Guitare baroque & percussions - Oeuvres françaises, italiennes et espagnoles 

 

Alessandro Sensale Guitare baroque

Marco Vittoria   Percussions

 

 

PROGRAMMA

Robert De Visée  Prélude, Allemande, Courante, Sarabande ,Gigue, Gavotte, Bourrée, Menuet

Francesco Corbetta  Préludio al 5. Tuono, Chaconne

Robert De Visée  Gigue

Agelo Michele Bartolotti Preludio

Ludovico Roncalli  Courante

Santiago de Murcia Gigue di Corelli, Fandango, Tarantella

 

Gaspar Sanz  Jacaras, Cavallerie de Naples, Canarios

Alessandro Sensale

He began studying classical guitar at the age of five, graduated from the San Pietro a Majella Conservatory in Naples. During his studies with Enzo Amato, director of the association Domenico Scarlatti, he is interested in the Neapolitan repertoire of XVI and XVII sec. He moved to France, approaching the study of the baroque guitar with five orders. From there, he delves into the repertoire of authors such as De Visée, Le Coq, Roncalli, Bartolotti, Corbetta, De Murcia and Gaspar Sanz. The latter: Gaspar Sanz, deepens the study of the guitar in five parts in Naples, under the direction of Cristoforo Caresana, master of the chapel of the treasure of San Gennaro. From where he takes the inspiration for the realization of dances like the tarantella. In the program, Alessandro Sensale proposes a journey through the dances and the tunes of the repertoire of French, Spanish and Italian authors.

 

Il a commencé à étudier la guitare classique à l'âge de cinq ans, diplômé du conservatoire San Pietro a Majella à Naples. Pendant ses études avec Enzo Amato, directeur de l'association Domenico Scarlatti, il s'intéresse au répertoire napolitain du XVI et XVII sec. Il s'installe en France, approchant l'étude de la guitare baroque à cinq ordres. De là, il plonge dans le répertoire d'auteurs tels que De Visée, Le Coq, Roncalli, Bartolotti, Corbetta, De Murcia et Gaspar Sanz. Ce dernier: Gaspar Sanz, approfondit l'étude de la guitare en cinq parties à Naples, sous la direction de Cristoforo Caresana, maître de la chapelle du trésor de San Gennaro. D'où il prend l'inspiration pour la réalisation de danses comme la tarentelle. dans le programme, Alessandro Sensale propose un voyage à travers les danses et les airs du répertoire des auteurs français, espagnols et italiens .

 

Ha iniziato a studiare chitarra classica all'età di cinque anni, diplomandosi al Conservatorio di San Pietro a Majella di Napoli.

Durante gli studi col Maestro Enzo Amato, direttore dell'associazione Domenico Scarlatti, si interessa al repertorio napoletano del XVI e XVII sec.

Si è trasferito in Francia, avvicinandosi allo studio della chitarra barocca a cinque ordini.

Da lì, approfondisce il repertorio di autori come De Visée, Le Coq, Roncalli, Bartolotti, Corbetta, De Murcia e Gaspar Sanz.

Quest'ultimo: Gaspar Sanz, approfondisce lo studio della chitarra in cinque parti a Napoli, sotto la direzione di Cristoforo Caresana, maestro della cappella del tesoro di San Gennaro, ispirandosi per la realizzazione di danze come la tarantella.

 

Nel programma, Alessandro Sensale propone un viaggio attraverso le danze e le melodie del repertorio di autori francesi, spagnoli e italiani.

Marco Vittoria

Italian percussionist, Marco VITTORIA draws and nourishes his rhythmic inspiration from beyond the Atlanric Ocean, in the exotic world of Afro - Cuban and Afro - Brazilian culture, remaining faithful to the traditional sonorities of the Mediterranean basin, his first source of inspiration. In France, where he lives since 2010, he graduated in traditional percussions, at the Music Conservatory of Paris and he  initiates his approach towards antique music and to percussions in this regard.

 

Percussionniste Italien, Marco Vittoria puise son inspiration rythmique au delà de l'océan, dans le monde exotique de la culture afro-cubaine et afro-brésilienne, tout en restant attaché au sonorités traditionnelles du bassin méditerranéen, sa première source d'inspiration.

À Paris depuis 2010, diplômé du CRR en percussions traditionnels, commence son rapprochement aux musiques anciennes et à la percussion dans ce contexte.

 

Percussionista napoletano, Marco Vittoria nutre la sua ispirazione ritmica al di là  dell'oceano, nel mondo esotico della cultura afro-cubana e afro-brasiliana, restando fedele alle sonorità tradizionali del bacino del mediterraneo, sua prima fonte di ispirazione.

 

In Francia dal 2010, diplomato al conservatorio di Parigi in percussioni tradizionali, comincia il suo approccio alla musica antica e alla percussione in questo contesto.

1 Settembre

All roads lead to Naples”

 

“All road lead to Naples” is a collection of original recordings composed by Enzo Amazio (guitar), Bruno Persico (piano) and Pino Melfi (trumpet).

These three musicians, composers and interpreters of their own creations, come from different artistic experiences. Their curricula and performances describe intense and prestigious music lives .

