The first is Salvatore Sciarrino with his Due Notturni Crudeli(2001) where the rhythmic obsession, modification of tone texture, and dynamic power are explored. We then move on to three of Ivan Fedele's Études Boréales(1990), three microcosms where luminous resonances reverberate in the different registers of the instrument. The Italian group closes with Invenzioni del Margine(2014) by Federico Gardella in which the insurmountable edges of the keyboard are reinvented continuously starting from the natural evolution of micro-cells generating. We then move on to György Ligeti's Piano Études, written between 1985 and 2001 that are one of the most significant contemporary piano works. The triptych that is presented is formed by Cordes à videwhich is an essay on the post-chopinian piano colours, Fémin which two bartokian rhythms patterns of different length proceed independent between the right hand and the left hand, and the delightful En Suspens where two sound worlds meet at the same time without interacting. The program closes (circularly) back to George Crumb with three excerpts from Makrokosmos II -Twelve Fantasy-Pieces after the Zodiac(1972). The crystalline and aquatic Rain-Death, Twin Suns (Doppelgänger aus der Ewigkeit) in which two sections mirror each other and the powerful and catastrophicTora! Tora! Tora! (Cadenza Apocalittica) that closes the entire program.
Music by Robert Schumann, Jörg Widmann and Claude Debussy
(duration 65 min.)
Fantastic Scenes Program is divided into two parts. In the first part, the Widmann/Schumann project is presented, in which Robert Schumann's Waldszenen are in dialogue with five of the Eleven Humoresques(2007) by Jörg Widmann. A spring journey in an enchanted forest, hallucinations, frenzy, elves and magical plants, fresh plains and dark presages, hunting songs and lullabies. Waldszenen by Robert Schumann is a liederistic cycle without a singer, a journey on the border between two realities: the real world and the enchanted one. The wanderer has thrown a furtive glance into a reality that is not his own, he came into contact with the fantasy world and now everything has acquired a new meaning. Jörg Widmann's music amplifies the hallucination, the perturbing and the clumsy, making the whole program multidimensional and evocative.
In the second part is offered to the public a look at another enchanted world, that of the French composer Claude Debussy with the second book of Images and three preludes from the second book of Prèludes. Debussy's music is ethereal, aquatic and fantastic in its evocation of nature and antiquity. An abstract music that generates a kaleidoscope of sensorial perceptions. At the end of the recital we return to Jörg Widmann with an excerpt from Zirkustänze(2012) (Circus Dances). A few minutes of pure irony between small waltzes, marches and childhood tunes in which the themes are dissected and reorganized in a cubist way, emerging and intertwining in general euphoria.
Preludes, sonatas and dances
Music by Johann Sebastian Bach, Domenico Scarlatti, Franz Joseph Haydn, Frédéric Chopin, Dmitri Shostakovich, Erik Satie e Jörg Widmann
(duration 60 min.)
The program Preludes, Sonatas and Dances is a tribute to the pulsating and vital rhythm of music, to music as gesture, to gesture as dance and to dance as rhythm. At the opening the bright Italian Concerto BWV 971 by Johann Sebastian Bach with his Andante in D minor set between two rapid movements in F major. Following a Sonata in C major by Domenico Scarlatti full of elegant harmonies and unexpected keyboard techniques, and then returning to the pulsating and dynamic rhythm of a Sonata in D major by Franz Joseph Haydn that closes the first half of the program. The second half of the program is dedicated to the dance, opens with four nostalgic Mazurkas of a young Frédéric Chopin, then moves on to four Preludes from op. 34 of Dmitri Shostakovich where, in the Prelude n. 14 in E-flat minor we reach the dramatic climax of the entire recital. This is followed by two short dance cycles by the French composer Erik Satie, the seven small dances written as interludes for the surreal theatrical piece Le Piège de Méduseand the Trois Valses distinguées du précieux dégouté, triptych behind which it is most likely hiding the caricature of Maurice Ravel. At the end of the recital we return to Jörg Widmann with an excerpt from Zirkustänze(2012) (Circus Dances). A few minutes of pure irony between small waltzes, marches and childhood tunes in which the themes are dissected and reorganized in a cubist way, emerging and intertwining in general euphoria.