CONSERVATORIO DI MUSICA ARRIGO BOITO
PARMA
LABRETMUS
LABORATORY ON MUSICAL RHETORIC
23-27 MARCH 2015
8 APRIL 2015
22-23 APRIL 2015
MUSIC AND SILENCE
"Silence is not acoustic. It is a state of the mind, a turning around."
John Cage
Lectures, seminars and concerts
by
Bice Mortara Garavelli, Luigi Abbate, Francesco Baroni, Mario Brunello, Riccardo Ceni,
Pierre-Alain Clerc, Deda Cristina Colonna, Francesco Dilaghi, Pascal Dubreuil,
Gianluca Ferrarini, Roberto Gini, Wolfgang Korb, Giuseppe Ielasi,
Gian Luca Lastraioli, Carlo Lo Presti, Luca Marconi,
Riccardo Mascia, Fabrizio Ottaviucci,
Andrea Padova, Paolo Russo
With the participation of students from
the Conservatorio di Musica Arrigo Boito di Parma
and the Haute École de Musique de Lausanne-Sion-Fribourg, Site de Sion
INTRODUCTION
What is MUSICAL RHETORIC?
Once the obstacles of technique have been surpassed and the structure and form of a musical piece
understood, the performer has to search for and reestablish its sense, its expressive meaning,
elements that together constitute interpretation. Musical rhetoric can be the medium that ties
together the author, the performer, and the listener allowing them to share a language and thus
fostering the emotional and conceptual understanding of the work. The fact that musical rhetoric is
not confined to the historical period between the Renaissance and Classicism (it rather transcends
epochs, repertoires, and styles), is not just a fascinating hypothesis: a rhetorical analysis of a
Toccata by Claudio Merulo, of a song by the Beatles, a string quartet, or of a poetic or theatrical
text, is thus possible, necessary, as well as exciting.
“Theory comes from practice”: a WORKSHOP rather than a conference
To bring down the mental barrier that separates what is considered “theory” from musical practice
is a fundamental step for the performer. It is for this reason that every day the workshop will
conclude with a concert. The workshop articulates through the lessons and seminars - which we
would not want to define as either theoretical nor practical - the search for validity which for any
musician represents the essence of interpretation, as well as the acquisition of a language that
enables one to communicate with those listening.
The subject of 2015: MUSIC AND SILENCE
After the first edition in 2014 (a sort of “trial or test”), this year we aim at investigating the relation
between music and silence, through different genres and styles, in a temporal frame that extends
from the Renaissance to the contemporary. We would like to thank all the participants, lecturers,
and performers involved in the four productions; a special thanks goes to Bice Mortara Garavelli for
her precious contributions on rhetoric and literature; likewise we are happy to spotlight the concert
on march 25th, when Pierre-Alain Clerc will inaugurate Claudio Merulo’s organ which, after years
of silence, has recently been fully restored to its former voice.
PARTICIPATION
Participation in the Laboratory on 23, 24, 25 and 26 March is open to all, and allows students to
gain formative credits, even in the case of attending a singular presentation.
Participation (requiring enrollment) to the three seminars of in-depth practice on 27 March and to
the seminar with concert Paraphrases of silence on 22-23 April coordinated by Luigi Abbate,
allows students to gain formative credits. For further information and enrollment please write to:
- Andrea Padova [email protected] for both seminars on Pascal Dubreuil and for
his own;
- Roberto Gini [email protected] for Deda Cristina Colonna’s seminar;
- Luigi Abbate [email protected] for Paraphrases of silence.
The presentation of Mario Brunello’s book on 8 April is open to all.
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PROGRAM
Monday, March 23, 2015, Auditorium del Carmine
h 10.30 The Director’s greeting
h 10.45-12.15 Bice Mortara Garavelli, The Rethoric of Silence: linguistic and literary aspects of
communicating without words
h 12.30-13.15 Luca Marconi, Silence and rests in music
h 15.00-17.00 Pierre-Alain Clerc, Francesco Baroni and Roberto Gini, Sonata for viola da gamba
and harpsichord BWV 1027 by Johann Sebastian Bach
h 18.00 “The space between the notes: silences and resonances in Western and Eastern keyboard
music from Bach to Hosokawa”
Listerner’s Guide by Andrea Padova
Tuesday, March 24, 2015, Auditorium del Carmine
h 10.30-12.00 Bice Mortara Garavelli, Figures of silence: ellipsis, apophasis, aposiopesis
h 12.15-13.00 Pierre-Alain Clerc, Instruction in French declamation
h 15.00-16.30 Roberto Gini and Deda Cristina Colonna, “All the world’s a stage” – Director’s
notes on “Recitar Cantando” (Monteverdi’s Musical Theatre I)
h 16.45-18.15 Roberto Gini and Deda Cristina Colonna, “All the world’s a stage” – Director’s
notes on “Recitar Cantando” (Monteverdi’s Musical Theatre II)
h 20.30 "Monteverdi’s Theatre: Lamento d’Arianna and Combattimento di Tancredi e Clorinda"
Concert performed by Roberto Gini with the students of the Early Music Department of the
Conservatorio di Musica Arrigo Boito and the participation of Gianluca Ferrarini and Gian Luca
Lastraioli
Wednesday, March 25, 2015, Auditorium del Carmine
h 11.00-12.15 Pierre-Alain Clerc, Some aspects of silence in music before the XIX century (with the
participation of Roberto Gini)
h 12.15-13.00 Paolo Russo, The sound of silence in opera
h 15.00-15.45 Francesco Dilaghi, “Das redende Prinzip” from C.P.E. Bach to Beethoven
h 15.45-16.30 Carlo Lo Presti, Silence and Irony in Maurice Ravel (Kyoko Hattori, soprano –
Leonardo Spadaro, piano)
h 16.45-17.30 Pierre-Alain Clerc, From Merulo to Frescobaldi
h 18.00 "From Merulo to Frescobaldi"
Concert for the inauguration of the newly restored Claudio Merulo’s organ performed by PierreAlain Clerc
Music by Claudio Merulo, Claudin de Sermisy, Andrea Gabrieli, Giovanni Gabrieli, Giovanni
Maria Trabaci, Tarquinio Merula, Heinrich Scheidemann, Antonio Carreira, Christian Erbach,
Anonimo spagnolo, Girolamo Frescobaldi
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Thursday, March 26, 2015, Auditorium del Carmine
h 10.30-11.15 Luigi Abbate, Vide, “Achrome”, Silence
h 11.15-12.00 Riccardo Ceni, The gesture of silence in György Ligeti
h 12.15-13.00 Wolfgang Korb, Silence as a compositional device in contemporary music
h 15.00-15.45 Wolfgang Korb, Structural silence in radio production, from sound art to radio, from
the art of listening to radiodrama
h 15.45-16.30 Luca Marconi, Silence and rests in popular music
h 16.45-18.15 Pascal Dubreuil, Processes of rethorical argumentation and amplification in music
h 20.30 “That small domestic theatre. Sounds from Nature and Love from early 18th century in
Italy”
Concert performed by Riccardo Mascia with the participation of the Department of Voice and
Musical Theatre from the Conservatorio di Musica Arrigo Boito in Parma and of the students from
the Haute École de Musique de Lausanne-Sion-Fribourg, Site de Sion
Music by Alessandro Scarlatti, Nicola Porpora, Antonio Vivaldi
Friday, March 27, 2015, Auditorium del Carmine / Aula Alvini
h 9.00-12.00 Pascal Dubreuil, seminar of in-depth practice on “Partiten and Suites for harpsichord
by Johann Sebastian Bach”
h 12.00-14.00 Andrea Padova, seminar of in-depth practice on “The space between the notes:
silences and resonances in Western and Eastern keyboard music from Bach to Hosokawa”
h 15.00-18.00 Deda Cristina Colonna, seminar of in-depth practice “Art on the scene: from the
theatrical to the musical stage”
OTHER PRESENTATIONS
Wednesday, April 8, 2015, Auditorium del Carmine
h 21.00 Mario Brunello, “Silence”. Book presentation by the author
April 22-23, 2015, Auditorium del Carmine
Luigi Abbate, seminar with concert “Paraphrases on the silence” with the participation of
Giuseppe Ielasi and Fabrizio Ottaviucci
EVENT ORGANIZATION
LABRETMUS 2015 has been organized by:
Riccardo Ceni [email protected]
Roberto Gini [email protected]
Carlo Lo Presti carlo.lopr[email protected]
Andrea Padova [email protected]
Production: Barbara Biondini [email protected]
Press: Lucia Brighenti [email protected]
Conservatorio di Musica Arrigo Boito
Via del Conservatorio 27, 43125 Parma, Tel. +39 0521 381911
www.conservatorio.pr.it
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CONCERTS AND LISTENER’S GUIDE
Each concert, each listerner’s guide is an integral part of the overall planning of LABRETMUS 2015,
and sound testimony of the topics covered during the day, lesson that becomes music.