This trio has been working together for years, introducing their works in different ensembles. This time they’ll collaborate with Enzo De Rosa (drums) and Gennaro Di Costanzo (double bass).

The name of this recording project “All roads lead to Naples” wants to dedicate each track to a typical street of Naples, as the representation of the same identity, represented with different shades and characters.  It mixes up the different natures of the authors that during the performance blend into one and feed each other, due to the same origin.

Those who live in Naples, easily understand the different inspirations caused by each street, with its own sound, its own look and its own scents.

The work of an artist is to represent all these emotions, as these authors do with their recordings.

The concert is performed showing all the streets involved with a video made by Fabrizio Casamassima.

 

"Tutte le Strade Portano a Napoli"

 

"Tutte le strade portano a Napoli" è una raccolta di brani originali, quello che un tempo si chiamava CD, di Enzo Amazio (chitarra) Bruno Persico (pianoforte), Pino Melfi (tromba)

I tre musicisti, compositori e interpreti delle proprie opere, provengono da estrazioni ed esperienze artistiche diverse.

I loro curricula e le loro performance,  facilmente reperibili sui media, raccontano una vita musicale intensa e di prestigio.

Il trio, già da alcuni anni lavora insieme, presentando le proprie opere in diverse formazioni. In questo progetto, si avvale della collaborazione di Enzo De Rosa alla Batteria e Gennaro Di Costanzo al Contrabbasso.

Il titolo del progetto discografico " Tutte le strade portano a Napoli" nasce dall'idea di dedicare tutti i brani a strade tipiche di Napoli, come a voler indicare la loro comune appartenenza pur esprimendo colore e carattere diversi.

Sintetizza  la natura diversa dei tre autori ed il loro modo di esprimersi, una musicalità che però si fonde e si alimenta a vicenda, avendo una matrice comune.

Chi vive a Napoli, comprende facilmente come le diverse strade della città o i diversi quartieri, esprimano ed inducano con i loro suoni, immagini e persino odori, emozioni ed ispirazioni diverse.

La traduzione in musica  delle emozioni, da sempre, spetta agli artisti; in questo caso autori ed interpreti di se stessi.

 

Il concerto è accompagnato dalle immagini delle strade coinvolte. Il video è stato realizzato da Fabrizio Casamassima.

 

 

 

 

 

 

Bruno Persico Curriculum Vitae

Pianist, arranger, composer and conductor.

Conservatory graduated in Piano from Conservatory of Santa Cecilia in Rome,  majored in Jazz from ANDJ of Naples and from Berkley School of Music seminaries in Perugia, majored in composition from Conservatory “Domenico Cimarosa “ in Avellino.

 He has been performing with an intense  concert activity both for Classical and Jazz music. He  performed  at the  Theater of San Carlo, at the Scarlatti Auditorium of Conservatory “San Pietro a Majella” in Naples, at the theaters: Diana, Mediterraneo and Augusteo in Naples and at the RAI Auditorium in Naples. Other locations where he performed are the Teatro Comunale (Communal Theater) in Ferrara, the  Teatro Gesualdo  in Avellino,  the  Reggia (Royal Palace) of Caserta,  the Spasimo in Palermo, the Palazzetto dei Nobili of L’Aquila, Florence, Bari, Messina and more. He also performed for these prestigious institutions: The Chamber and Symphony Orchestra of Rome, St. Martin in the Field’s (London), Universities of Naples, Salerno and Cosenza, The first University of London, Ravello Festival,  the Conservatory “Nicola Sala” in Benevento, the Nuova Orchestra Scarlatti and Napoli Jazz Fest.

He collaborated with musicians as Bruno Tommaso, Ettore Fioravanti, Alfonso Deidda, Mimmo Cafiero, Paul Jeffry, Irene Fargo, Claudio Baglioni and others.

His concerts have been broadcasted by these networks: Punto Radio Bologna, RadioRAI 3 (National Live Recording), RAI 1.

He recorded , as author and interpreter, two albums: Lady ‘900  (piano solo) and Pneuma (jazz trio).

He  signed as arranger several albums, such as All of Me, Bon Noel  and  Insieme, moreover he collaborated to many recordings and transcriptions and re-elaborated versions of recordings for youth orchestras.

He wrote several pieces, as composer, that have been performed by prestigious ensembles and symphonic orchestras, and they have been used even for Stage Shows and Video Recordings.

He collaborates, as Conductor, with the Nuova Orchestra Scarlatti.

As a Piano and Ensemble Music Teacher, he won first prices in different categories and in several competitions, such as the Premio Teatro San Carlo  for the  Big Band  composed by the High School “Margherita di Savoia” pupils, in Naples.

He taught classes and seminaries about Jazz Music for Universities of Naples, Cosenza, for the Conservatory of L’Aquila and other institutions.

He is currently working as piano teacher for the first grade school, and manages the Centro di Formazione Musicale di Napoli.

 

 

Enzo Amazio

si è diplomato presso il Conservatorio di S. Pietro a Majella a Napoli, contemporaneamente agli studi classici, si

è specializzato in chitarra jazz seguendo seminari con Jerry Bergonzi, Mike Stern, Jim Hall.

Dopo un periodo di attività concertistica (musica da camera e solistica) ha intrapreso definitivamente la strada del jazz partecipando a vari festival.

