Programs for orchestras ENG - Reggio Iniziative Culturali

Transcript

Viale Umberto 1° n. 5 - 42123 Reggio Emilia - Tel. 0522 420804 – Fax. 0522 453896
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MADE IN ITALY
The Italian song: 1910 – 1950
(Selection, elaborations and instrumentations by ALESSANDRO LUCCHETTI)
For piano concertante and orchestra
Alessandro Lucchetti - piano
Antonio Ballista - conductor
Presentation
“Made in Italy” proposes some innovative arrangements - for ensembles or for orchestra - in a
language borrowed from classical music of some of the most famous Italian songs from the Tenth to
the Fifties of the 20th Century. This music is not only a real portrait of that period, but also one of the
peaks of Italian creativity at that time.
The first performance of this program was made in 2002, during the Concert Season of the Teatro la
Scala. It toured, then, across Uruguay, Argentina and Brazil obtaining a great success.
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Program
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D’ANZI (Giovanni d’Anzi’s music)
D’ANZI
Tu musica divina - Bambina innamorata - Ma le gambe
Silenzioso slow - Non dimenticar…(le mie parole) - Ma l’amore no
LAZZI E SBERLEFFI (Monkeying around)
KRAMER
CONSIGLIO
MORBELLI
PESTALOZZA
Pippo non lo sa
Il pinguino innamorato - Maramao perché sei morto
Ba-ba-baciami
Ciribiribìn
LACRIME (Tears)
GILL
MARCHETTI
SIMI
BERTINI
DE CURTIS
Come pioveva
Non passa più
Addio signora
Un’ora sola ti vorrei
Non ti scordar di me
MASCHERONI (Vittorio Mascheroni’s music)
MASCHERONI
Bombolo -Fiorin fiorello - Lodovico - Tu che mi fai piangere - Tango della
gelosia
ILLUSIONI (Illusions)
OLIVIERI
SCIORILLI
FRAGNA
KRAMER
Tornerai
Perduto amore (In cerca di te)
Signora illusione
Non ti fidar (di un bacio a mezzanotte)
ESOTISMI (Exoticisms)
DI LAZZARO
DI CHIARA
RIPP
Le carovane del Tigrai
La spagnola
Creola
BIXIO (Cesare Andrea Bixio’s music)
BIXIO
Canzone sospirata - Lucciole vagabonde - Tango delle capinere Parlami d’amore Mariù - La canzone dell’amore (solo per te Lucia)
MOVIE CHARMS
The charm of movies through the music
for soprano, piano concertante and orchestra
idea, reworked versions and instrumentations by Alessandro Lucchetti
Lorna Windsor - soprano
Presentation
The adventure of gathering themes from soundtracks and transforming them in a concert for piano
(played by two people) started in 1988. My muse was the soprano Alide Maria Salvetta. She, and M°
Antonio Ballista, asked me to realize one of her childhood dreams: to sing in a concert the most
beautiful songs from Walt Disney movies. I was initially confused by this request, and then, reading the
scores, I was also dejected. It was a disaster! The themes were fascinating, but also too short to be
transposed in a concert form. Later, I convinced that it could be not only a technical challenge, but also
an opportunity to renew my repertoire and to work on my musical memory.
So, I created Incantesimi (Spells), the first of the fantasies that I composed, originally for a feminine
voice, piano and orchestra, then for piano played by two people. Divided in three parts ( related to the
movies Snow White, Mary Poppins and Cinderella) connected by two short easy-going moments
(“Who's afraid of the Big Bad Wolf?” and the famous “Mickey Mouse march”), the fantasia as an irregular
progression: sometimes it seems to lose the central idea, then it accelerates linking the themes in an
uncommon way. My aim is to amaze the listener in the same way Alice was amazed when she realized
she was passing through the lock of a door! After Incantesimi, I composed Amarcord, dedicated to
Nino Rota’s music for Fellini’s movies. There are all the most important ones (La dolce vita, 8½, La
strada, Amarcord etc.) together with some of the less known, such as “Le notti di Cabiria”, “Il Bidone” or
“Tre passi nel delirio”, in a quick and breathtaking succession of famous themes. At this point I decided
to create a whole program that was related to the cinema.