Monday, March 23, 2015, h 18.00, Auditorium del Carmine
“The space between the notes: silences and resonances in Western and Eastern keyboard music
from Bach to Hosokawa”
Listerner’s Guide by Andrea Padova
Tuesday, March 24, 2015, h 20.30, Auditorium del Carmine
h 20.30 "Monteverdi’s Theatre: Lamento d’Arianna and Combattimento di Tancredi e Clorinda"
Concert performed by Roberto Gini with the students of the Early Music Department of the
Conservatorio di Musica Arrigo Boito and the participation of Gianluca Ferrarini and Gian Luca
Lastraioli
Wednesday, March 25, 2015, h 18.00, Auditorium del Carmine
"From Merulo to Frescobaldi"
Concert for the inauguration of the newly restored Claudio Merulo’s organ performed by PierreAlain Clerc
Music by Claudio Merulo, Claudin de Sermisy, Andrea Gabrieli, Giovanni Gabrieli, Giovanni
Maria Trabaci, Tarquinio Merula, Heinrich Scheidemann, Antonio Carreira, Christian Erbach,
Anonimo spagnolo, Girolamo Frescobaldi
Thursday, March 26, 2015, h 20.30, Auditorium del Carmine
“That small domestic theatre. Sounds from Nature and Love from early 18th century in Italy”
Concert performed by Riccardo Mascia with the participation of the Department of Voice and
Musical Theatre from the Conservatorio di Musica Arrigo Boito in Parma and of the students from
the Haute École de Musique de Lausanne-Sion-Fribourg, Site de Sion
Music by Alessandro Scarlatti, Nicola Porpora, Antonio Vivaldi
Wednesday, April 8, 2015, h 21.00, Auditorium del Carmine
Mario Brunello, “Silence”. Book presentation by the author
Thursday, April 23, 2015, Auditorium del Carmine
Final concert of the seminar “Paraphrases on the silence”, coordinated by Luigi Abbate, with the
participation of Giuseppe Ielasi and Fabrizio Ottaviucci
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THE SPACE BETWEEN THE NOTES
Silences and resonances in Western and Eastern keyboard music from Bach to Hosokawa
Listener’s Guide by Andrea Padova
Auditorium del Carmine
Monday, March 23, 2015, h 18.00
In spite of its capability to produce a really considerable amount of sound, the piano is one of the
instruments more suitable for a dissertation on the relation between music and silence.
Its constructed peculiarities make it different from winds and strings not only because of its great
possibilities as a eminently polyphonic instrument, but also for its specific limit: the decay of the
sound. A single sound produced by the piano not only cannot grow during its length (as opposed to
a sound produced by a flute or a violin) but has actually a pre-determined life, and indeed a short
one. As with the man, we could say that a sound born at the piano is for sure destined to die.
In the attempt to deal with, take advantage of, and to try to go beyond this limit, great composers
have written masterpieces. Great pianists have themselves not only given back the greatness of the
pieces interpreted by them, but in some cases added a further thought largely based on the problem
of the relation between sound and silence.
Because of the complexity of the topic, in this Listener’s Guide we intend to focus specifically on
silences in the piano literature, giving more attention to the detail with the aim of a better
understanding of the works through the specifics.
Avoiding on purpose the complete performance of a few pieces, we will propose instead a
significant number of silences taken form the works written by Bach and Scarlatti for the
predecessors of the piano, then following with excerpts by Mozart, Beethoven, Chopin, Liszt,
Brahms until a great Japanese composer, Toshio Hosokawa, that on the relation between sound and
silence created almost his complete production.
Andrea Padova
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MONTEVERDI’S THEATRE
Concert
Auditorium del Carmine
Tuesday, March 24, 2015, h 20.30
Alessandro Parisotti (1853-1913)
Lasciatemi morire! (No longer let me languish!): Canto from the Opera "Ariana" (Claudio
Monteverdi)
Anthology of Italian Songs of the Seventeenth and Eighteenth Centuries, Schirmer Ed. - New York
1894
Mabelle Glenn & Bernard Tayor
Lasciatemi morire (Let Death now come): Lamento di Arianna
Classic Italian Songs for School and Studio, Oliver Ditson Company - Bryn Mawr, Pennsylvania
1936
Federica Giorgia Venturi, Soprano
Leonardo Spadaro, Pianoforte
Claudio Monteverdi (1567-1643), Lamento d’Arianna
Parole del Signor Ottavio Rinuccini
Arianna, Elisa de Toffol
Roberto Gini, Harpsichord
Claudio Monteverdi, Combattimento di Tancredi e Clorinda
In genere rappresentativo, parole del Signor Torquato Tasso
Interlocutors:
Testo, Gianluca Ferrarini
Clorinda, Yue Wu
Tancredi, Alessandro Vannucci
Federica Vercalli, Violin I
Marco Kerschbaumer, Violin II
Ainu Sayu, Viola
Chafik Hashizume, Cello
Gian Luca Lastraioli, Lute
Paolo Carrara, Baroque Guitar
Roberto Gini, Harpsichord
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Nothing else but the depth of intellectual thought can unite two personalities who lived in such
different ages and in so distant places: the first, Claudio Monteverdi, who, in his letter printed in the
Fifth book of madrigals (1605) Quinto libro de madrigali, asserts: «The answer (….) will come
forward bearing upfront the name of “Seconda Prattica”, or “Perfettione della Moderna Musica” »:
the second, Karoly Kéreny, who in the Prolegomena to the scientific study of mythology (1948),
writes: «There are perhaps eras that can express their highest idea only by Music. In this case, such
a superior idea is something that could not be expressed otherwise, but only in Music».
At first sight these two propositions have nothing in common; yet the treaty that Monteverdi
announces in reply to the criticism addressed to him by Artusi, and that would have been very
important for history, was never written.
Moreover, how would it have been possible (provided a genius’s thought could be deeply probed)
to compose a treaty that were in the position to show up all the innovations, the extraordinary
thoughts which have sister arts in one expression? Sister arts such as Poetry, Theatre, Music to be
turned into an avantgarde that the dogmas of orthodoxy – such as the ones of the top class man
Zarlino, had no instruments to justify?
Those are thoughts that find no rule in the counterpoint, but that are springing off from the belly of
Rhetoric and the Theatre: effects and “affetti” which are bent towards a new sensitiveness, unheard
of in those times, so much nearer to our modern one than we ourselves can imagine.
« […] which maybe will be admired, believing that there is no other practice but the one taught by
Zarlino» (1605), “the practice” of course. As a matter of fact is it not Annibale Carracci, during
those days which are nearer to Monteverdi, to maintain that it is theory that is born of practice?
Nothing more than having to prove the soundness of a practice by means of the formulation of
rules, which even somehow going along with orthodoxy, allow the artist to bring forth new work
and new ideas, without facing the censorship of those who stand up as shortsighted defenders and
preservers of the ancient.
That is why, going over Kéreny’s thesis again, it is possible to venture that for Monteverdi, all the
expressive world of which he consciously felt the creator and the most endowed representative,
could obviously never have been expressed but in music.
Studying and research – that I strongly feel will never end, (in spite of the decline in interpretation
that is often noticed in many a modern rendering of the ancient repertory), show that the same snag
presents itself: how to prove a theory – for instance – on the practice of thorough bass or on
ornamentation, without clear rules, which can be absolutely proved? How can one define with the
certainty of performers who are “historically informed” (according to a new word only recently
coined, which by itself proves its own absurdity) the close, indissoluble relationship that binds the
compositive act to the direction note, and so the intellectual artistic relation between – so to speak –
Claudio Monteverdi and Giorgio Strehler?
However, it is just the lack of an absolute dogma and the consequent research of one’s own
Prattica, based on experience, study and investigation of affecti that can hand out the key to find
again in music the Perfettione della moderna musica.