Lennie Tristano - AversaHa approfondito anche la chitarra acustica studiando la tradizione country e irlandese. Ha intrapreso un'attività turistica in sala collaborando alla produzione musicale del teatro Diana collaborando con il compianto Antonio Sorrentino.

Ha ripreso la tradizione classica, intraprendendo il repertorio barocco in Germania e al Festival di Marsiglia.

Ha lavorato con il gruppo dei Cimarosa occupandosi della composizione e degli arrangiamenti dei brani collaborando anche con James Senese e Enzo Gragnaniello e partecipando a trasmissioni nazionali come "Domenica in" e "Maurizio Costanzo".

Ha inciso il suo Primo CD come solista, "Giochi di Primavera", in Quartetto. Il Cd risulta caratterizzato da varie contaminazioni mediterranee mantenendo fede all'indispensabile tradizione Jazzistica quale il BEBOP. Il disco è reperibile anche presso l'etichetta discografica MAP Records di Milano.

 

Ha inciso il suo secondo lavoro discografico intitolato "Freeways" dedicato al grande chitarrista Jim Hall.

 

 

Pino Melfi

Si diploma in Tromba e subito dopo indirizza il proprio interesse verso il Jazz, conseguendo il Diploma in Musica Jazz e successivamente la Laurea di II livello in Discipline Musicali ad indirizzo Jazzistico, perfezionandosi contemporaneamente con Marco Sannini, Mike Applebaum e anni dopo, con Fabrizio Bosso e Marco Tamburini. 

 

Ha seguito seminari e master classes con Aldo Bassi, Joe Magnarelli, Jerry Bergonzi, Flavio Boltro, Enrico Rava e Stjepco Gut. Si dedica allo studio ed alle contaminazioni varie utilizzando sia formazioni standard che innovative.

Ha collaborato con artisti di rilievo quali Mike Applebaum, Stefano Novelli, Daniele Sepe, Emanuele Cisi, Marco Sannini, Elge Sween, Marco Zurzolo, Massimo Bartoletti, Jonathan Williams, Giulio Martino, Nico Gori, Francesco Derrico, Pino Iodice, la Dolmen Orchestra diretta da Nicola Pisani, la Big Band diretta dal M° Roberto Pregadio, Paolo Russo, Giovanni Imparato, Javier Girotto, Massimo Manzi, Paolo Fresu,  Gabriele Mirabassi, Giancarlo Schiaffini, Napoli Jazz Orchestra diretta da Mario Raia, Go-Organic Orchestra diretta da Adam Rudolph, Joe Barbieri, Raed Khoshaba, Gino Cogliandro, Peppe Barra, Enzo Decaro.

 

 

 

31 Agosto

 

RECITAL DEL PIANISTA FRANCESCO PARETI

 

PROGRAMME

 

Dedicato a Schubert

 

Franz Schubert:             

Impromptus n. 1 in do minore (Allegro molto moderato)

Impromptus n. 2 in mi bemolle maggiore (Allegro)

Sonata D959 in la maggiore

I. Allegro

II. Andantino

III. Scherzo - Allegro vivace

IV. Rondò – Allegretto

 

 

 

All the Schubert’s pieces you are going to listen this evening date back to the last period of his very short and prolific creative season.

Schubert worked on the two volumes of his Impromptus (two set of four pieces, D 899 and D 935) in the summer and autumn of 1827.

The Impromptus show Schubert at the very peak of his mastery.

The formal design of the first Impromptu, despite its incipient suggestions of sonata form, cannot be categorized and remains a miracle of its own. The principal idea is worked out rather like a Leitmotif, a “Leading” motive that appears in a succession of variants, interrupted only twice by a wonderful subsidiary theme. Equally admirable is the interruption of the predominant triplet motion in the G-minor episode and the return to the simple march rhythm in the closing measures.

In the following very famous second Impromptu the strong contrast among sections is really remarkable. Brilliant passage-work needed in the right hand leads to a trio of very contrasting character. That a cheerful, flowing piece in E-flat major should end “tragically” in E-flat minor is utterly new.

The Sonata D  959, composed in September 1828, is a lofty work that attains the highest peaks of expression. “Lofty” is indeed the term that comes to mind when we consider the powerful opening theme of the first movement. No other word can aptly describe the crystalline beauty and purity of the second subject or the “wandering into distant countries” of the development. If ever sadness was expressed in music, it was expressed in the Andantino movement, where a sorrowful melody is “sung”, in F-sharp minor and A major alternately. The middle section is one of Schubert’s boldest pages, perhaps a stark vision of horrors and destruction. After this eruption, an equally dramatic recitative leads back to the immensely sad theme in the recapitulation. After this visionary movement the Scherzo brings us “back to earth”. But in such a context it would be too simple merely to write a charming Viennese dance movement. Behind Schubert’s apparent ease there is a note of nostalgia, and a sudden descending scale in fortissimo reminds us of past horrors (it is the same C-sharp minor scale that had marked the climax of the second movement).

