L' arte dell' arco - Il trillo del diavolo
L' arte dell' arco - Il trillo del diavolo
Proposing a cd for solo violin is an opportunity to present this instrument in ali its technical possibilities and contemplate it not only in the monodie dimension, but also in the polyphonic one. The first among the great composers to realize what the violin could offer was Bach, who in his 3 Sonatas and Partitasforsolo violin gave us an imperishable monument to polyphony, in which the voice ofthe violin, among the instruments dosest to the human timbre, runs between the subjects of the fugues, is rounded in chords without losing the grace typical of dance. In this disc the third Andante movement is proposed In this cd the third movement Andante of the Sonata n. 2 in A minor BWV1003, a quiet oasisin Cmajor within a dramatic, tonnented and complex composition. Listening to this piece you bave the sensation of crossing the nave of a Gothic cathedral, in which the faithful in prayer are represented by the melody exposed to the soprano and the columns bythe accompaniment ofregular and intense eighth notes, which in moments of greatest ten- sion comes to understand foursounds. Contemporary of Bach, but different in formation and compositional mentality is Pietro Anto- nio Locatelli, to whom we owe one ofthe most decisive steps towards virtuosity. In his Arte del violino, a collection of 12 concertos for solo violin,strings and continuo,Locatellireachesconsiderablelevelsofdifficultyand inthe final concerto in D major, at the beginning ofthe first movement there is a Cadenza for solo violin characterized by a ostinato bowstroke on three and four strings, in which the theme is exposed in the various registers of the instrument. The brilliance of this extract aver time has made it a piece in its own right, called the Harmonic Labyrinth, used by violinists as an unscheduled one at the end of a concert. In this CD it is presented in the nineteenth-century transcription by Ferdinand David. By many Locatelli is considered the precursor of the king of the violin in the nineteenth century, Paganini. Famous for the transcendental 24 Caprices for solo violin,for the 6 Concerts for violin and orchestra,for the Palpiti and the Witches. nineteenth century starting from the choice of a theme by Paisiello. In addition to the cantability, there are notable virtuosic innovations such as the presence, during the theme, of pizzicati with the left band as an accompaniment, tremolos with the left band, double harmonics alternating with pizzicato, chords, passages on the fourth string. up to the over whelming ricochet of the last variation and the Coda. Celebrated as one of the greatest virtuosos ofthe early twentieth century, Fritz Kreisler stood out for hisskill as a composer, arranger and transcriber. He favored dances, lively pieces and decadent melodies always characterized by a refined piano accompaniment
Recitativo und Scherzo-Capriceis one of the fewworks for solo violin by Kreisler that in the Introduction chooses a dark timbre to present an introverted atmosphere that contrasts with the lively and virtuosic Scherzo in which ali the characteristics of Kreisler's violinism are present, the repeated and rebounded chords, dassicalsystem progressions and an impactful ending. After the dissolution of tonality and the advent of musical Expressionism, the violin continued to have a leading role in the inspiration of composers who, thanks to the technical achievements of a centuries old tradition, could express them selves with a wide range of effects,timbres and dynamics. Bruno Maderna dedicated Pièce pour Ivry to the great Israeli violinist Ivry Gitlis; listening to this piece it seems that the composer wants to capture the listen er in a meditation where the interpreter has the role of mediator. The dynamic indications are maniacally precise, the value sof the notes must be respected with absolute care, the contrasts required of the instrument must be interpreted decisively; where the dissonances seem to bave the upper band, a calm melody follows. Characterized by moments of great technical commitment for the perfonner, the Pièce stands out among the compositions for solo violin of the second half ofthe twentieth century for its originality, style and lyricism; to underline the correspondence between the initial dissonant double shorts and the final double hannonics, as if the piece opened with a sigh and ended with another more suffused sigh.The disc concludes with Frame IV by Raffaele Cacciola taken from the work ofColumbus'sshoe. In this technically and musically difficult sequence Cacciola is inspired by Petrassi's violin compositions, using dear engravings, recurring intervals and many double strings. The piece is divided into four parts, a violent incipit isfollowed by a lighter episode with almost seam lessfast notes; after a lyrical in- terlude in which a certain loneliness is expressed, the piece ends with a fiery and brilliant Coda again.
Started studying violin at a very young age, graduating from the Conservatorio “Morlacchi” in Perugia under the guidance of Ge org Mönch. He continued his education at the Ac cademia di Santa Cecilia in Rome, obtaining the high-level diploma in violin with Sonig Tchake rian and in chamber music with Rocco Filippini; he also perfected his studies with Carlo Maria Parazzoli, Pier Narciso Masi, Pierre Amoyal, Giu liano Carmignola and the Trieste Trio. As a soloist and in violin and piano duo he performed at the Chigi Saracini Hall in Siena, the Revoltella Museum in Trieste, the Kleines Studio in Salzburg, the Église des Gésuites in Sion, the Waikato Museum in Hamilton (New Zealand), for the Ita lian Cultural Institutes of Vienna, Sydney, Hong Kong. With the Orquestra Sinfónica del Estado de México he played the Concerto for Violin and Or chestra n. 2 by Béla Bartók directed by the Master Enrique Bátiz Campbell and with the Vratza State Philharmonic the Concerto in D major op. 61 of Beethoven directed by Gabriele Pezone. He regularly collaborates with the Concerto Barocco Chamber Orchestra of Rome, with whom he performs Vivaldi’s Four Seasons as a soloist. Parallel to his activity as a musician he obtained a three-year degree in Art, Music and Entertain ment and a master’s degree in Modern Philology. He holds a PhD in musicology at the University of Pavia, regularly publishes essays and articles in specialized magazines such as Studi Musicali. He currently collaborates with the Tartini Study Center for the publication of Giuseppe Tartini’s Opera Omnia.