The Lamento di Arianna and the Combattimento di Tancredi e Clorinda represent the complete
total experience; they are the sum of all the practice which does not need to turn theory. Their
stories are human, we can find in them now all feelings of a woman wounded to death by the utmost
cruel betrayal and deceit. Also, we can find the realistic allegory of an act of extreme sensuality,
transfigured in the image of the armed fight between a man and a woman.
When reading a literary text, each of us is bound to “interpret”, that it will put one’s own intonation
in the words, the speed, the feelings and the colors, leaning on some words instead of others, aiming
to make the expressive meaning more impressive.
Well, the music with which Monteverdi covers Arianna’s accents and the voice of Torquato Tasso
is like the coming of the perfect theatre. If we performers, humbly and patiently “practicing and repracticing” read with precision the written signs, the notes, the pauses without the superficiality that
- helas! - is often imposed by the limited time allotted to rehersal, we discover that an incomparable
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genius of a director has already given the words all the dramatic intention and the psychological
tension.
Recitar cantando, in fact defined as a “middle form” between singing and speaking, is the
outstanding indication of how the director-composer wants the sentences to be uttered in music.
Do listen to the words of Arianna and of Torquato Tasso, the accents of Tancredi and the voices of
Clorinda, and concentrate not so much on the melody – because it is not always a question of
melody - but upon the sound, on the flowing of the syllables, on the colors of the voice, on the
affecti with which the text is musically recited. You will find out, or better we shall discover we
were not listening to a concert, but to a theatrical performance, whose text is however recited on a
musical intonation.
Such is the performer’s work, like a craftsman, painstakingly puts himself at the service of Music
and of the Author, by rendering the notes just as they are written, with precision, humbly
interpreting the signs and in order to get into the thick of his thought, by avoiding submitting the
music to his own boastfulness of a concert performer. This is the only way to be propelled towards
the heartfelt comprehension of the work of art.
One more quotation: when in 1928 a questionnaire was submitted to Albert Einstein about the
music of Johann Sebastian Bach, he answered: «Here is what I have to say about Bach’s work:
listen to it, play it, love it and keep your mouth shut».
Live happily.
Roberto Gini
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FROM MERULO TO FRESCOBALDI
Opening Concert after restoration of Claudio Merulo’s Organ
Auditorium del Carmine
Wednesday, March 25, 2015, h 18.00
Pierre-Alain Clerc, organ
Claudin de Sermisy (1495-1562), Tant que vivray en age florissant
Claudio Merulo (1533-1604), Toccata sesta del settimo tuono (dal Libro secondo, 1604)
Claudio Merulo, Kyrie – Christe – Kyrie dalla Missa Virginis Mariae (1568)
Andrea Gabrieli (1532-1585), Fantasia allegra (1595)
Giovanni Maria Trabaci (1575-1647), Consonanze stravaganti
Giovanni Gabrieli (1557-1612), Canzona detta La Spiritata (1593)
Andrea Gabrieli (1532-1585), Suzanne ung jour (da Orlando di Lasso)
Tarquinio Merula (1595-1665), Capriccio cromatico
Andrea Gabrieli, Anchor che col partire (da Cipriano de Rore)
Heinrich Scheidemann (1595-1663), Praeambulum in re
Antonio Carreira (1520?-1590?), Cançao a 4
Christian Erbach (1570-1635), Canzone a 4 del quarto tono
Girolamo Frescobaldi (1583-1643), Toccata sopra i Pedali (da Il secondo Libro, 1627)
Anonimo spagnolo (Flores de Musica, 1709, ed. A. Martin y Coll ed.), Obra de falsas cromaticas
de primero tono
Girolamo Frescobaldi, Bergamasca (dai Fiori musicali, 1635)
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Claudio Merulo was a composer and an organist, a star of the Sixteenth Century music. Born in
Correggio in the family Merlotti in 1533, he changed later his surname in Merulo. For almost thirty
years was organist at the Basilica of San Marco with Annibale Padovano: the two organs at the ends
of the transept were used in the performance of music “a doppio coro”. In Venice, he was also a
stamper of music, bringing out numerous collections of madrigals and instrumental music. He was
also in charge of organ building: he added a row of flutes register to the organ in San Marco and
recasted the organ Antegnati at the Church “Steccata” in Parma. He built for himself the portative
organ preserved in Auditorium del Carmine. Arrived in Parma in 1586, he entered the Court of
Ranuccio Farnese and remained there until his death in 1604: he was the First Organist in the
Cathedral, then in the Church “Steccata”. Among his collections of instrumental music stand two
books of Toccatas, characterized by alternation of improvisative passages and strict counterpoint,
Ricercari and Songs. One of the jewels of the collections of the Conservatorio Arrigo Boito is the
organ built by Claudio Merulo and he held in his home in Parma and then in the oratory of the
“Confraternita della Morte”. In the early Twentieth Century, it was bought by the Conservatorio and
recently restored: Claudio Merulo’s Organ is the most precious of the instrumental collections, both
historical and artistic. Currently it’s located in the Auditorium del Carmine.
Grazia Elisa Caporali, Emilio Ghezzi, Gaspare Nello Vetro
Excerpt from “Il Conservatorio di musica di Parma e le sue collezioni storiche”
From the organist of San Marco in Venice (Claudio Merulo) to that of San Pietro in Rome
(Girolamo Frescobaldi), the aim of this concert is to show how different musical styles took shape
at the beginning of the seventeenth century: the stylus gravis, the stylus luxurians communis, the
stylus luxurians theatralis. These styles can be recognized thanks to Christoph Bernhard’s remarks,
who handed down faithfully the teachings received by Heinrich Schütz, who had in turn studied
with the great Venetian organists. Through comparable topoi to those of Rhetoric these styles are
formed, even if, in the view of Christoph Bernhard, the concept of topos is not dissociable from
dissonance. The figures of repetition, the Hypotyposes that speak to the imagination or the eloquent
figures of silence, are revealed by other theorists, essentially Germanic. All these figures are the
same in all European music, in the footsteps of Flanders and Italy.
Pierre-Alain Clerc
We take this opportunity to publicly thank the Chiesi Farmaceutici S.p.A. for the contribution that
has allowed the restoration of Claudio Merulo’s Organ.
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A LITTLE HOME THEATRE
Sounds and Silences from Nature and Love in the Early XVIII Century in Italy
Concert
Auditorium del Carmine
Thursday, March 26, 2015, h 20.30
Alessandro Scarlatti (1660-1725), Ombre tacite e sole
Letizia Egaddi, Mezzosoprano
Niccolò Porpora (1686-1766), Il ritiro
Federica Cacciatore, Mezzosoprano
Antonio Vivaldi (1678-1741), Vengo a voi, luci adorate
Jinji Cui, Soprano
Niccolò Porpora, Credimi pur, che t’amo
Nao Yokomae, Soprano
Nastasia Dugardin and Enora Fondain, Violins
Helinä Nissi, Viola
Mathilda Longué, Cello
Shagan Grolier, Double-Bass
Julien Vergères, Baroque Guitar
Riccardo Mascia, Harpsichord and Conductor
Instrumentalists from the Haute École de Musique de Lausanne-Sion-Fribourg, Site de Sion.
Singers from Bachelor and Master Level, Conservatorio di Musica Arrigo Boito, Parma.
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Here are four fragments of melodramas with characters who live for just one scene, coming from
nothing, returning to nothing, but living intensely. The Italian Baroque Cantata is a concentrated
mix of theatre and rhetoric of passion, few words and notes are needed to make this little domestic
theatre come to life. It is as if every piece opens a new window on one aspect of human life: while
the singer tells the story, the orchestra creates the environment around them with sounds and
silences.
Ombre tacite e sole (Silent and lonely shadows) is, already from the first verse, the song of silence:
the character attempts broken sentences, asks questions suspended in a vacuum, ventures into a
tortuous recitative, while the musicians give life to a hostile Nature, populated by eerie sounds,
ferocious animal cries and equally distressing silences.
Il ritiro (The withdrawal) is instead the song of friendly and welcoming Nature, far from the
worries of city life, without envy, competition, hypocrisy. Here is no place for silence: indeed, the
instruments fill every empty space, creating counterpoints as in interplay of mirrors. And the
pastoral finale is a triumph of serenity.
Our little domestic theater also opens two windows on love. Vengo a voi, luci adorate (I come to
you, beloved lights) is about an ecstasy of love but loaded with tension: the singer launches
acrobatic coloraturas in the search for an unattainable object, only to discover that nothing, not even
being reciprocated, can extinguish the anxiety of love.