The Rondo finale contains one of Schubert’s most beautiful liedlike themes, evoking the joys of spring and peace. Again Schubert invites us to follow the wanderings of his soul. For a last time, in the development, the dark brooding region of C-sharp minor is reached again and surpassed. For a last time, the mistery of another world touches the music and brings it to a standstill, as in the coda of the first movement. In a sense, the last pages summarize the whole musical and spiritual experience of this magnificent work. Thus is only fitting that the very last chords recall the lofty theme with which the sonata began – from Eternity to Eternity. [1]

 

 

Francesco Pareti,

Neapolitan musician graduated in classical piano, harpsichord, chorus direction, and historical piano, cooperated for many years with S. Carlo Theater of Naples as Korrepetitor and chorus director.

He often performs in recitals and concerts, using both modern piano and historical piano. Thanks to his broad experience in operatic repertoire, he is an appreciated collaborator of singers and choirs.

He produced a version with Italian subtitles of the DVD Knowing the Score for Malcolm Bilson (Cornell University Press, 2006) and translated Sandra P. Rosenblum's treatise Performance Practices in Classic Piano Music (Lucca, LIM 2013). He wrote an essay recently published in the handbook Il Pianoforte (Torino, EDT 2018). He's professor of classical piano at S. Pietro a Majella Conservatory of Naples.

 

 

 

Franz Schubert:                    Impromptus D. 899 n. 1 in do minore (Allegro molto moderato)

                                                                                      n. 2 in mi bemolle maggiore (Allegro)

                                               Sonata D959 in la maggiore

I. Allegro

II. Andantino

III. Scherzo - Allegro vivace

IV. Rondò – Allegretto

Tra la prima e la seconda parte verrà data lettura di un breve testo liberamente tratto da “Il romanzo del pianoforte” di Dieter Hildebrandt, nella traduzione italiana di Aldo Runfola e Adriano Caiani).

con l'attrice MARIA TERESA IANNONE

 

 

CURRICULUM:

Francesco Pareti, musicista napoletano, diplomato in pianoforte, clavicembalo, direzione di coro e pianoforte storico, ha collaborato per molti anni con il Teatro S. Carlo di Napoli, quale maestro sostituto e direttore del coro. Ha realizzato per Malcolm Bilson una versione con sottotitoli in italiano del DVD Knowing the score (Cornell University Press) ed è autore di una traduzione italiana del trattato di Sandra P. Rosenblum Performance Practices in Classic Piano Music (LIM). Un suo contributo sulla storia della letteratura pianistica è stato recentemente pubblicato nel manuale Il Pianoforte (EDT).   Insegna pianoforte presso il Conservatorio di Napoli.

 

 

30 Agosto

 

mother moonlight

 

Compose by Max Fuschetto

Piano – Enzo Oliva

Electric Guitar – Pasquale Capobianco

Oboe, Electronics – Max Fuschetto

Immagini Annalisa Cervone

Video Umberto Rossi

Special guest Enzo Amato guitar

 

Danzando Nel Buio, Mother Moonlight, The Upside Down World, Soffioni, In Cerchio, Nenia Astrale, Play & Dance, Crescendo (Come Un Blues), Ting Tang (A Bela Bartok), Occhi Di Conchiglia (A John Lennon), The Hole In The Fence, The Round Trip, La Lanterna E Il Sole, Acqua E Neve, Sulla Linea, Canzone

 

Mother Moonlight is a cycle of songs dedicated to what Ravel called "the poetry of childhood". A world made of simple lines that draw the hologram of the future.

 

The privileged sound place is the piano, even if contaminated in some passages from the electronics and the timbre of the electric guitar and the strings.

 

 

Mother Moonlight stands in continuity with that piano and musical literature that has made the world of childhood a privileged place for exploring the deepest spaces of the psyche and of time: Debussy's Children's Corner, Ma Mere L'oje by Ravel, Mikrokosmos of Bartok, Musik Für Kinder Theater of Arvo Part, up to the polychrome Sgt. Pepper of the Beatles which, as Lennon later revealed, was initially born as a project dedicated to this incessant recherche linked to the places of Liverpool's childhood. .

   The concept is based on the African musical language. The pieces are conceived as modern two-part inventions in which the movement of the lines experiences independence and flexibility of time, of overlapping, of motifs.

 

 

Mother Moonlight is entrusted to the touch of Enzo Oliva, pianist with a personal and modern interpretation and Pasquale Capobianco a master guitarist.

 

 

 29 Agosto

 

MATER MEDITERRANEA

di Enzo Amato

Lirica Umberto Franchini - Musica Enzo Amato

 

Gabriella Colecchia voce

Enzo Amato chitarra

 

Programma

 

Divagazioni sull’epitaffio di Sicilo

Secreta

Cammenanno

Niente

Margarì

Ciardino

Napule accussì

Carnalità

Passiona ‘nfama

Canzone e sentimento

Onna

È asciuto ‘o sole

Passione Disperata

 

Mater Mediterranea

27 August 2018

 

 

Federico De Conno chitarra  

 

R. Dyens:  Lettre à la vieille Angletterre

D. Scarlatti: Sonata K 208/L 238/P 315

M. M. Ponce: Tema variato y final

J. K. Mertz: An Malvina

G. Regondi: Studi 1 e 5

N. Paganini: Sonata 33

C. Mazzini (1997 - ) : Notte preludiante*

J. Turina: Sonata para Guitarra op.61

                  Allegro

                  Andante

                  Allegro Vivo

 

*prima esecuzione

 

 

 JOAQUIN TURINA. Sonata op. 61

Turina was born in Sevilla in 1882. Among the Spanish composers of the last century, he is the one who paid the greatest attention to the guitar. In his compositions for this instrument, he represented the Spanish folklore, reworked with impressionistic hints and revived in an educated and deep dimension, which catches its essence.