I began to work at Non solo Charlot (Not only Charlot), that gathers just a small number of the
several themes composed by the extraordinary fantasy of Charlie Chaplin for his movies.
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As the title wants to underline, he was a genius. He was not only the interpreter of the character
everybody knows, not only the director of his own movies, but also the composer of the wonderful
soundtrack that beautifully ties together images and feelings, ideas, atmospheres, so well that it can
recall all their magic even in their absence.
I thought to divide the composition in two parts: the first one is dedicated to the silent films, the
second one to the spoken, following the chronology of the movies and underlining how the presence of
a dramaturgical text can make the difference about inspiration (even musical!). And so I created also
the last one of the fantasies, the more easy-going one, that I dedicated to a great composer of the
Sixties: Henry Mancini. Belonged to Glenn Miller school, he is renown particularly for his themes “The
Pink Panter” or “Moon River”: he couldn’t be excluded from a program like this. Titled Una Pantera a
Hollywood (A Panther in Hollywood), the fantasia develops like Amarcord, alternating rhythmic and
melodic themes, so characteristic that they don’t need particular elaborations. Concerning the formal
aspect and the instrumentations, I got inspiration from the transcriptions and the paraphrasing made
by Liszt: they are still unequalled examples of recreating the sense of the originals or telling a story by
paraphrasing the themes of a melodrama (Norma, Don Giovanni, Rigoletto etc.)
Alessandro Lucchetti
Program
C. CHAPLIN
Non solo Charlot (Not only Charlot)
fantasia of themes from C. Chaplin’s films
(for piano and orchestra)
H. MANCINI
Una ”Pantera” a Hollywood (A Panther in Hollywood)
themes and songs from H. Mancini’s soundtracks
*
*
*
*
*
AUTORI VARI
Incantesimi (Spells)
fantasia of songs from W. Disney’s films
(for soprano, piano and orchestra)
N. ROTA
Amarcord
fantasia of themes from F. Fellini’s films
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ROSSINI, PUCCINI AND VERDI…WITHOUT WORDS
Three “Fantasies”, each one correspond to a famous Italian melodrama (Il Barbiere di Siviglia by
Rossini, Turandot by Puccini and La Traviata by Giuseppe Verdi) and is construct as something that
seems like a XIX century paraphrase by a virtuous pianist on opera themes and a modern songs
medley. Duly alternating between two genres and official movements.
The general musical mark of the project is the fidelity to the originals: no melodic manipulation (if we
don’t include, obviously, the insertion of the singing in a pure instrumental line), no harmonious
deformation, no new births.
No “square music”. None “à la manière de…”. Only Rossini, Puccini and Verdi. Singing and orchestra,
always recognizable, are enveloped, slip and fill, languish, flow, erupt and vanish in the instrumental
set chosen by Lucchetti, substantial but a chamber one, even if it doesn’t gloss over the symphonic
ambitions: winds (flute, oboe, horn, bassoon, horn and trumpet), strings (the classical five parts: two
violins, viola, cello and double bass), a percussionist and a piano. Thirteen musicians.
The orchestration by Alessandro Luccetti doesn’t restrict itself to allude to the symphonic but recreate it even if with writing multi-instrumental means of solistic sort, producing a sound that offers
surprising starting points.
Particularly significant and incisive, from this point of view, is the complex role committed to the
piano, the only outsider in an orchestra palette who wants to be accurate to the original scores.
The piano, in fact, performs from time to time a triple role: integrated in the score, in function of
collaboration with the other instruments, and with them a role of sharing of the musical textures
(melodic and symphonic ones). Extremely virtuosistic and so free from the fidelity to the peculiar
writings when – and frequently happen – imitates the classical situation of the great paraphrases by
Listz on opera themes, filling with arpeggio and cords every sonorous space surrounding the loved
themes. But has this operation a sense? A Graal? Has it an aim?
Without doubt, there is the divertissement.