In this situation, the orchestra cannot be silent even for a single moment, indeed, in the final aria the
singer is enveloped in an obsessive syncopated pedal and nervous drawings that the musical rhetoric
traditionally associates with the image of the fire that devours lovers.
Credimi pur che t’amo (Believe me, I love you) is instead the song of joyful and problem free love.
Here a woman, struggling with an over jealous lover, teases her companion: she will love him with
a constant love, as long as he is not too insistent and rude. And, while the orchestra dances a joyous
jig, she invites him to a silence full of sensual expectation, with which it seems right to conclude the
evening: «Taci, non favellar, ché più mi piaci» («Quiet, do not talk, for I like you more»).
Riccardo Mascia
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MARIO BRUNELLO
SILENZIO
Presentation of the book by the author
Auditorium del Carmine
Wednesday, April 8, 2015, h 21.00
Hidden among the sounds of our everyday life, silence has become an unfamiliar dimension of
experience; yet we all intimately pursue it. Mario Brunello plays in theaters and monasteries,
Dolomite peaks or in the desert: all places where silence is the common denominator. In this book,
structured as a four movements sonata, the author takes care of silence: he seeks, accepts it and
lives, accompanying the reader to find it out in an interweaving of art and our lifes.
Mario Brunello, Silenzio, Bologna, Il Mulino, 2014
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PARAPHRASE ON THE SILENCE
Workshop with concert
Auditorium del Carmine
April 22/23, 2015
Piano Masterclass with Fabrizio Ottaviucci
Masterclass on Ensemble improvisation with Giuseppe Ielasi
Coordinator: Luigi Abbate
Silence is an essential component of music. What is considered in interpretating a breath, a colour,
an agogical behaviour cannot be disregarded from the nature of silence itself. This masterclass is
aimed to offer a practical output of the formerly explained theorethical pretentions. Fabrizio
Ottaviucci shall take care of the piano section, meanwhile Giuseppe Ielasi will work about
ensemble improvising techniques, hopefully involving both performers (singers and instrumental
players) and composers (“acoustical” as well as “electroacoustical” ones).
Luigi Abbate
A concert shall gather the results of the Masterclasses, coordinated by Luigi Abbate, Composition
Teacher at Conservatorio di Musica Arrigo Boito.
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PEOPLE
All participants in LABRETMUS 2015
LECTURERS
Luigi Abbate
Music Composition Diplom (Conservatorio Giuseppe Verdi, Milan) and Piano.
Masterclasses in Music Composition (teacher G. Ligeti); and Music Informatics
in Paris: Les Ateliers Upic (teacher I. Xenakis) and Ircam. Author of works,
winner or selected in Italian and international music composition awards such
as: Gaudeamus Musicweek Amsterdam, Premio Ulivo d’oro Imperia,
International Alea III Composition Award Boston, a.o. –, and presented in the
framework of music festivals and musical institutions such as: SIMC Amsterdam, E.A. Orchestra
Sinfonica Siciliana, Festival Niewe Muziek Zeeland Middelburg (The Netherlands), Tel Aviv
Biennale, Settimane Musicali di Stresa e del Lago Maggiore, Festival Ccmix Paris-Neue
Vocalsolisten Stuttgart, I Percussionisti del Teatro alla Scala Milan, Orchestra ORT Firenze,
Orchestra Sinfonica G. Verdi Milan. With the musical drama Il sesto cerchio, winner of “Wiener
Internationaler Kompositionswettberb”, under the Artistic Direction of Claudio Abbado.
Compositions broadcasted on Rai-Rome, Nos Radio-Hiversum, WDR-Koln, etc., and published by
Casa Ricordi and Edizioni Suvini Zerboni Milan. Teacher of Composition at Conservatorio Arrigo
Boito in Parma. Masterclasses teacher in Sibelius Academy, Helsinki, ISA-La Habana and Brasil
universities (USP, UFPB, FAMES, UFSM). Invited by The Jerusalem Rubin Academy. Journalist,
author of critical texts concerning contemporary music for reviews and for Philips Classics label.
Francesco Baroni, Italian organist and harpsichordist, was a student of
Francesco Tasini for the organ and of Bob van Asperen for the harpsichord. He
started performing as a soloist and continuo player at a very young age with the
ensemble Il Dolcimelo, which he founded in 1980. Since then he has
collaborated with the most prestigious ensembles of early Italian music such as:
Accademia Bizantina, Arte dell’Arco, Cappella della Pietà dei Turchini,
Ensemble Aurora, Europa Galante and Venice Baroque Orchestra. He has
played at the most important early music festivals and concert halls in Europe and has made
recordings for the labels Arion, Tactus, Naxos, Symphonia, Glossa, Brilliant, ORF and Sony. In
1992 he founded the ensemble Compagnia de Musici, in order to gratify his passion for the seeking
out and recovery of unpublished Italian Baroque music: these recordings, including works such as
the Concerti da chiesa op. II (1729) by Andrea Zani, the oratorio by Francesco Antonio Pistocchi Il
Martirio di S. Adriano (1692), and the instrumental music by Carlo Tessarini (1690-1766), have
received numerous acknowledgements and prizes from international critics. In 2013 he conducted
the oratorio “Per la nascita del Redentore” (1700) by Giovanni Lorenzo Lulier, personally attending
to the modern edition and the recording. He is Honorary Inspector of the Soprintendenza ai Beni
Artistici e Storici di Parma e Piacenza (Department of Artistic and Historical Heritage of Parma and
Piacenza) for the protection and restoration of historical organs. He teaches harpsichord and
historical keyboard instruments at the Conservatorio Arrigo Boito, Parma.
Mario Brunello was the first Italian to win the Tchaikovsky Competition in
Moscow. He is regularly invited by prestigious orchestras (London
Philharmonic, Munich Philharmonic, Philadelphia Orchestra, Mahler Chamber
Orchestra, Orchestre Philharmonique de Radio-France, London Symphony,
NHK Symphony in Tokyo, Kioi Sinfonietta, Filarmonica della Scala,
Accademia di Santa Cecilia) and collaborates with conductors such as Valery
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Gergiev, Yuri Temirkanov, Riccardo Chailly, Vladimir Jurowski, Ton Koopman, Antonio Pappano,
Manfred Honeck, Riccardo Muti, John Axelrod, Daniele Gatti, Myung-Whun Chung and Seiji
Ozawa. In 1994 he founded the Italian String Orchestra. As a chamber musician he plays with
Gidon Kremer, Yuri Bashmet, Martha Argerich, Andrea Lucchesini, Frank Peter Zimmermann,
Isabelle Faust, Maurizio Pollini, Valery Afanassiev and Hugo Wolf Quartett. In his artistic life he
devotes wide space to projects involving different arts and knowledges (theater, literature,
philosophy, science), integrating them with the traditional repertoire. Interacts with artists from
different fields, such as Uri Caine, Paolo Fresu, Marco Paolini, Stefano Benni, Gianmaria Testa,
Margherita Hack, Moni Ovadia and Vinicio Capossela. He tries to approach the public with a
different and multifaceted way, creating interactive performances that arise mainly in
“Antiruggine”, a former factory renovated. His extensive discography includes works by Vivaldi,
Bach, Beethoven, Brahms, Schubert, Franck, Haydn, Chopin, Janáček and Sollima. “Bach
Networks” is the title of the new project created with Uri Caine to be presented in various Italian
theaters. He studied with Adriano Vendramelli, specializing with Antonio Janigro. He is music
director of the festival “Artesella art and nature” and the Academic of Santa Cecilia. He plays the
precious cello Maggini belonged to Franco Rossi.
Riccardo Ceni was born in Milano in 1970. He studied composition with B.
Bettinelli and Azio Corghi, conducting with Maurizio Benini, Daniele Gatti and
C.M. Giulini, choir conducting with Norbert Balatsch, Franco Monego and
Tonu Kaljuste, graduating in composition, polyphonic composition, choir and
orchestra conducting. He was finalist at the competition “Young Orchestra
Conductors of the EC” (Spoleto 2003). He is invited by Orchestra Sinfonica
Arturo Toscanini, Teatro Massimo in Palermo (Operalaboratorio), Arena di
Verona, I Cameristi del Teatro alla Scala, Orchestra Filarmonica di Torino, Orchestra Guido
Cantelli, Orchestra da Camera di Mantova, I Pomeriggi Musicali, Orchestra Sinfonica Giuseppe
Verdi, Teatro Comunale in Bologna. Devoted to contemporary repertoire, he has been director of
the Ensemble2Agosto and guest conductor at Sax-ensemble in Madrid. He cuts the cds Skin, Dolly
today - around Fauré (Stradivarius) and the dvd Polar about L. De Pablo’s music. He was
coordinator of the master “Musica d’oggi – comporre, eseguire, produrre”. Deeply interested in
dramatic and rhetoric in music, he cooperates with Ricordi and «Musik and Ästhetik». Full
professor at the Conservatorio Arrigo Boito in Parma, he teaches at the conservatoires in Lugano
and Ferrara and as a visiting professor at the Real Conservatorio Superior of Madrid.