Sonata op. 61 is one of the most representative compositions by Turina. In this Sonata in three movements he points out the essential aspects of the culture of his land: a strong lyricism, sad and thoughtful opposed to moments of whirling rhythm to represent a dense and thoughtful cheerfulness. In the first movement of the Sonata, allegro, after a brief and declaimed introduction, there is the first theme, rhythmic and vigorous, with an accompaniment in triplets. After this, the second theme is introduced, lyrical and sweet, different from the first theme. It provokes contrasting considerations. If in the first theme physicality is evident, now the spiritual element dominates, action clashes with meditation. The second movement Adagio emphasizes lyricism. The third movement is an explosion of energy, nearly an unbridled dance, as if it was the only way to impose its presence. In it there are elements which are peculiar to Spanish folklore.

 

 

DOMENICO SCARLATTI.  Sonata K.208 e K.74

A Neapolitan composer, son of Alessandro Scarlatti, born in 1685 in a family of musicians and in the city which, in that age, was the music reference in the whole world. He proved to be a talented musician very early, and like other musicians of the same country, he worked in many European cities, Rome, Venice, London, Lisbon, Sevilla and Madrid. Here he lived for more than twenty-five years as musician of the queen and later Maestro “de los Reyes”, until his death in 1757.  His contact, at first, with the Portuguese culture and, later, with the Castilian one, together with his isolation, allowed Scarlatti to reach a growth and an autonomous composing evolution which, without external contaminations, helped him to develop his unique and unmistakable art. His instrumental writing is crystal-clear and at the same time bold, and it requires a high quality performing skill and instrumental technique. To a various and inexhaustible melodic creativity, he adds the use of a new harmony and gives the harpsichord a new expressiveness. Many of the more than 500 Sonatas composed by him fit the timbrical features of the guitar, which, already at that time, had a strong presence in the Spanish culture and surely influenced the compositional sensitivity of the Parthenopean genius. It seems that Scarlatti describes, in his Sonatas, the gentle and gratifying beauty of the views of his land, where the beauty of the sea, of the bay and of nature joins the disquieting beauty of the Vesuvius. There is an alternation of great affection, felt passionateness, as the expressivity of the Sonata Adagio e cantabile in A Major K 208, and imaginative moments, almost capricious, of high virtuosity and majestic representation, as in the Sonata in A Major K 74.

 

 

M. GIULIANI. Grande Ouverture op. 61

The guitar lived its golden age at the beginning of the 19^th century. The audience was fascinated by the captivating and intimate sound of the instrument, that flourished thanks to some composer-guitarists. Among them the most relevant, for their composing and performing ability, were Giuliani and Sor.  

M. Giuliani is the most important exponent of the guitar renaissance at the beginning of the 19^th century.

The instrument with the sixth string had a wider range and a better expressive capability and Giuliani, much better than his contemporary composer-guitarists, succeeded in regenerating his instrument enriching its literature with a repertoire with a new expressivity and a virtuosic technique unknown in those time. The ideal writing model for Giuliani is the orchestra with its instruments and families, where their specific timbre conveys expressivity. The Grande Ouverture is a typical example, among the most emblematic of Giuliani’s writing. Melodic parts alternate with chordal supports, tonic and dominant basses played on the fifth and sixth strings, support virtuosic passages covering the whole fretboard and made possible by the freedom of the left hand, which must not fret bass notes. Moreover, there are new instrumental virtuosic techniques, like arpeggios, slurs, third and broken octave scales which generate the typical guitar sound. Grande Ouverture, a summary of Giuliani’s guitar writing, begins with an introduction Andante Sostenuto in A Minor, with a dramatic feeling, followed by Allegro Maestoso. Its form has two different themes, the first one is rhythmical, the second theme is more melodic, but after the exposition of the two themes the development in the classical manner is missing, something unusual in the Sonatas for guitar. But there is another section, almost introductory, in C Major (the first one was in A Minor), at the end of which there are again the two themes, following the classical structure of the Sonata. Giuliani has been a great innovator and the writing of the Grande Ouverture op. 61 represents in full the amplified and regenerated expressive and virtuosic abilities of the instrument.

 

 

J. K. MERTZ

After the golden age of the first 19^th century, about thirty years, the guitar lived a dark period in which the audience identified with the piano, the instrument that, much more than the others, represented the new musical taste. This new instrument, thanks to its wide range, its harmonic possibility and its powerful volume, offered composers a great expressive means and very soon caught the attention of the audience. Among the very few composer-guitarists who outlive the triumph of the piano, there is Johan Kaspar Mertz, the romantic par excellence of the guitar. In his music we can feel his awareness of absence, of his weakness and the hope that Art could tell it, relieving pain. The compositions in this CD are An Malvina, Abenlied and Tarantella, taken from the collection Barden - Klänge. Mertz, in the first two pieces, shows us his intimate thoughts, his feelings, his writing is clear, the evident melodic line is accompanied with arpeggios, the harmonies used in these pieces are new for the instrument, chromatism is evident, to show a deep anxiety looking for an always desired peace, sometimes perceivable but unreachable.

