Novecento per violino solo
Novecento per violino solo
This second solo violin album dedicated lo the twentieth century was created with the intention of bringing together faur authors who belong lo different musical currents and who have dedicated important compositions lo the violin. George Enescu (Stanca, Romania 1881- Paris 1955) was one of the most admired musical figures in the first half of the twentieth century. He was a violinist , pianist , conductor and teacher, in his school was trained the great Yehudi Menuhin was. The love far his native land is reflected in all his compositions and in particular in the Airs dans le genre roumain, faur pieces thai alternate rhapsodic, free and brilliant episodes and in which the author explores the different expressive possibilities of the instrument, with the use of portamento, embellishments and tonai nuances. Sergej Prokofiev (Soncivka, Ukraine 1891-Moscow 1953) was always very familiar with the violin having been a friend and collaborator of the legendary violinist David Oistrakh. In his Sonata far solo violin in D major op. 115 privileges in the first two movements expressive linearity, sweetness and cantability, without renouncing the dynamism thai prevails in the last movement, in which a certain falkloristic aftertaste is heard. After a Romanian violinist and one of the greatest Russian composers, the Sonata far solo violin op. 31 n. 2 by Paul Hindemith (Hanau 1895-Frankfurt 1963), the German composer who most represents the connection between the great counterpoint tradition and the avant gardes of the first half of the twentieth century. This Sonata in faur movements is very innovative in thai after a first pari with a dreamy character, il fallows a second movement thai is more introverted and complex from a harmonic point of view. The third movement is all pizzicato and introduces the last pari, five variations on the theme of Mozart Komm, lieber Mai. The novelty of this last piece consists in choosing a simple theme taken from the classica! repertoire, appropriating il and building variations in which the polytonal style of Hindemith blends with thai of Mozart, juxtaposing the Avant-garde lo the Viennese Classicism. Elogio per un'ombra by Goffredo Petrassi (Zagarolo 1904-Rome 2003) is the most complex piece of the disc. Dedicated lo the memory of Alfredo Casella Elogio is presented fallowing the revision of the violinist Georg Méinch, who was unsurpassed interpreter of this piece. Il is a very difficult composition lo perform far the technical background required, far the harmonic difficulty and the speed of the passages. Far listening il can be useful lo imagine these sensations, loneliness, pain, the desire lo escape from something, confusion, reflection and finally peace. Elogio per un'ombra has great musical depth and is one of the most beautiful gems of one of the greatest ltalian composers of the twentieth century.
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.