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4th september
ATHENӒUM QUARTET
9.00 pm

Città di Castello, Chiesa di San Domenico

Athenäum Quartet
Berliner Philharmoniker String quartet
Laurentius Dinca violin • Stephan Schulze violin
Walter Küssner viola • Christoph Igelbrink cello

FRANZ SCHUBERT String quartet n. 13 in F minor op. 29 D. 804 Rosamund: Andante
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PAUL HINDEMITH Minimax. Repertorium für Militärorchester String quartet
JOHANNES BRAHMS String quartet in F minor op. 51 n. 2

Hindemith was a leading XX century composer. A prolific author who left a huge repertoire which covers theater, chamber and scene music, orchestra pieces. Among the many and varied pieces we may find real gems, ironic pieces, some real musical jokes like the amusing string quartet Minimax, the same name of an extinguishers’ manufacturer – which mimics military music.
This theme was a complex one for Hindemith given the fact that he served in the army during the final year of the first world war and lost his father on the western front. He was deeply disappointed by german militarism and by the national heroism’s rethoric.
This real treat of the chamber music repertoire will be accompanied by two classic pieces by Schubert and Bramhs , performed by Athenäum Quartet, a Berliner Philharmoniker string quartet founded in 1990 by the members of the famous Berlin orchestra.

 

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5th september
BERLIN ENSEMBLE/PEPPE SERVILLO
9.00 pm

Città di Castello, Chiesa di San Domenico

 

LE BOURGEOIS GENTILHOMME

Berlin Ensemble
Berliner Philharmoniker musicians

Luiz Coelho, Bettina Sartorius violin • Walter Küssner viola
Hila Karni cello • Ulrich Wolff double bass
Gili Schwarzman flute • Ignacio Garcia horn
Erik Reike bassoon • Ishay Lantner clarinet
Peppe Servillo voice

WOLFGANG AMADEUS MOZART Divertimento for string orchestra n. 1 in D major KV 136
RICHARD STRAUSS Till Eulenspiegel einmal anders! op. 28
development for violin, clarinet, horn, basson and double bass by Franz Hasenöhrl
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RICHARD STRAUSS Der Bürger als Edelmann (Le bourgeois gentilhomme)
Incidental music suite, op. 60, development for violin, viola, cello, double bass, flute, clarinet, bassoon, horn and voice by Guy Braunstein

New adaptation by Peppe Servillo

Le Bourgeois gentilhomme is one of the most successful comedies by Moliere. It is a biting satire of the nouveaux riches who behave like lords with ridiculous results, and of the mannered habits of Louis XIV court.
Servillo personally adapted the play choosing his role of voice, main and other leading characters. From the exchange between words and music comes out a tale of scholary illusions which is supported by an entertaining music which plays with quotations from Verdi to Wagner. Music is brilliantly played by ‘
Ensemble Berlin, composed by the musicians of the Berliner Philharmoniker chamber orchestra. The main character ideal ambition of elegance is evident in the graciuos dancing rythms.

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6th september
TESINI/BEZZICCHERI
6.00 pm

Monte Santa Maria Tiberina, Bourbon Castle

KAMMERMUSIK 1

Maria Giulia Tesini viola
winner of the 2016 Alberto Burri award for young performers
Stefano Bezziccheri piano

PAUL HINDEMITH Sonata for viola and piano in F major op. 11 n. 4
ROBERT SCHUMANN Adagio e Allegro in A flat major for viola and piano op. 70
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MATTHIAS HOPF Song from the trenches for viola and piano
Commissioned by Festival delle Nazioni, prèmiere
ROBERT SCHUMANN Märchenbilder op. 113

Maria Giulia Tesini, winner of 2016 Alberto Burri award, debuts as a professional on the stage of this year’s Festival with an all german proposal from Schumann to the present days.
She is given the chance to show her talent one year after receiving the award.
As usual, one performance of the programme is dedicated to a young musician winner of the previous year contest.
Tesini, a violinist, born in Bologna in 1992, is accompanied by Stefano Bezziccheri on the piano and will perform a demanding but at the same time stimulating piece alternating different styles and composers: from Schumann’s evocative and fairy-like Märchenbilder, to the calmer Allegro and Adagio, composed originally for horn and piano. From the interesting 1919 Hindemith Sonata, an early piece seldom performed but nevertheless full of inspiration like the later works, to the contemporary piece by the german composer Matthias Hopf commissioned for the occasion.

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6th september
MICHAEL NYMAN
9.00 pm

Città di Castello, Chiesa di San Domenico

 

WAR WORK: 8 SONGS WITH FILM
Written and directed by MICHAEL NYMAN

Michael Nyman conductor and piano
Hilary Summers contralto
Michael Nyman Band
national prèmier

War Work is a 2105 ”film with music” which reminds the sound reinforcement of silent films of the 20s, as made by Nyman, like for example Battleship Potemkin, shown at the festival four years ago.
The centennary of the beginning of first world war brings the conflict at the centre of the attention of the english eclectic artist.
The war is told through archived images taken in Great Britain, France and Germany and through texts of those poets who lost their lives in the field like: August Stramm, Isaac Rosenberg and Alfred Lichtenstein, and through Nymal musical creation. The musician himself wanted to point out that the starting point of his new project is the title of a series of compositions by french poet Gaston de Ruyter: Chansons vieilles sur d’autres airs, or “old songs on other arias”

 

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7th september
COSIMO LINOCI/TRIO KLEOS
6.00 pm

 

Città di Castello, Loggiato della Pinacoteca comunale

KAMMERMUSIK 2

Cosimo Linoci clarinet
Trio Kleos
Eugenia Lentini violin • Filippo Di Domenico cello
Mariangela Ciufredda piano