Tarantella, on the contrary, belongs to a group of compositions which are inspired by tunes and  

Airs from different Countries. The composer shows us the outer world, with good grace. Actually, in the piece the carefree and relieving dance where is good to be lost, is missing. There is always a nostalgic vein to express the feeling of the awareness of his own vague and fragile existence.

 

 

A. BARRIOS MANGORE’

Barrios, born in 1885 in San Juan Bautista in Paraguay, is the most important composer-guitarist of Southern America of the last century. Born in an educated family, he studied art and in particular music. Augustin, the fifth of seven children, studied guitar and composition as an autodidact. His compositions belong to the history of guitar and today they are in the repertoire of every guitarist. His compositions in this CD are La Catedral and Julia Florida. La Catedral was composed in 1920 and had two movements, Andante Religioso and Allegro Solenne. In 1938 Barrios composed the Prelude subtitled Saudade. After about a year, it was added to La Catedral by the composer as the beginning piece. Prelude Saudade and Julia Florida are two among the most inspired and interesting composition by Barrios. In La Catedral it is evident the creative ability and the instrument knowledge of the composer, who, as an autodidact, reached the top of expressiveness and instrumental virtuosity. The Prelude is the moment of meditation, the search for the divine and the awareness of one’s own spirituality, in the Andante Religioso brotherhood and sharing, which generates energy and inner power, appear clearly.  The Allegro Solenne releases the energy accumulated by the Andante Religioso with an always present virtuosity, never flaunted. In the same year, 1938, Barrios composed another one of his most inspired and interesting compositions: Julia Florida. This was a difficult period for the composer: health problems piled up with economic and conjugal difficulties and barrios found in the composition the consolation and the hope to recover his lost serenity. Barrios dedicated this piece to Julia Martinez, niece of Francisco Salazar, admirer, benefactor and friend of Barrios. In a barcarole tempo, Julia Florida expresses with simplicity and great strength the great sensitivity of the composer, the awareness of his loneliness, the implacable flowing of the time and the difficulty of living it, elements that, in any case, cannot eliminate the beauty and love of life.

 

ROLAND DYES.

The genesis of the “20 lettre”, as stated by the composer, lasted more than fifteen years. The project wanted to make accessible to the great majority of lovers and students of the instrument, music languages that usually need great technical skills. Beautiful music that would not need a virtuoso technique. An ambitious project but successful. Dyens, a great expert of the expressive and technical possibilities of the guitar, with this work, gives us 20 pieces dealing with different aspects of music using captivating harmonies and models easy to understand. Tempos are mostly slow and the technique needed for their performing is the one reached by non-professional instrument lovers. The “Lettre X” in this CD presents us a simple melody enriched by a harmony made interesting with the use of appoggiaturas, chromatic basses and alternative resolutions. Dyens, with this work, succeeded in his intent to give musicians pages of high expressive value and easy to perform.

 

De Conno Federico is a very young Samnite musician, with a high talent which, together with an interested and passionate study of the instrument and music, has taken him to a high interpretative level, from the virtuoso and expressive point of view. His deep and fluent performances come from a careful music analysis, which tends to describe the piece in its becoming, to motivate the notes’ sequence, their “story” to tell us the deep motivation of composition.

This CD is his record debut. It includes intentionally compositions of various historical periods, which highlight both singable and virtuoso features of the instrumental literature, in order to highlight his expressive ability and global interest for the repertoire.   

 

 FEDERICO DE CONNO

 was born in Benevento on August, 30^th 1997.

He has been studying for four years with Maestro Aniello Desiderio. At the age of 13 he began to study classical guitar with Maestro Mario Fragnito. Later he attended the State Conservatory of Music in Benevento, studying with Maestro Piero Viti. In November 2016 he got the first level academic diploma, graduating with honours and special mention.

He attended masterclasses with Leo Brouwer, Oscar Ghiglia, Roland Dyens, Eduard Isaac, Marco Socias, Angelo Gilardino, Stefano Aruta, Frederic Zigante, Arturo Tallini, Marcin Dylla, Adriano Del Sal, Lucio Matarazzo, Christian Saggese.

He won the first prize in many national and international competitions of classical guitar.

He plays as a soloist and in chamber music ensembles. He made his debut as a soloist with the “Orchestra da Camera di Napoli” at the Teatro Mediterraneo, Naples.

 

       About him it has been said:

“…he is no doubt among the best young guitarists. He expresses his deep music sensitivity with an impeccable technique and sound devoid of rhetoric and virtuosity an end in themselves. His inspiring muse is the same one who gave Orpheus the magic of music.”

Maestro Mario Fragnito

 

 

“…His instrumental ability and his elegant phrasing make of him a certain promise of our music landscape. I wish Federico a successful future.”