Pierre-Alain Clerc was born in 1955 and has been appointed organist in the
Churches of Saint Laurent and Saint Paul in Lausanne. He teaches organ at the
Conservatoire and Music Academy in Lausanne, also teaches basso continuo
and harpsichord at the Centre of Ancient Music of HEM in Genève. Besides his
concert activity, prevailingly centered on the repertoires of the XVII and XVIII
centuries, he regularly works as an actor. This dual activity, both musical and
theatrical, has naturally led him towards a keen interest for musical rhetoric and
the classical French declamation; on such subjects he often gives performances, lectures and
courses (École Britten de Périgueux, Académie d’Ambronay, Conservatoire de Brest, Lille, Metz,
Bruxelles, CNSM de Paris et Lyon, Université de Fribourg, Genève, Montpellier, Nantes, Paris,
Poitiers, Opéra Comique de Paris). He is the author of several articles on declamation and of a
Discours sur la rhétorique musicale. He played several times the role of the Devil in the Histoire du
Soldat by Stravinsky and Ramuz, a role that for an organist represents a consecration.
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Deda Cristina Colonna graduated in ballet from Civico Istituto Musicale Brera
(Novara) and Ecole Supérieure d’Etudes Chorégraphiques (Paris). She holds a
degree in dance from the Sorbonne, where she specialised in Renaissance and
Baroque Dance. She graduated from the Acting School of Teatro Stabile di
Genova and acted in works from Shakespeare to Cechov and Genet. She was
soloist and guest choreographer with The New York Baroque Dance Company.
Deda has created original pieces like Voluptas Dolendi – I Gesti del Caravaggio
(performance and film) and Tetraktys ovvero la prima età del mondo, and choreographed and/or
staged over 25 operas, such as, recently: Ottone in Villa by A. Vivaldi (Innsbruck, Copenhagen), Il
Giasone by A. Cavalli and Il Matrimonio Segreto by D. Cimarosa (Drottningholm Slottsteater),
L’Incoronazione di Poppea by C. Monteverdi and Gesualdo-Shadows by the contemporary
composer Bo Holten (Copenhagen Royal Opera/Takkelloftet). She has been teaching baroque dance
and acting in various institutions internationally for over 25 years. In 2014 she was Guest Visiting
Professor at University of Stockholm/Performing Premodernity. She was the Director of the Dance
School of Civico Istituto Brera in Novara from 2005-2013."" Her researches on baroque dance were
published in the proceedings of numerous international conferences. "Upcoming projects include the
staging and choreography of Armide by J.B. Lully for the Innsbrucker Festwochen der Alten Musik.
Francesco Dilaghi studied piano with G. Sacchetti (getting his degree cum
laude), chamber music with F. Rossi (cellist of the former Quartetto Italiano),
harpsichord with A. Conti. He graduated cum laude in history of music at the
University of Florence. He perfomed in Italy and abroad; he plays since many
years as pianist and harpsichordist with ORT-Orchestra della Toscana,
performing also as soloist. As continuo-player he perfomed with conductors as
P. Bellugi, F. Brüggen, T. Koopman, A. Parrott, P. Mc Creesh, S. Preston, F.
Biondi. He collaborated in master classes and recitals given by important musicians: B. Tuckwell,
R. Vlatkovic, A. Pay, R. Stoltzman, S. Meyer, K. Leister, W. Christ, C. Banchini, C. Chiarappa, the
Wind Quartet of the Berliner Philharmoniker (Quintets of Mozart and Beethoven). Active also as a
musicologist, he edited for Ricordi the first modern edition of the harpsichord compositions of G.B.
Pescetti, the Italian translation of the Vie de Haydn by Stendhal for the publisher Passigli and
published a research on the ornamentation in piano music. He gave lectures for the Universities of
Florence and Arezzo on Debussy’s piano music and his relationships with the art and literature of
his time. In 2004 he held a course as guest professor on Bach’s Invenzioni and their relationships
with the classic rhetoric at the Conservatory of Szeged (Hungary). He teaches piano at the
Conservatorio G.B. Martini in Bologna.
Pascal Dubreuil, after several years study with Yannick le Gaillard, was
awarded the diplomas in both harpsichord and basso continuo from the
Conservatoire National Supérieur de Musique in Paris. He continued his studies
with various teachers, especially Gustav Leonhardt. A prizewinner at Bruges in
1997, he is now pursuing a career as performer and teacher. He has appeared
throughout Europe as a harpsichordist, but also on the clavichord and fortepiano, both as soloist and chamber musician. He is regularly invited for festivals
in France and abroad. He has recorded with many labels, and currently records with Ramée. His
recording with the latter of J.S. Bach's six Partitas was universally acclaimed by international
critics, and received several awards, among which the prestigious Preis der Deutschen
Schallplattenkritik. Pascal Dubreuil is currently professor of harpsichord at the early music
department of the Rennes Conservatoire. He also teaches harpsichord and musical rhetoric at the
Centre d'Etudes Supérieures de Musique de Poitiers (Bachelor and Master). In 2009 he founded the
ensemble Il Nuovo Concerto, of which is the artistic director. His research into musical rhetoric
over many years has led him to publish, jointly with Agathe Sueur, the first complete French
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translation of J. Burmeister's 1606 Musica Poetica. Pascal Dubreuil is also often invited to lead
masterclasses, in France and abroad.
Gianluca Ferrarini was born in 1964 and got a diploma in organ and
composition for the organ at the Conservatorio Arrigo Boito in Parma, under
instruction by F. Tasini and in singing at the Conservatorio Giuseppe Nicolini in
Piacenza, with L. Groppi. He perfected his studies, specialising with a repertoire
in Mediaeval, Renaissance and Baroque Vocals, taking part in seminars in Italy
and abroad. He regularly collaborates with R. Alessandrini’s Concerto Italiano,
P. Memelsdorff’s Mala Punica, P. Da Col’s Odechaton and periodically with
groups specializing in antique and contemporary repertoire. He made various productions with
Italian and foreign conductors, namely: P. Neumann, J. Savall, M. Radulescu, M. Fulgoni, D.
Tabbia, G. Acciai, L. Picotti. He has participated in important national festivals (Sagra Musicale
Umbra di Perugia, Musica e Poesia a S. Maurizio, Milan, Settembre Musica in Turin, etc.) and
international festivals (Saintes, Beaune, Oslo, Porto, Liegi, Bruxelles, Paris, Barcelona, Utrecht,
Amsterdam, Tokyo, Kyoto, Singapore, New York, etc.). He participated in the 2009 production of
Monteverdi's Orfeo Teatro alla Scala, directed by Robert Wilson. He recorded with Symphonia,
Opus III, Erato, Stradivarius, Dynamic, Sarx, Mondo Musica, Harmonia Mundi France. He teaches
at the Conservatorio Arrigo Boito in Parma.
Roberto Gini studied cello at the Conservatorio Giuseppe Verdi in Milan with
Attilio Ranzato and specialized in the technique of ancient instruments studying
viola da gamba with Jordi Savall in Basel (graduating in 1980) and attending
courses of chamber music in Salzburg with Nikolaus Harnoncourt. Violist and
cellist, he has played a relevant performing and recording activity both as an
instrumentalist (with Laura Alvini, Wieland Kuijken, Anner Bylsma, Jordi
Savall and others) and as a member of various groups (with Hesperion XX,
1977-1986); he founded in 1985 the ensemble Concerto, with whom he made several productions
until 2007 related to its research activities. He has recorded more than 60 cds both as a
instrumentalist and as an ensemble and orchestra conductor with labels such as Tactus, AstréeAuvidis, Accord, Stradivarius, Nuova Era, Gloss, Dynamic and Olive-music. Professor of viola da
gamba at the Conservatorio Arrigo Boito in Parma, he is regularly invited to give courses, master
classes and lectures at conferences and research centers. Currently he performs in concert as a
cellist and viola da gamba soloist. With Olive-music he recorded for Viola Bastard and DivisionViol (with the first ever recording of compositions by Henry Butler) and, in a duo with Wieland
Kuijken, music by John Jenkins, as part of a larger project to rediscover the literature for solo viola
da gamba. With his quartet, The Concert of Violets, he recorded instrumental music and ConsortSongs by William Byrd and his contemporaries, as well as a monographic collection of
compositions by Carlo Farina. Since 2002 he leads a program on tour in duo with actress Valentina
Cortese.