But it’s not a cynical or bitter or intellectual divertissement. No. The spur is simple: together the élan
vital, the karma and the nirvana of Without Words lies where we expect them, thinking about Rossini,
Puccini and Verdi with the desire of listen, know and live again these eternal melodies. Because the
places offered by Without Words finds their peace in us, they are thoughts of our heart.
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PUCCINI WITHOUT WORDS
Two concerts of fantasies and reminiscences invented and orchestrated
by Alessandro Lucchetti
Program
First concert
G. PUCCINI - A. LUCCHETTI
Turandot Irreversible
Incenso e Fango (fantasies of themes from Tosca)
***
Reminiscences of "La Bohéme"
Second concert
G. PUCCINI - A. LUCCHETTI
Un Eroe Americano (fantasies of themes from Madama Butterfly)
Lontano (fantasies of themes from Manon Lescaut and La
Fanciulla del West)
***
Uno e Trino (i mille volti dell'a-mor-te)(fantasies of themes from
Il Tabarro, Gianni Schicchi and Suor Angelica)
Ritratto di Dark Lady (in rosa)(fantasies of themes from La
Rondine)
Chamber Orchestra: flute, oboe, clarinet, bassoon, horn, trumpet, percussions, piano, 2 violins, viola,
cello, double bass
Orchestra: 2, 2, 2, 2, 2, 2, 0, 0, 1, 1, piano, strings
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ROSSINI WITHOUT WORDS
Concert of reminiscences invented and orchestrated by
Alessandro Lucchetti
Program
ROSSINI-LUCCHETTI
Reminiscences of “L'Italiana in Algeri"
Reminiscences of "La Cenerentola"
***
Reminiscences of "Il Barbiere di Siviglia"
Chamber orchestra: flute, oboe, clarinet, bassoon, horn, trumpet, percussions, piano, two violins, viola,
cello, double bass
Orchestra: 2, 2, 2, 2, 2,2, 0, 0, 1, 1, piano, strings
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VERDI FOREVER
Reminiscences and paraphrases of Trittico Romantico
by Alessandro Lucchetti
Program
Reminiscences of Il Trovatore
Paraphrases of Rigoletto
***
Paraphrases of La Traviata
Chamber orchestra: flute, oboe, bassoon, horn, trumpet, percussions, piano, 2 violins, viola,
cello, double bass
Orchestra: 2, 2, 2, 2, 2, 2, 0, 0, 1, 1, piano, strings
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PROGRAMS FOR THE ORCHESTRA “ ‘900 STORICO”
Presentation
The first half of the last century bequeathed an historical heritage of a huge variety of languages to
leave astounded. This so rich Babel could be considered not only an amazing music repertoire but also
a kaleidoscopic range of world visions. It’s exiting thinking about the extraordinary main characters of
that period, unique for its creativity in the history of music: because there are a lot and all of high
prominence.
Everyone knows them ma sometimes the majority of players, cultural operators and musical agents
seems to forget.
Just remember the little part of the work of one of the greatest musicians from time immemorial, Igor
Stravinsky, who is normally planned in the concert halls all over the world.
For my part, I have the pride and the humility to try to spread as much as possible the several
masterpieces of that period present seldom in the concert institutions.
As the ones that appear in the program below whom this presentation refers to.
