Thursday 3 September 9 p.m.

Città di Castello, San Domenico Church

Jörg Demus piano

Joseph Haydn, Andante con variazioni in F minor Hob. XVII: 6 Un piccolo divertimento
Wolfgang Amadeus Mozart, Sonata in A major n. 11 K331 Türkischer Marsch
Ludwig van Beethoven, Sonata in A flat major n. 31 op. 110
Alban Berg, Sonata in B minor op. 1
Franz Schubert, 4 Impromptus op. 90 D899

Jӧrg Demus needs no introduction. His name is written in the books of the history of music as the legendary Austrian pianist who, with Friedrich Gulda and Paul Badura-Skoda, formed the so-called ‘Viennese troika’. In his long career he was often beside Karajan in the role of soloist and still today continues his concert and teaching activities throughout the world.
He presents a programme containing examples of Viennese classicism alongside nineteenth century avant-garde. Included are masterpieces by Haydn, Mozart, Schubert and Beethoven, the so-called first Vienna school; alongside the Sonata op. 1 by Alban Berg, the Austrian’s only work for this instrument, composed between 1907 and 1908 and which is considered the first work for pianoforte of the second Vienna school. It is in sonata form but is structured in one sole movement, at the suggestion also of Schonberg who, in response to Berg’s doubts, remarked ‘There is nothing else to say.’


Friday 4 September 6 p.m and 9 p.m.

Città di Castello, Alberto Burri Museum – Ex Seccatoi del Tabacco, “I grandi neri” Hall


Ballo 1915_ omaggio a Alberto Burri (1915-1995)
Coreography by Virgilio Sieni

Original music performed by Roberto Cecchetto

In collaboration with and performed by Jari Boldrini, Ramona Caia, Claudia Caldarano, Maurizio Giunti, Davide Valrosso

Lights Mattia Bagnoli

Set design Lorenzo Pazzagli

Compagnia Virgilio Sieni

Produced by Festival delle Nazioni, Compagnia Virgilio Sieni

Compagnia Virgilio Sieni is supported by Ministero dei beni e delle attività culturali e del turismo, Regione Toscana and Comune di Firenze


“Travelling through the infinite variations of black conducts the body in the exploration of suspension by means of gravity in a continuous process aimed at modifying equilibrium. raising, holding up, resisting falling, descending, distributing energy, transmitting force, moderating speed, sustaining another. In other words, co-existing.’ With these words Virgilio Sieni describes the meaning of his new creation, inspired by Alberto Burri’s art and in particular the splendid cycle of paintings devoted to Black.
Virgilio Sieni is the Director of the dance sector of the Venice Biennial. He is one of the leading choreographers on the modern European scene; he trained in classical and contemporary dance in Amsterdam, New York and Tokyo, while his career also includes the study of art, architecture and the martial arts. In creating his dance designs, he has often collaborated with artists such as Grazia Toderi, Maurizio Nannucci and Flavio Favelli. In 1983 he formed the Butterfly Park company, which became the Virgilio Sieni Company in 1992 with which, among many successes, he won the prestigious UBU prize three times.

On the centenary of the birth of Alberto Burri


Saturday 5 September 9 p.m.

Città di Castello, San Domenico Church

Orchestra della Toscana
Emmanuel Tjeknavorian violin
Martin Sieghart conductor

Wolfgang Amadeus Mozart, Synphony n. 35 in D major K385 Haffner
Wolfgang Amadeus Mozart, Concerto n. 5 in A major per violino e orchestra K219 Türkish
Wolfgang Amadeus Mozart, Don Giovanni Ouverture
(Petra Giacalone conductor)
Wolfgang Amadeus Mozart, Synphony n. 39 in E flat major K543 Schwanengesang

The cycle of this year’s edition of the Festival, dedicated to Austria, begins and ends with Mozart. The overture to The Marriage of Figaro opens the inaugural concert whilst it will be the Don Giovanni’s one to enhance the final concert, entirely devoted to the music of the genius of Salzburg. The two symphonies in the programme are dated from two different stages in the short but intense life of Mozart: no. 25 is considered to be a key development and is the first great masterpiece of its genre; no. 39, so-called Swan Song, on the other hand, is the first of the three great symphonic works of Mozart’s last creative period.
> The Violin Concert no. 5 also dates from the first period. When Mozart wrote it he was more or less the same age as the violinist who performs it in this concert: the composer was 19 and the violinist is 20. The Armenian-Austrian musician Emmanuel Tjeknavorian has already demonstrated his exceptional musical maturity and true “Viennese sense of sound”.