JOHANNES BRAHMS Trio for violin, cello and piano in C major op. 87
PAUL HINDEMITH Quartet for clarinet, violin, cello and piano
Paul Hindemith can be considered Germany’s most prolific composer of the ‘20s thanks to his anti-romantic mentality and his very personal reinterpretation of classic forms.
After a revolutionary start, he chose to develop his career very carefully: chamber music, above all, was for him a particularly apt field of experimentation with totally new results always maintaining a clarity of expression. An evocative example is the quartet for clairnet, violin, cello and piano composed by Hindemith in 1938. In this year he had to emigrate to Switzerland because the nazi cultural critics was not happy with his “modernity”.
This piece and Trio op.87 by Brahms of 1882 ( an extraordinary example of chamber music) are performed by Cosimo Linoci on clarinet and by the Kleos trio made the young misicians who attended tha chamber music courses of the festival last year.

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7th september
ALEXANDER LONQUICH
9.00 pm

Città di Castello, Chiesa di San Domenico

 

Alexander Lonquich piano

ROBERT SCHUMANN Interludes op. 4
ROBERT SCHUMANN Fantasiestücke op. 12
ROBERT SCHUMANN Studies of variation on a Beethoven’s theme
ROBERT SCHUMANN Davidsbündlertänze op. 6

The feeling between Alexandre Lonquich and Robert Schumann’s music is evident. This could be due to the german origins of the interpreter or to his interest for the psychological aspects of music which are so revealing of such a complex personality like the one of the romantic composer.

Whatever the reason, we may enjoy such special understanding with this all -Schumann musical marathon, which opens with Intermezzi op.4 , his first masterpiece composed when he was 22, and closes with the Davidsbündlertänze collection , dances of those fictitious fellows created by the composer who fought with him against the conventions of his scepitcal age.
Lonquich is of the most important contemporary pianists and won the 2017 Abbiati prize , an Oscar for the music “for his versatility and maturity as a complete musician who combines intense and motivated solo activity with the work as orchestra conductor, educational commitment and the conception of musical – theatrical laboratories ,some devoted to children, which are meant for a cross dialogue between music, cultural and other artistic forms.

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8th september
REMEMBERING BACH
6.00 pm

Citerna, Chiesa di San Francesco

 

REMEMBERING BACH

Enrico Bronzi cello
Pierpaolo Maurizzi piano

JOHANN SEBASTIAN BACH Chromatische Fantasie und Fuge BWV 903
reproduction for cello and piano by Ferruccio Busoni
LUDWIG VAN BEETHOVEN Sonata for cello and piano n. 5 in D major op. 102 n. 2
JOHANNES BRAHMS Sonata for cello and piano n. 1 in E minor op. 38

 

Bach, Beethoven, Brahms and the art of fugue connect three gems of the chamber music repertoire.
The starting point could only be the Kantor from Leipzig, master of the fugue with his chromatic Fantasia and fugue written for harpsichord, but also available in a cello and piano adaptation or piano only adaptation by Busoni.
The work dates back to the same years of the first book of The well tempered clavier: it’s around 1720-1730 and Bach wanted to show all the available tonal resources made possbile by the equal temperament.
Beethoven in 1815 introduced the principle of baroque polyphony into the classical style: this is how op.102 was born and in particular the second Sonata , the real manifesto of this “style”, not only for the fugue in four parts at the end of the piece but also for the polyphony which is spread all over the piece.
At the end we have the lovely Sonata op. 38 by Brahms of 1862-1865 with explicts alllusions to the themes of Bach’s Art of fugue.

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8th september
MOVING WITH PINA
9.00 pm

Città di Castello, Teatro degli Illuminati

MOVING WITH PINA

 

Conference with dances on the poetics, technique and creativity of Pina Bausch

by and with Cristiana Morganti

produced by Il Funaro – Pistoia
supported by the Pina Bausch Foundation – Wuppertal

Cristina Morganti has been working at the Tanztheater in Wuppertal for over twenty years. Her proposal is a journey through the universe of Pina Bausch as seen from a dancer’s point of view. How is a solo constructed? What is the relation between emotion and movement? When does gesture become dance? What it the relation between dancer and screenplay? And above all how do we create the mysterious and magical connection between the artist and the audience?
With her live performance of some extracts from the Tanztheater repertoire Morganti tells her artistic and human relation with the great german choreographer. She lets us discover how much attention to detail was paid by Pina Bausch with her language of movements.

 

 

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9th september
ORCHESTRA DELLA TOSCANA/GRIN
9.00 pm

Città di Castello, Chiesa di San Domenico

 

Orchestra della Toscana
Leonid Grin director

Laura Andreini soprano
Chiara Chialli mezzo-soprano
Mauro Borgioni baritone
Edoardo Milletti tenor

Corale Marietta Alboni
Marcello Marini choir master

LUDWIG VAN BEETHOVEN Symphony n. 9 in D minor op. 125 for solos , choir and orchestra

Long off from the Festival programme, the n.9 symphony is one of Germany’s most important symphonies and a musical monument of all times.
The composition of this impressive symphonic fresco – revolutionary not only for the presence of solos and choir – took Beethoven a large parte of his life.
He made some notes since 1794 which were later introduced in other works. It may well be that the very idea to make music for the Schiller’s ode came during the University years in Bonn. An die Freunde is a 1785 text and a symbol of the ideals of the young Germans.
Only in 1823 he totally devoted himself to this composition which premiered in Vienna the following year: a memorable concert at the presence of the author himself despite his bad health.
The audience responded with enthusiasm waving handkerchiefs instead of applauding to an already deaf Beethoven.
With the eloquence of the Ode to joy the three year programme of the festival dedicated to the first world war comes to an end with a hint of hope.