Fabrizio Ielasi was born in 1974 and lives near Milan since 1990. Started
playing guitar in 1988, and worked for many years in the area of “improvised
music” (long term collaborations with Renato Rinaldi, Thomas Ankersmit,
Michel Doneda, Ingar Zach, Dean Roberts). Between 1997 and 2006 he has
performed live with Taku Sugimoto, Jerome Noetinger, Mark Wastell, Martin
Siewert, Nmperign, Brandon Labelle, Nikos Veliotis, Alessandro Bosetti, GertJan Prins, Phill Niblock, Oren Ambarchi, and many others. From 2007 on, his
work has been mainly studio-based, working on compositions for cds and records, theatre and film.
He abandoned the guitar and his solo shows are now based on multichannel diffusion and
recomposition of pre-existing pieces and fragments, to create complex site-specific audio works. He
collaborated with Austrian video artist Michaela Grill (US tour in 2007, participations at the
Rotterdam Film Festival, Evolution Festival in Leed, FilmSoundFilm in Marfa, TX) and is regularly
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performing and presenting installations with Renato Rinaldi and Armin Linke (ZKM Karlsruhe,
Villa Romana Florence, Goethe Institut New York and Rome, various festivals). He plays in
Bellows (with Nicola Ratti), whose Handcut was included in the ‘best of 2010’ list from The Wire
magazine, Oreledigneur (with Renato Rinaldi) and Eselsohr (with Jennifer Veillerobe). In 1998 he
founded the “Fringes recordings” label, closed in 2005, and co-founded “Schoolmap Records” in
2006. At the moment he co-curates, together with Jennifer Veillerobe, SENUFO Editions
(www.senufoeditions.com). Giuseppe Ielasi appeared in many festival across the globe and toured
extensively in Europe, US and Japan, and released music on his own Senufo Editions, 12k,
Erstwhile, Alga Marghen / Planam, Entr’acte, Dekorder, Editions Mego.
Wolfgang Korb was born in 1948 in Saarbrücken. From 1972 to 1978 he
studied musicology, literature and linguistics at the University of the Saarland,
graduating with a thesis on The Age Strobel-Rosbaud the Südwestfunk BadenBaden. From 1978 to 1985 he was a researcher at the Institute of Musicology at
the University of Saarbrücken (with a teaching appointment on musicology and
radio). From 1976 to 1985 worked as a writer for several stations of the German
public radio. From 1985 to 2014 he was editor of music (especially chamber and
contemporary) at the “Saarländischer Rundfunk”, responsible for different broadcastings, also as a
moderator and presenter, for concerts and productions, artistic director of shows such as
“Meisterkonzerte”, “Ensemblekonzerte” Festival “Mouvement”, “Saarbrücker Kammermusiktage”,
“Forum Neue Musik” and co-production recordings. His main radio broadcasting in the last decade
is “Mouvement”, on the world of contemporary music, a weekly radio magazine broadcasted every
Thursday from 20:04 to 22:30. He has a long experience in the field of audio post-production
(mixing, mastering), for film, video, and recording labels such as Alga Marghen, Die Schachtel,
12k, Preservation and many more.
Gian Luca Lastraioli was born in Florence in 1957. He started his professional
career as lutenist and theorbist in 1982 participating in concerts and early music
festivals in Italy, France, Denmark, Germany, Norway, Belgium, Switzerland,
Holland, Czechoslovakia, Poland, Israel, Great Britain, New Zealand, and
Brasil, joining some of the most prestigeous ensembles specialized in the
performance of early music repertoire such as The Harp Consort, The
Freiburger Baroque Orchestra, Modo Antiquo, Pro Cantione Antiqua, The
Fitzwilliam String Quartet. Both as a continuo player and/or a conductor he has recorded over fifty
cd released by the most important European recording labels, among which the first world
recordings of the Medici Ballet Suites by Lorenzo Allegri, the opera L’Aurora Ingannata by
Girolamo Giacobbi, and the first monographic collections of works by several Italian Early Baroque
composers such as Francesca Caccini, Enrico Radesca, Carlo Milanuzzi and Cosimo Bottegari.
Gian Luca Lastraioli is professor of Lute at the Conservatorio Arrigo Boito in Parma and at the
Scuola di Musica di Fiesole. He has been invited as a guest professor by Pepperdine University
(USA), James Madison University (USA), Universitad Federal do Paraibo (Brasil) and other
academical institutions and programmes. In 2007 he has been appointed Maestro della Cappella di
Santa Maria degli Angiolini (Florence) and since 2012 he has been Artistic Director and Musical
Conductor of the European Lute Orchestra. He is vice president of the Società Italiana del Liuto. As
a musicologist and a researcher he has edited several editions of lute music, such as the complete
works by Giulio Cesare Barbetta, Pietro Paolo Borrobo, Joan Ambrosio Dalza, Giovanni Zamboni.
Carlo Lo Presti completed his bachelor’s degree in Musicology at the
University of Turin with Enrico Fubini. His thesis on Body and music in
medical-astrological treatises in Italian Renaissance, was awarded in Bari from
the Musical Association “Il Coretto” in 1990. He received his Ph.D. in
Musicology from the University of Bologna, with a thesis on Ethnographie
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musicale and orientalism in France. He published in 1995 the book Franz Schubert: The Wanderer
and the Hell (Florence, Le Lettere) and wrote essays and reviews for several journals as «Rivista
Italiana di Musicologia», «Il Saggiatore musicale», «Musica/Realtà», «Sonus», «Il Fronimo». He
contributed to the project Music in the 20th-Century Italy of the Italian Musicological Society with
an essay on Mario Castelnuovo-Tedesco's Sonata (omaggio a Boccherini) for guitar, published in
the cd-rom Music in Italy: 1930-1940 (Stradivarius, 2010). From 1998 to 2003 he was in the
editorial board of the «Rivista Italiana di Musicologia». He researches mainly on 20th-Century
Italian and French music. He's also a guitarist: he had several recitals in Italy and Europe, playing as
soloist and in different ensembles. He premiered many new works of young and well-known
composers. He teaches History of music at the Conservatorio Arrigo Boito in Parma.
Luca Marconi teaches “Music Pedagogy” and “History of Popular Music” in
the Conservatorio Luisa D’Annunzio in Pescara (Italy). He wrote some
publications on the relationships between musical communication and the
analysis of music; among them, he wrote the volume Musica Espressione
Emozione (CLUEB, Bologna, 2001) and, with Gino Stefani, the book La
melodia (Bompiani, Milano, 1992). He also wrote many publications in the
fields of music semiology, music pedagogy and history of popular music:
together with Gino Stefani, he edited the volume Il senso in musica. Antologia di semiotica
musicale (CLUEB, Bologna, 1987); his essay Canzoni Diverse. A Semiotic Approach to Luigi
Tenco’s songs has been published in the volume Made in Italy, Studies in Popular Music, edited by
Franco Fabbri and Goffredo Plastino (Routledge, New York and London,, 2014).
Riccardo Mascia graduated with honours in Piano and Harpsichord at the
Conservatorio in Genoa; he received the first prize of Virtuosité in Geneva with
Christiane Jaccottet. He started as vocal coach in the International Vocal and
Performing Arts Courses, working with Iris Adami Corradetti, Louis Alva,
Gianni Raimondi and Giuseppe Taddei. He was coach at the Teatro Carlo Felice
in Genoa, at the Grand Théâtre in Geneva, assistant to Alberto Zedda for the
Mozart Festival in La Coruña and the Fondation Royaumont in Paris. He
currently collaborates with the theatres of Pisa, the Settimane Musicali al Teatro Olimpico
(Vicenza) and other opera houses. Critics have often highlighted his inventiveness in realising
continuo. He is vocal coach at the Opéra de Chambre in Geneva, where he contributes to the
discovery of many eighteen-century Italian comic operas.
