Daniele Furlati01


Montone, Church of  San Francesco


a journey in images and voice –over curated by Ivan Teobaldelli

Daniele Furlati piano


The tribute to Auguste and Louis Lumière, brothers who invented the cinema, starts from what existed before it: first there were the street vendors of the shadows and the ‘magicians’ of the lanterns, who went from village to village to produce wonders. There was Thomas Edison’s Kinetoscope, which enabled an individual vision by leaning the eyes on the instrument and looking fixed scenes. Or the bioscope of Max Skladanowsky, who for some German is still the inventor of the cinema. First experiments which prepared the way to what will soon become the ‘seventh art’, the expressive form capable of revolutionizing forever the world of communication.
The show of Ivan Teobaldelli – words, vintage images, frames from films of the Lumière accompanied at the piano by the improvisations of Daniele Furlati – tells the story of that incredible invention whose birth has a precise date: it was December 28, 1895, when in Paris, in the Salon Indien of the Grand Café in the Boulevard des Capucines, thirty-paying spectators watched the arrival of that fateful train. It was only the beginning: after the realism of the brothers, we travelled to the moon with the movies by Georges Méliès (who was also present at the first showing), we admired the great divas such as Asta Nielsen, the Eleonora Duse of the North. Then it came the sound, but that’s another story.


Sara Brusamolino e Daniele Incerti_Foto Ramaccioni ok

Sara Brusamolino/Daniele Incerti

Morra, Oratory of  San Crescentino


Sara Brusamolino flute
Daniele Incerti piano
Winner of the «Alberto Burri» prize for young musicians 2015
Kyoko Hattori soprano
Filippo Di Domenico cello

PIERRE SANCAN Sonatine for flute and piano
HENRY DUTILLEUX Sonatine for flute and piano
FRANCIS POULENC Sonata for flute and piano
JEAN-MICHEL DAMASE Sonate en Concert op. 17 for flute, cello and piano
MAURICE RAVEL Chansons madécasses for soprano, flute, cello and piano


The two Sonatines by Sancan and Dutilleux were both born in the Nineteen-Forties by Claude Delvincourt committee, director of the Conservatory, who wanted to provide flute students with a contemporary repertoire for their diploma essays. And both had an unpredictable and lasting success. The Sonata by Poulenc, written between 1956 and 1957, is one of the most famous works of chamber music by the author, contemporary to the writing of the Dialogues de carmélites. The elegant Sonate en concert of 1952 by Damase, – composer who, among many awards, also won the Prix de Rome, – is built as a succession of dances which remind of a Baroque Suite, but belongs to the twentieth century music. Finally, the Chansons madécasses of 1925: in contrast with the expansionary thrust of that period, Ravel was impressed by the costumes of the indigenous population of Madagascar narrated in Évariste de Parny poems, and he wanted to exalt their virtues in an anti-colonialist way. With this articulate and not at all ordinary programme- in the marvellous location of the Oratory of San Crescentino which was admirably frescoed by Luca Signorelli – four young emerging talents test themselves with this concert, as traditionally do the winners of the Burri Prize of last edition.


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Città di Castello, Church of San Domenico



Catherine Spaak voice-over
Massimo Mercelli flute
Olga Arzilli viola
Fulvio Fiorio flute
Nicoletta Sanzin harp
Tiziana Tornari harp

CLAUDE DEBUSSY Sonata for flute, viola and harp
CLAUDE DEBUSSY Prèmiere Arabesque for 2 harps
CLAUDE DEBUSSY Syrinx for flute
CLAUDE DEBUSSY Chansons de Bilitis for voice, 2 flutes and 2 harps, texts by Pierre Louÿs

Catherine Spaak is fine narrator of the Chansons de Bilitis by Claude Debussy, a collection of songs based on Pierre Louys’ erotic poems, which he had ‘translated’ in French – as he falsely claimed on the occasion of the publication – because it was the result of an archaeological find of the Greek poet Bilitis, but actually inspired by a charming Algerian dancer. Even once discovered the literary device, the Chansons did not stop to unleash a sensual and archaic grace, enhanced by the music of Debussy, the protagonist composer of this evening.
Great innovator and tutelary deity of the twentieth century, Debussy has pioneered the music of modernity, by deeply revolutionising the musical language in favor of new sounds that change the traditional concepts of time, melody, rhythm and harmony. The modern character of his music is also evident in other passages of the programme: in the Trio where the classic combination of violin, cello and piano is replaced by a more persuasive combination of flute, viola and harp; in the Prèmiere Arabesque proposed here in the transcription for two harps, finally in the Syrinx, where only fluid flute sounds are played and enhanced.