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PROGRAM WITH MUSIC BY CASELLA
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Bruno Canino - piano
Pupazzetti
Marcietta
Berceuse
Serenata
Notturnino
Polka
Scarlattiana
(for piano and small orchestra)
Sinfonia
Minuetto
Capriccio
Pastorale
Finale
***
Pagine di guerra
Nel Belgio: sfilata di artiglieria pesante tedesca
In Francia davanti alle rovine della cattedrale di Reims
In Russia: carica di cavalleria cosacca
In Alsazia: croci di legno
Nell’Adriatico: corazzate italiane in crociera
Serenata op.46 bis
Marcia
Notturno
Gavotta
Cavatina
Finale
PROGRAM WITH MUSIC BY GHEDINI
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Alda Caiello e Lorna Windsor - sopranos
Tony Servillo - voice
Trio di Parma
Antonio Ballista – conductor
Architetture
Concerto for orchestra
Spiritual Concerto “de la incarnazione del verbo divino” by Jacopone da Todi (for two sopranos and
instruments)
***
Concerto of the Albatros from “Moby Dick” by Hermann Melville (for violin, cello, piano, voice and
orchestra)
_____________________________________
PROGRAM WITH MUSIC BY RESPIGHI
Alda Caiello - soprano
Antonio Ballista – conductor
Three chorals by J.S. Bach
from Choralvolspiele for organ (transcription for orchestra)
Trittico botticelliano
for small orchestra
Deità silvane
five operas on textes by Antonio Rubino (for soprano and small
orchestra)
***
Rossiniana
Suite for orchestra from Les Riens by Rossini
PROGRAM WITH MUSIC BY PIZZETTI
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Alda Caiello - soprano
Bruno Canino - piano
Songs of the high season
concerto for piano and orchestra
***
Three popular songs for soprano and strings
Three symphonic preludes for Edipo Re for orchestra
WITHOUT BREATH
MUSIC FOR IMAGES
Homage to Alfred Hitchcock
Antonio Ballista – musical direction
Stefano Masi - ideation and video direction
Luca De Sensi – video editing
Cartobaleno s.n.c. - animations
music by: Bernard Hermann, Miklos Rózsa, Charles Gounod
Presentation
In a television interview, the Georgian director Otar Yoseliani assert that the movies have to be seen
only and exclusively in a cinema, out of there they are relentlessly destined to die and decay. But is it
really a damage the “decay” of a movie? No, if this process succeed to give a further sense to its single
parts. Surely, a movie is much more than the sum of its parts (dialogues, effects, music, voice, images,
photography) and it’s for this reason that its showing in a dark room make the flow on an impalpable
celluloid tape the seventh art. To bring the masterpieces by Alfred Hitchcock in a concert hall means,
without doubt, to turn down the suspense and the sense of apprehension that their whole show
produces. However, this choice allows to underline the real sense of those elements that formed the
inimitable and also duplicate dramatic mechanisms. First of all, the music. The soundtracks of the
Hitchcock’s movies (perfectly interactive with the images and the voices, the colors, the lights and the
shadows) get, played in person, in the form of a suite, a different nature, imposing itself with the only
evocative power of the musical suggestion and creating by its own, a phantasmagoric world of voices,
colors, lights and shadows. And the rest? In this “decay” process, the image dissolves itself in the
endless esthetical hints and in the continuous cross references – its true heart – revealing what you
can find beyond the image itself, when the screen is already turned off, silent.
The video intersects and transforms itself during the musical performance gathering together in a
exclusively evocative and sentimental form very short sequences, photos, images on the set, auditions,
storyboards, drawings and outlines of Hitchcock but also his subtle and ironic distractions and the
funny riddles, the iconographical references, the pictorial and artistic suggestions that are part of his
particular esthetic taste. Once the screen is reduced to silence, a world full of signs that the movie
hides in and beyond itself arises. And here is the music, that lives now a new existence not connected
to its original status of soundtrack. An existence that flows in parallel, with the same dignity, to the
images and to all that images hide and public can’t even suspect.
Stefano Masi
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“A lot of movies are about life, mine are like a slice of cake”.
Alfred Hitchcock
Program
BERNARD HERRMANN
(191 1 - 1975)
Psycho, suite for string (Psyco, 1960)
Prelude
The City
The Rainstorm
The Madhouse
The Murder
The Stairs
The Knife
Finale
Mamie (Marnle,1964)
Main Theme
North by Northwest (1959)
Main Title
CHARIES GOUNOD
(1818 - 18s3)
Funeral March of a Marionette
BERNARD HERRMANN
Vertigo Suite (1958)
Prelude
The Nightmare
Scene d'amour
A Portrait of Hitch on themes of the movie The trouble with Harry
(1955)
MIKLOS RÓZSA
(1907 - 1995)
Spellbound Concerto
on the themes of the movie Spellbound (1945)
Orchestra: 3 flutes (one of these also a piccolo), 2 oboes, 1 English horn, 3 clarinets, 2 bass clarinets, 2
bassoons, 1 double bassoon, 4 horns, 3 trumpets, 3 trombones, 1 tuba, 5 percussions, piano, celesta, 2
harps, strings.