At the Theatre of Pisa, he is responsible for the training of young coaches for the Opera Studio. He
gives concerts as a soloist and member of ancient music groups. He graduated in Italian Literature
at the University of Genoa, with a thesis on comic librettos, held courses on the Italian language
and metrics for singers and continuo players. He is invited for courses or concert-lessons for the
University of Pisa, Genoa, Verona, Costa Rica, Verbier Festival Academy and the Conservatory of
Lausanne. Since 2011 he has taught at the Conservatorio Arrigo Boito in Parma.
Bice Mortara Garavelli, trained at the Benvenuto Terracini school, has been
regular professor of History of the Italian language at the universities of Parma
and Turin (1984-2006). Since 2007 she has been teaching as an emeritus
professor of Italian linguistics in Turin. She is an Academic of the Crusca and a
partner of the Sciences Academy in Turin. She held lectures, seminars and
cycles of lessons, besides Italy, at several foreign universities (at the York
University in Toronto, at the Jagellonica University in Cracow, at the Columbia
University in New York) and in Geneva, Seville, Copenhagen, Heidelberg, Los Angeles,
Birmingham, Amsterdam, Hannover, Stockholm, Basel. Her main research lines: textual linguistics;
legal language; punctuation in the European languages, rhetoric from ancient times till our present
days. She edited issues and comments of literary and popular texts (XVII and XIX centuries) and a
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History of punctuation in Europe, Laterza, Roma-Bari 2008. Among her latest books: Words and
justice, Einaudi, Turin 2001; Handbook of rhetoric, 12th edition, Bompiani, Milan 2010 (Moretti
prize 2001 for the history of the language and philology; Spanish translation, Cátedra, Madrid); The
words of the others, 2nd edition dell’Orso, Alessandria 2009; Handbook of punctuation, 15th edition,
Laterza, Rome-Bari 2012; First lesson of rhetoric, ibidem 2011. The figure of speech. 5th edition,
ibidem 2012. It’s being publishing an essays on silence in literature.
Fabrizio Ottaviucci achieved a graduation with honors in Piano at the
Conservatorio G. Rossini in Pesaro, under the guidance of Paola Mariotti;
besides, he studied Composition with Fausto Razzi and Electronic Music with
Walter Branchi; of particular relevance is his activity within the contemporary
music scene: he performed together with prestigious artists as R. De Saram, S.
Scodanibbio, M. Svoboda, M. Caroli, M. Zurria, F. Dillon, A. Campagnari, T.
Bouman, D. Roccato, and M. Stockhausen since 1986 he has been intensively
cooperating with. He was repeatedly invited to prestigious music festivals like Festival Pontino,
Traiettorie Parma, Milano Musica, Accademia di Santa Cecilia, Fondazione Scelsi, Nuova
Consonanza Roma, Rassegna Nuova Musica Macerata, Mantica Cesena, Aterforum Ferrara,
Ravenna Festival, Festival Cervantino Messico, Angelica Bologna, Biennale Venezia, Musica
d’Hoy Madrid, Acusmatiq Ancona, Ruhrtriennale, Imago Dei Vienna, and many others. He studied
the piano works of G. Scelsi with the composer himself and premiered works of G. Scelsi, S.
Scodanibbio, I. Vandor, G. Cappelli, A. Caprioli, T. Tesei, F. Mencherini, F. De Rossi Re. He
cooperated with T. Riley taking part to performances conducted by the composer himself and
recording an unpublished version, edited by Stradivarius, of the Two Keyboard Studies and Tread
on the Trail (first transcription for piano of this work). Since 2011 he has permanently cooperated
with the actress and stage director C. Guidi of the Societas Raffaello Sanzio, Cesena. He recorded
works of Scelsi, Cage, Ustvolskaja, Riley, Gubaidulina for the Stradivarius and Wergo. He was
invited several times to radio programs and broadcasted by Rai Radio Tre.
Andrea Padova studied Piano with Vincenzo Vitale, Aldo Ciccolini, and Eric
Larsen, and Composition with Gino Marinuzzi, Aldo Clementi and Aldo
Donatoni, obtaining his Master Degree in Composition at the Accademia
Nazionale di S. Cecilia in Rome. As a pianist he won the first prize at the “J.S.
Bach International Piano Competition”. As a composer he received
aknowledgements in several international contests (Wiener Wettbewerb für
Neue Musik, “A. Casella”, “E. Porrino”, “Wiener Masters” ecc.). His works
have been published and recorded by BMG-Ricordi, Edipan, Stradivarius. As a musicologist he
devoted himself mainly to performance practices of the eighteenth and nineteenth centuries, ancient
temperaments and Bach's keyboard works. His reconstruction and completions of some fragments
by Bach have been recognized by musicologists as Harold C. Schonberg, who acknowledged to
Andrea Padova «a strong personality, conviction, freedom, and style». Often invited to take master
classes in Europe, U.S., and Japan, he has been juror of the “J.S. Bach” (Würzburg), “S. Thalberg”
(Naples) e “E. Porrino” (Cagliari) International Piano Competitions.
Paolo Russo received a PhD in Musicology in Bologna University. He has
taught Music History in musical Conservatoires, and is now professor of
Musical Dramaturgy at the University of Parma. His research focuses primarily
on French Opera, Italian Opera of the Nineteenth-century, and didactics of
music history. He has written also about Renaissance music, sacred music of
Seventeenth and Eighteenth century and Nineteenth-century French
instrumental music. Paolo Russo is member of the editorial board of «Musica e
Storia» and has collaborated to the Dizionario Biografico degli Italiani (Treccani) and Musik in
Geschichte und Gegenwart (Bärenreiter). His studies have appeared in international journals and he
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regularly takes part in Italian and international conferences. For Carocci he has published H.
Berlioz, “Sinfonia Fantastica”. Una guida (2008), for Olschki “Medea in Corinto” di Felice
Romani. Storia, fonti e tradizioni (2004), for LIM La parola e il gesto. Studi sull’opera francese nel
Settecento (1997), for Mursia “Le Passioni” di J.S. Bach (1995, 20112). Recently he has edited I due
mondi di Duni. Il teatro musicale di un compositore illuminista tra Italia e Francia, LIM, 2014,
Ferdinando Paër tra Parma e l'Europa, Marsilio, 2008, Musica e drammaturgia a Roma al tempo
di Carissimi, Marsilio, 2006.
STUDENTS
Sayu Aino was born in Saitama (Japan). In 2013 he graduated in viola at the
Conservatorio Arrigo Boito in Parma under the guidance of Marco Toscani.
Since 2014 she has attended the master degree of baroque violine under the
guidance of Luca Giardini. She has participated in master classes of chamber
music with Yoko Kubo, with “Nuovo Quartetto Italiano”, with Susanne Scholz
and Alessandro Ciccolini. As a viola player, he also took part in various
orchestral and chamber music concerts in Italy and Japan.
Federica Cacciatore, born in Agrigento in 1988, begins to study opera singing
at Conservatorio Arrigo Boito in Parma with Donatella Saccardi. From 2011 to
2012 she performed as a choir singer in the events: La vedova allegra and Al
cavallino bianco at Superga Theatre; Concert for the150th Italy's unity, at
Lucerna's KKL; Concert for Europe at Duomo di Milano. In 2013 she achieves
a bachelor degree in “Literature civilization and civilization history”, discussing
the thesis: Il tempo di un respiro. Un'invenzione a due voci: Jack Kerouac e
Charlie Parker. In 2014 she debuted as Clarina in La Cambiale di matrimonio by G. Rossini, both
at Parma's Teatro Regio and at Reggio Emilia's Valli Theatre; she plays as Ciesca in the opera
Gianni Schicchi at Parma's Auditorium del Carmine and she sings in the musical West Side Story
playing as Anita in Parma and Reggio Emilia.
Paolo Carrara currently studies at the Conservatorio Arrigo Boito in Parma,
where he is attending lute courses with Gian Luca Lastraioli. He regularly
performs with various early music ensembles such as Dolce e Vago and Musica
Reservata; he collaborates with the Early Music Department of the
Conservatorio Vincenzo Bellini in Palermo.
Jinji Cui was born in Hebei, China. In 2009 she received a bachelor degree as a
vocal music major in China. In 2012, she moved to Italy and attended the
advanced course which was held by Puccini Foundation in Torre del Lago. She
was instructed by Lucetta Bizzi and Luigi Roni. In the same year, she was
admitted at the Conservatorio Arrigo Boito in Parma and studied for the next
three years Vocal Music in Parma. In September 2013, she graduated with
honors. She has taken classes with Nemi Beitagni and Nicola Mottaran at the
Conservatorio Arrigo Boito in Parma. She also had her solo recitals in Milano, Bologna, Parma,
Rimini, Fidenza, Massa.
