Tuesday Monastero delle Trentatré – Sala Maria Lorenza Longo 21.00 pm Dissonanzen presents Mozart Nostro Contemporaneo (3), with Ciro Longobardi on the piano, Manuela Abano on the cello, Francesco Solombrino on the violin and Tommaso Rossi on the flute.
The Mozart our contemporary series for this concert includes a contrasting pairing: the Symphony K 551 in C major Jupiter, characterized by an Olympian formal grandeur, preceded by the Trio for violin, cello and piano Löico by Nicola Sani, a 2021 work inspired by Canto XXVII of Dante's Inferno, commissioned by the Accademia Filarmonica di Bologna for Nicola Sani's 60th birthday.
Dissonanzen changes location and moves to the Atrio delle Trentatré with the third appointment of Mozart nostro Contemporaneo, the first of this year in the three-year cycle dedicated to Mozart's Symphonies in the transcriptions by Muzio Clementi for flute, violin, cello and piano combined with pieces by contemporary authors.
The dark seething of the sound material of the Trio Löico is contrasted by the majesty of the Jupiter Symphony, an exemplary synthesis between sonata form and contrapuntal writing.
MOZART OUR CONTEMPORARY
Monastery of the Thirty-Three – Maria Lorenza Longo Hall, via Armanni, 16 h. 21.00
Nicola Sani Loico (2021)
for Piano Trio
Wolfgang Amadeus Mozart
Symphony in C Mg. K 551 Jupiter (1788)
Version for flute, violin, cello, piano by Muzio Clementi
Ensemble Dissonanzen
Tommaso Rossi, flute
Francesco Solombrino, violin
Manuela Albano, cello
Ciro Longobardi, piano
tickets:
Full €10 Reduced €5
Azzurro Service Pre-sales
Info: www.dissonanzen.it info@dissonanzen.itmob. 350 945 67 06
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“The three instrumental ensembles are used extensively, exploring the possible sounds that arise from their interrelations. The sound produced by each performer is prolonged or transformed into the sound of the other. The three instrumental ensembles are used extensively, exploring the possible sounds that arise from their interrelations. The sound produced by each performer is prolonged or transformed into the sound of the other. The contrast between elements of continuity and discontinuity generates a form that wraps around itself, like a sort of three-dimensional spiral. Sound design, gestures and space are part of a sound transformation that occurs in front of us, in real time.” Composer Nicola Sani explains.
A continuous sound metamorphosis juxtaposes the two scores, pursuing volutes with a strong emotional impact that in Clementi's quartet transcription restores all the magnificence of Mozart. A magnificence that unfolds sinuously throughout the four movements. In the Allegro, a second thematic zone that veers toward tragic tones is followed by a third element, an ironic quotation from a comic arietta by Mozart himself.
In the Andante, the serenity of the initial theme immediately gives way to the restlessness of a transition into a minor mode characterized by rhythmic syncopations and pressing harmonic progressions. And even in the Minuet, chromatic lines intervene to disturb the lightheartedness of the initial exposition. In the Finale, the pervasive use of counterpoint, the tight combination of five themes, the exemplary management of harmonic tensions give life to a sound edifice of fibrillating majesty.
Article published on 5 June 2023 - 13:23