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Louis Lortie

Città di Castello, Church of San Domenico


Louis Lortie piano

GABRIEL FAURÉ Préludes op. 103
CLAUDE DEBUSSY Préludes: selection from the First Book
GABRIEL FAURÉ Nocturne n. 4 in E-flat major op. 36
GABRIEL FAURÉ Nocturne n. 6 in D-flat major op. 63
MAURICE RAVEL Gaspard de la nuit

The pianist Louis Lortie is considered to be  one of the most important musicians of the international scene today. The “Times”, describing his style as “pure and imaginative,” has found in him a “combination of spontaneity and maturity that only great pianists have.”  Of French-Canadian origin, Lortie is renowned in Europe, Asia and the United States especially because of  his  research of interpretative originality due to  a wide repertoire rather than  the specialization in a unique style. In Città di Castello he pays tribute to France interpreting some pages of the national repertoire composed between 1884 and 1913 by Fauré, Debussy and Ravel, writers who lived personally the climate of extraordinary artistic and cultural ferment that characterized Paris in the years of transition between nineteenth and twentieth centuries. We listen to a refined and discreet Faurè, the one of the Nocturne, and his Preludes will alternate with those of Debussy: both, while wanting to allude to Chopin, they deeply differ in a more formal freedom and an intense impressionistic style. Finally Lortie faces the famous triptych Gaspard de la nuit by Ravel, a  page of a very difficult and transcendental virtuosity, which certainly deserves to be ranked among the greatest pianistic monuments of the twentieth century.

Rokia_Foto Danny Willems

Rokia Traoré

Città di Castello, Church of San Domenico


Rokia Traoré voice and guitar
Mamah Diabate ngoni
Stefano Pilia guitar
Bintou Soumbounou backling vocal
Moise Ouattara drums
Zonatan Dembele  bass

Yves Schommer and Adrien Roy sound technicians


One of the aspects that this edition of the Festival explores in its programme is the relationship of  France with overseas lands, areas that were once colonized and with  which  today continues a cultural exchange fueled by mutual influences. Rokia Traoré is a figure that represents perfectly this synergy: native of Mali, daughter of a diplomat stationed in the United States, Europe and the Middle East, Rokia currently lives in Bamako, Brussels and Paris, but often makes return to her  homeland and her music has always been influenced by the tradition of African roots as well as from pop and from European and US rock matrix. Singing in his native language but also in English and in French, Rokia Traoré presents his sixth album in Città di Castello, Né So (At home, label Ponderosa Music & Art), which as for the previous Beautiful Africa, sees the contribution to the production of John Parish (PJ Harvey, Tracy Chapman, Cleo T). The art of cheering one up is the central theme of this new work: “Mali is the place where my roots  are- said the artist – where I took shelter in times of uncertainty and where I decided to take risk when I had to. Somehow, Né So reminds me of my first album, because I had to start over and  to rearrange my thinking to go ahead.”




Orchestra della Toscana/Joachim Jousse

Città di Castello, Church of San Domenico


Orchestra della Toscana
Joachim Jousse conductor

CAMILLE SAINT-SAËNS Samson et Dalila: Bacchanale
LÉO DELIBES Lakmé: Invitation à la danse, Entracte
ALBERT ROUSSEL Le Festin de l’araignée op. 17
HECTOR BERLIOZ Benvenuto Cellini: Ouverture
GIUSEPPE VERDI Aida: Ouverture
JULES MASSENET Thaïs: Meditation
GEORGES BIZET Carmen: extracts from Suite n. 1 e n. 2

In a musical fresco dedicated to the late nineteenth century France, it could not miss a chapter dedicated to the influences of the non-European cultures on the classical music production of that time. The French colonial empire was at its peak in the American continents, Asia and Africa. The relationship with overseas lands was intense, not only from a commercial point of view. In the motherland began to arrive Caribbean rhythms, new traditional melodies of the most distant and unknown countries, in addition to the unusual tones for European people, due to the importation of ethnic instruments, which occurs much less for example, in German or English music in the same period. New keyboard instruments such as the xylophone, the marimba, the tam tam, the gamelan, to name a few, enriched in a decisive way the Western symphony orchestra sound. Saint-Saëns, Delibes, Roussel, Berlioz, Verdi, Massenet and Bizet – the authors proposed in the closing concert of the Festival with the Orchestra della Toscana conducted by the French Joachim Jousse – are some of the composers who witnessed the ‘invasion’ and remaining inevitably fascinated, and who tried to recreate in their language, in their own way, the exotic musical suggestions.