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THE MEDITERRANEAN AND EUROPE
Presentation
A program of pleasant abandon to the brightness of the blessed place of our world that is the
Mediterranean basin. So no Nordic hazes et no German philosophies or concessions to the romantic
sublime, but a joyful celebration of the inextinguishable burst of the Eros vitality.
Program
I part
FRANCIS POULENC
Suite française
Bransle de Bourgogne
Pavane
Petite marche militaire
Complainte
Bransle de Champagne
Sicilienne
Carillon
NIKOS SKALKOTTAS
Four greek danses
Peloponnesian
Hepirotic
Hostian
KIefti
PETR II'IC CAJKOVSKIJ
Italian capriccio
II part
CAMILLE SAINT - SAENS
Suite algérienne
En vue d'Alger
Rapsodie mauresque
Rêverie du soir à Blida
Marche militaire française
MAURICE RAVEL
Rapsodie espagnole
Prélude à la nuit
Malaguena
Habana
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BORDER LAND
CROSSING OVER ENSEMBLE AND ORCHESTRA
Presentation
Cross-over (a term generally used also in genetics and in acoustic to state the presence of
heterogeneous elements) is the most recent and new among musical genres. Born in the Eighties, it
works on rhythmic and melodic forms who come from tradition combining them with typical features
of other genres: ethnic music, jazz, rock, soundtracks etc. Today, in the communication era, when
people with different habits, religions and traditions are more and more melted, a music that combines
Debussy, an Arabic song and an African rhythm seems to be the perfect soundtrack.
Lucchetti’s music comes from several sources: different genres (jazz, chamber music, rock, funky, pop),
sounds from other countries (Arabic, Afro-Cuban, Oriental, Celtic, Balkanic). The basic structures are
classical and strictly lied to notation; nevertheless, Lucchetti’s creativity is limitless. So, we have the
possibility to listen to (like in Dance in Medina) a combination of a muezzin song, a disco-dance rhythm
and a lyric melody in a kaleidoscopic mix changing in musical time and space.
Crossing Over is an ensemble whose artists have different roles and musical educations. So, the name
itself of the group states its features and aims: the possibility to move across five centuries of musical
genres, covering unusual and surprisingly revealing paths.
Alessandro Lucchetti (piano) and Gianni Alberti (sax and clarinet), are academic musicians and
teachers at the Conservatory of Brescia; Riccardo Biancoli (drums and percussions) and Daniele
Scaravelli (electrical bass) are very active players in jazz, rock, funky, blues performances and they
are also interested in some contemporary music expressions like the minimalism and the cross-over.
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Program
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Mind Games I
Corazon Espinado
Dance in Medina
Capriccio
Mind Games II
***
Black Wind
Graceland
Virtual Moonlight (serenade)
Mirages
Summer Samba
Orchestra: 2, 2, 2, 2,2, 2, 0, 0, 2, harp, strings
THE 24 PRELUDES BY CLAUDE DEBUSSY
for piano concertante and orchestra
(instrumentations by Alessandro Lucchetti)
Presentation
Piano is the only instrument that is able to recall the great number of tones typical of an orchestra.
That’s why a lot of composers, since the XIX Century, wanted to show evidence of this potentiality by
transcripting several pieces for piano in music for orchestra. This practice produced a lot of real
masterpieces, like for example the lieder by Schubert transcripted by Liszt, or Wolf’s work, in 1800,
who concerned twenty among his own pages for voice and piano.
But the most renown works were created in the XX Century, such as the famous Pictures at an
Exhibition by Mussorgsky orchestrated by Ravel, or the Preludes by Chopin orchestrated by Jean
Françaix, or, at present time, the beautiful versions for orchestra made by Giampaolo Testoni of
Carnaval by Schumann and of Christmas Tree by Liszt.
Orchestra: 2, 2, 2, 2, 4, 2, 3, harp, celesta, vibraphone, xylophone, timpani, percussions (2 players),
Strings (12, 10, 8, 6, 4 min.)
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Programs for orchestras ENG - Reggio Iniziative Culturali

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