 

Maestro Gabirele Bonolis

26 August 2018

 

Domenico Scarlatti

(Napoli 1685 - Madrid 1757)

LA DIRINDINA

farsetta per musica in due parti nell'opera "Ambleto"

ensemble                                La Real Cappella di Napoli

direttore                                  Ivano Caiazza

regia                                          Filippo Zigante

 

Dirindina (soprano)                Ilaria Iaquinta

Liscione (contraltista)             Angelo Bonazzoli

Don Carissimo (baritono)       Enrico Di Geronimo

Assuntina (mezzosoprano)    Angela Fagnano

 

Maestro al cembalo                Maria Scala

Scene e costumi                     Peppe Zarbo

 

 

SYNOPSIS

 

The story, a very delicate one, is a pretext to describe the musical environment of the early eighteenth century. Don Carissimo, silly master of music, pedantic and bacchettone; his pupil Dirindina, a young singer, both ambitious and mediocre; Liscione, “emasculated singer”, skilled and unscrupulous. The plot of the work remind us of “The fashionable theater” by Benedetto Marcello, and “The impresario of Smirne” by Carlo Goldoni. While Don Carissimo gives Dirindina a lesson, Liscione arrives and tells Dirindina that in Milan they ask for an opportunity to support a very well paid part. Don Carissimo would like to accompany the girl but, following her refusal, he denies the young woman permission to go to Milan, threatening to tell everything to Dirindona, mother of the girl. Liscione, remained by little alone with Dirindina, explains how to work in Milan proving a tragic scene: the part of Didon abandoned by Enea while she was waiting a son from him. Don Carissimo comes back again and not understanding that this is a recite, takes serious reference to marriage. He suggests to Dirindina to marry Liscione, provoking the laughter of both, given the condition of Liscione.

LA DIRINDINA

 

 

Gli intrecci tra la vita teatrale e quella sociale – e per sociale intendasi anche “politica” – sono tanti e comuni ad ogni epoca.

Intrecci di tal genere hanno caratterizzato la vita e la fortuna – o meglio, “sfortuna” – di una Farsetta per musica[1] firmata, per la parte musicale, da Domenico Scarlatti, forse unico esempio di componimento buffo di questo importante e prolifico compositore.

Di tali intrecci troviamo riscontro in una lettera, datata 3 dicembre 1715, che il librettista Girolamo Gigli[2] indirizzò all’amico Antonfrancesco Marmi[3].

In questa epistola il librettista parla, molto argutamente, della somiglianza tra i personaggi della Farsetta e alcuni politici dell’epoca, che in essi si sarebbero potuti riconoscere.

La Farsetta infatti non è solo puro divertimento, descrizione di situazioni in parte comiche in parte scabrose, ma è anche e soprattutto la denuncia di un costume, di un modo non di fare, ma di “vivere” il teatro, proprio del periodo storico nel quale viene composta.

Ma non solo.

L’opera oltre che satira è anche racconto di un costume. Chi oggi la vede e l’ascolta non potrà non restare colpito, ed anche un pò sconvolto, dalla “normalità” – per l’epoca – di certe dichiarazioni di Don Carissimo circa il modo di sbarazzarsi di una gravidanza non desiderata, dichiarazioni di un cinismo che persino oggi, in un’epoca nella quale la morale comune sembra essersi profondamente mutata ed evoluta, risultano sconvolgenti ed inaccettabili.

La Farsetta quindi, in parte già bocciata dalla censura, poi riabilitata, non ebbe molta fortuna ed uscì dal cosiddetto “repertorio” per essere poi finalmente riscoperta da uno dei più rappresentativi musicologi italiani, Francesco Degrada, al quale ne va il merito in associazione con Gian Francesco Malipiero che a lui segnalò la partitura.

Componimento buffo, quindi, ma fino ad un certo punto.

Personaggi che divengono emblemi di un costume e che, sia pure col sorriso, ci inducono a riflessione, segno questo di una loro attualità che il tempo non ha scalfito.

La ricetta per il successo della cantante, che il castrato Liscione propone a Dirindina, può essere considerata ancor oggi valida: si osservino le tante produzioni televisive che rendono celebri personaggi che spesso non hanno alcun serio costrutto.

Il finale non solo non rende giustizia alla “morale”, intendendosi con tale parola il perbenismo di maniera, ma addirittura premia la spregiudicatezza dei protagonisti burlando il Don Carissimo che, dopo lo sfoggio di cinismo abortista, diventa il classico sciocco burlato dalla ragazza scaltra, in ciò anticipando il teatro rossiniano.

Musicalmente la Farsetta è un gioiello d’inventiva, che aiuta a comprendere lo spirito dell’Autore, noto per lavori seri ed impegnati, notevole per la sua inventiva e per la sua impressionante tecnica strumentale, che qui diviene anche esempio di arguta ironia, pienamente degna della grande tradizione della scuola napoletana.

