Ex Essiccatoi tabacco

Tuesday 1 September 9.30 p.m

Città di Castello, Ex Seccatoi del Tabacco, “Non ama il nero” Hall

Quartetto Prometeo
Giulio Rovighi violin
Aldo Campagnari violin
Massimo Piva viola
Francesco Dillon cello
Matteo Cesari flute

Salvatore Sciarrino, Trovare un equilibrio, è necessario? For flute and string quartet PREMIERE
Commissioned by Festival delle Nazioni
Ludwig van Beethoven, Quartet for strings in C sharp minor No. 14 Op. 131
Ludwig van Beethoven, Quartet for strings in C minor Op. 18 No. 4

 Salvatore Sciarrino boasts of being ‘born free’ and not in a school of music. He began to compose at 12 years old, self-taught; his first public concert was in 1962. However, Sciarrino considers his work before 1966 an immature apprenticeship, because it was after that date that he discovered his personal style. Something truly individual characterises this music: it induces a different mode of listening, an emotive recognition of reality and of oneself. And after forty years the immense catalogue of his compositions is still in a phase of surprising creative development.
In the centenary of the birth of Alberto Burri, the Festival delle Nazioni has commissioned from Sciarrino a new composition for flute and string quartet, a formation that the Sicilian composer, a citizen of Città di Castello since 1983, confronts for the first time.
The execution by Matteo Cesari and the Prometeo Quartet of this work represents a dialogue with Burri’s works in the ‘Non ama il nero’ cycle, arranged by the artist himself in the 1990s in the hall of that name in the Ex-Seccatoi del tabacco, a short distance from the centre of Città di Castello.

On the centenary of birth of Alberto Burri

Alessio-Boni(2)

Wednesday 2 September 9 p.m.

Città di Castello, San Domenico Church

VIENNA BETWEEN DECADENCE AND EXPRESSIONISM
Readings from Die letzten Tage der Menschheit by Karl Kraus

Text by Massimo Lo Iacono

Alessio Boni narrator
Streichquintett Wiener Kammersymphonie
Fritz Kircher violin
Cornelia Löscher violin
Wolfram Fortin viola
Sergio Mastro cello
Felipe Medina double bass

 

Gustav Mahler, Bedächtig, nicht eilen, recht gemächlich from Synphony No. 4 in G major
Hans Gál, 5 Intermezzi Op. 10
Erich Wolfgang Korngold, Märchenbilder (adaptation for string quintet by Josip Maticic)
Ernst Krenek, Sieben leichte Stücke Op. 146

 

Vienna at the end of the 19th and the start of the 20th century experienced a period of manifold tensions, which exploded in the violence of the First World War. The ideals of scientific and industrial progress, persisting since the Belle Epoque, now had to exist alongside a pronounced feeling of crisis, which would become reality in a few years’ time, with the disintegration of the Austro-Hungarian Empire. In this scenario, Vienna in particular, more than any other European capital, recognised the end of an era and of the philosophical, historical and political certainties inherited from the 19th century.
The concert by the Wiener Kammersymphonie string quartet presents several examples of the music written and listened to in this period, drawing attention especially to the sensitive composers who succeeded best in interpreting the atmosphere of search for a new vision of life, a feature of this difficult moment in history. These examples include one movement of Mahler’s Fourth Symphony, written between 1899 and 1901; Korngold’s Marchensuite , written between 1910 and 1920; and Gàl’s five intermezzi written in 1914.
Alessio Boni, the popular actor, reads some pages of The last Days of Humanity , the satirical masterpiece written by Kraus during the First World War. Lucid and visionary at the same time, Kraus succeeded better than anyone else in describing the horrors of war.

 

Demus

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.’

SONY DSC

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

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

 

QUINTETTI SUL NERO
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

PREMIERE

“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

ORT_OrchestradellaToscana_2┬®MarcoBorrelli

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”.