Cambiano però i tempi. La "Farsetta/Intermezzo" oggi non assolve più alla sua funzione primitiva, quella cioè di riempire l’intervallo tra un atto e l’altro di un’opera seria. Occorre quindi darle una veste nuova, affinché possa essere, con leggerezza e piena comprensione, fruita dal pubblico contemporaneo. Scarlatti come da consuetudine non previde una “sinfonia” o “pezzo d’apertura”. Ma oggi il vuoto di un brano strumentale che preceda l’azione c’è e si percepisce, ed il rimedio possibile, che abbiamo ritenuto opportuno adottare, è quello di prendere un brano strumentale dello stesso Autore e collocarlo in apertura di spettacolo. Ecco quindi l’”Allegro” dalla sonata in fa maggiore[4] per cembalo che funge, in maniera stilisticamente perfettamente logica, da apertura alla commedia. Segue poi un richiamo [Prologo] – questa volta in prosa – alla commedia dell’arte dalla quale il teatro napoletano in buona parte deriva, che consente di caratterizzare il personaggio centrale, il vecchio ed ingenuo Don Carissimo, e nello stesso tempo, di vivificare l’azione creando un personaggio nuovo, quello della vispa cameriera, sulla tradizione dell’epoca. In questo caso al personaggio viene attribuito un nome tipicamente napoletano, soprattutto nel suo diminutivo: “Assuntina”. In chiusura della prima parte tre “Sonate” e la sinfonia n° 15 in si bemolle maggiore per archi e continuo, sempre dello stesso Scarlatti, forniscono l’occasione per un intervento di danza che, in tal modo, riempie il palcoscenico dando maggior compiutezza allo spettacolo. È una libertà che ci concediamo in questo rifacimento teatrale, ma è una libertà che ben si adegua allo spirito dell’epoca, che vedeva la danza, più che come elemento coreografico, come completamento mimico dell’azione. Una pantomina arricchisce lo spettacolo e, in certo qual modo, lo spiega.

L’ultimo inserto proposto in questa riedizione della “Dirindina” serve a colmare quella che – non vuol essere impertinenza questa, Dio ce ne scansi! – può sembrare una lacuna nell’opera: la mancanza di un duetto tra Dirindina e Liscione. In questo caso ci siamo dovuti rivolgere ad un Autore, Francesco Mancini[5], coevo di Scarlatti, che fu, per un certo tempo, vicemaestro della Real Cappella (primo maestro Alessandro Scarlatti). Dalla sua opera “Idaspe”, presentata a Londra nel 1710, abbiamo tratto un duetto che ben si adatta, sia per il testo che per il linguaggio musicale, all’opera scarlattiana, che in tal modo assume una forma che la rende più consona alle esigenze attuali del  teatro musicale.

 

Personaggi:

 

Dirindina               Cantatrice, sua scolara - soprano

Liscione                  Musico castrato - contraltista

Don Carissimo     Maestro di musica vecchio - basso/baryton

Dirindona             Madre di Dirindina - personaggio muto

[Assuntina]          [Serva di Don Carissimo - recitante]

[Danzatori]          

[La Scena è in Casa di Don Carissimo, in una camera con Cimbalo e libri musicali]

LA DIRINDINA

[Apparato drammaturgico]

 

Sinfonia - Allegro. Dalla Sonata in fa maggiore - N° 116 (A. Longo) per cembalo di Domenico Scarlatti.                

 

  [Prologo]

 

1)           Scena - Don Carissimo al cembalo... Don Carissimo e Assuntina, poi Dirindina.                

1a)         Scena - Non è possibile... Don Carissimo, Assuntina.                                                               

1b)         Scena - Sonata... Don Carissimo.                                                                                                

1c)         Scena - Lassa fa 'a Maronna!... Don Carissimo.                                                                    

1d)         Scena - Segue Sonata... Don Carissimo.                                                                                                                                                                                                                                                               

               Intermezzo Primo

 

2)           Rec.vo - Signora Dirindina... Don Carissimo, Dirindina.                                                                         

3)           Aria - Vò cantar... Dirindina.                                                                                                                      

4)           Rec.vo - E questo basta a me... Don Carissimo, Dirindina, Liscione.                                                    

4a)         Scena - Signurì, facite bbuono... Assuntina, Dirindina.                                                                         

5)           Aria - Sola voi?... Don Carissimo.                                                                                                

6)           Rec.vo - Sola, Signora sì,... Liscione, Don Carissimo, Dirindina.                                                                             

7)           Terzetto - Commar Dirindona,... Don Carissimo, Dirindina, Liscione.                                                 

8)           Ballo I - Orchestra.                                                                                                                                         

               Ballo II - Orchestra.                                                                                                                                        

               Ballo III - Orchestra.                                                                                                                                       

               Ballo IV - Orchestra.                                                                                                                                                                                                                                                                                   

               Intermezzo Secondo

 

9)           Rec.vo - Ma il vostro sentimento... Don Carissimo, Dirindina.                                                            

10)         Aria, Minuett - Queste vostre pupillette... Liscione.                                                                         

10a)       Scena - Quant'è bello!... Assuntina.                                                                                                          

11)         Rec.vo - Di voi mi fido... Don Carissimo, Dirindina.                                                                  

12)         Aria - A un amante quando è cotto,... Dirindina.                                                                              

12a)       Scena - E brava sta guagliola... Assuntina                                                                                                     

13)         Rec.vo - Ma che più pillotta... Liscione, Dirindina, Don Carissimo.                                                       

14)         [Duetto] - La costanza del mio core... Liscione, Dirindina.

15)         [Finale] Terzetto - Dammi la man Liscione... Don Carissimo, Liscione, Dirindina.          

  

               FONTE

 

 

Ivano Caiazza