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Elisa De Toffol, mezzosoprano, was born in 1992 in Monza; she approched
music since she was very young, through the study of piano with Laura
Battilana. Under the guidance of Irina Khodossevitch, she got in 2013 the eighth
grade in piano at the Trinity College of London. She has been studied lyric
singing with Antonella Gianese, Silvia Dalla Benetta and Mario Luperi, and
now she is attending the Conservatorio Luca Marenzio in Brescia, where she
carries the piano studies on too. Since 2011, with the guitarrist Fabio Rovelli,
she gave birth to the duo “Cordelibere”. Furthermore she belongs to the contemporary ensemble
“Aksak”. She collaborated with the laboratory of ancient dramaturgy of the Università Cattolica in
Milan in the acting of Elena by Euripide and in Dyscolos by Menandro, taking care of the musical
aspects. Since 2012 she has sung in the vocal ensemble “Biscantores” directed by Luca Colombo.
She partecipated in masterclasses on vocal interpretation with Charles Ramirez and Roberto Gini.
Her studies of visual arts (she got the diploma at the school of arts “Preziosissimo Sangue” in
Monza and attended a professional course of sculptorial techniques with Elena Mutinelli) and her
love for sculpture and painting bring her to melt the music and the visual art in a project called
ARTEUOMO. In 2014 she partecipate in the voice contest “Marisa Negri Groppelli”,! getting a
scholarship, with a program that includes composers from Mozart to Berio.
Nastasia Dugardin, born in 1990, started to learn violin at the age of six in the
musical school of Pau (France) where she obtains her diploma in 2007 with the
highest score. She continues her studies with Igor Volochine in Paris, where she
obtains the diploma of musical studies in 2010. In 2011 she enters the
Conservatory of Lausanne where she receives her Bachelor in 2014 in the class
of Sergiu Schwartz, and where she is now following a Master with Francesco
De Angelis. She follows masterclasses with violinists and teachers such as
Daishin Kashimoto, Boris Garlitsky, Gyula Stuller, Bartek Niziol, Marianne Piketty, Suzan
Gessner, and played in chamber orchestra under the direction of Maxim Vengerov. She plays in
Sinfonietta of Lausanne, L'Orchestre Romand des Jeunes Professionnels, l'Orchestre de Pau Pays de
Béarn. Very interested in chamber music repertoire, she performs in France, Switzerland, Italy,
Belgium and Netherlands with different ensembles on the violin and on the viola. In august 2014,
she has been invited to perform as a soloist in the Festival of Anniviers (Switzerland). She is very
interested and takes part since 2012 in several projects concerning Baroque music.
Letizia Egaddi, soprano, started to study piano at the age of six and obtained
her diploma at the Conservatorio Arrigo Boito in Parma under the guidance of
Francesco Dilaghi. She won several prizes at some of the most important
National and International Piano Competitions held in Italy. She is going to
graduate in Economy and Management at the Università degli Studi di Parma.
She began her vocal studies at the age of 19 at the same Conservatory in Parma,
with Berardino di Domenico and currently with Donatella Saccardi. Since her
younger age, Letizia started to sing in several choirs of her city and today she is a member of the
“Corale G. Verdi” in Parma, as chorus member and soloist. She trained and directed the youth
section of the same choir during the event “Sport Civiltà” at the Teatro Regio of Parma. She
performed as “Giannetta” (Elisir d’amore) for the project “Imparolopera” at the Teatro Regio in
Parma. Furthermore she sang in concerts as soloist whit the pianist Palmiro Simonini.
Enora Fondain was born en 1994, in Nantes. She began the piano at four years
old and the violin at eight years old. She studied at the Conservatory of Nantes
with Constantin Serban (violin solo at the Orchestre National des Pays de la
Loire). She obtained the Diploma of Musical Studies of CRR Nantes in 2013. In
the same time, she founded with Mauricio Arancibia, the Meeting Potes
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Orchestra (orchestra for young people, with about three sessions per year): she was the violin-solo
and soloist for 4 years. Between 2010 and 2013, Enora took part in several master classes with
Vladimir Nemtamu (Professor at the Conservatory of Lyon and Violin Solo at the Orchestre
National de Bordeaux) and Constantin Serban. Since 2013, she is a student at the Haute Ecole de
Musique de Lausanne, Sion site, in the class of Lihay Bendayan, and now with Sergiu Schwartz. In
2014, she participated at the Bayreuth Festival, with youth chamber orchestra.
Shagan Grolier obtained his diploma in saxophone at the Conservatory of
Nimes in 2008 and in double bass at the Conservatory of Lyon in 2010. He
obtained the diploma of bachelor in 2013 at the Conservatory of Lausanne and
his first master at the Music Academy of Prague in the class of Jiri Hudec. He
is now following the second master at the HEMU of Lausanne (site de Sion).
He attended master classes with Ettore Guiseppe, Thierry Barbé, Jean Paul
Céléa, Bernard Cazauran. He played in the Czech Academy Philharmonic
Orchestra, in the International Orchestra of Geneva and in the International Menhuin Academy. He
is a member of the ensemble of contemporary music Matka, with whom he recorded in 2014 As far
as possible of the Iranian composer Keren Keyhani.
Chafik Hashizume was born on 1987 in Kobe (Japan); in 2008 he obtained a
short degree at the College of Music in Osaka; in 2013 he graduated in cello at
the Conservatorio Arrigo Boito in Parma under the guidance of Enrico Contini;
since 2013 he has been enrolled at the master degree of viola da gamba under
the guidance of Roberto Gini. He participated in several masterclasses: baroque
cello in Urbino with Gaetano Nasillo and in Casalmaggiore with Alberto
Guerrero; chamber music with Susanne Sholz and Alessandro Ciccolini. He
also participated in various orchestral concerts and chamber music in Italy and Japan playing both
the modern and the baroque cello cello. He played and recorded as principal cellist in the
unpublished Messa of G.M. Capelli at the Church of San Vitale in Parma in 2012 under the
direction of Francesco Baroni.
Kyoko Hattori, born in Kyoto (Japan) in 1985, graduated in singing at Tokyo
National University of Fine Arts and Music. Since 2009 she has studied in Italy;
in 2012 she played the role of Susanna in Le Nozze di Figaro at the
Conservatorio Arrigo Boito in Parma. She also performed Schweigt stille,
plaudert nicht, BWV 211 (Kaffeekantate) and Mer hahn en neue Oberkeet
BWV 212 (Bauernkantate) by J.S. Bach in Bologna with the Ensemble
Concordanze. After the Bachelor level in singing at the Conservatorio in Parma
in 2013 she continues studying at Master level with Ilia Aramayo and Reiko Sanada. In 2014 she
sang Gloria by Poulenc (soprano solo). Currently she participates in Mariella Devia’s
masterclasses.
Marco Kerschbaumer, born in Bolzano, was admitted at the age of ten at the
Conservatorio Claudio Monteverdi in Bolzano. After studying modern violin
under the guidance of Carlo Lazari and later with Gisella Curtolo, he was
admitted at the Conservatorio Arrigo Boito in Parma to specialize in the ancient
repertoire: currently he is attending the Bachelor level of baroque violin under
the guidance of Luca Giardini. He participates with various chamber ensembles
to classical music festival in South Tyrol (ValGardena-Musika, Badiamusica).
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Mathilda Longué started to learn cello at the age of 6 with Odile Petit and
Juliane Trémoulet. She entered the Conservatory of Toulouse with Lluis Clarèt
and Blandine Boyer, and obtains her diploma with the highest score. She
continued her studies with Raphael Pidoux at the Conservatory of Paris. In 2014
she entered the class of Xavier Phillips and Matthieu Lejeune at the Haute Ecole
de Musique de Lausanne (site de Sion). She followed several stages with great
personalities of cello such as Jérome Pernoo, Valérie Aimard, Ophélie Gaillard,
Véronique Marin-Queyras, Raphaëlle Semezis. She often played under the direction of Pierre
Bleuze and Mikaél Celma. Mathilda Longué played in the Hesse Youth Orchestra, in the Orchestre
de Pau Pays de Béarn, with DFO (Département de formation à l’orchestre) in Paris and played in
the Salle Pleyel and at the Capitole in Toulouse. She plays a French cello Justin Derazey of 1850.
Helinä Nissi was born in Muhos, Finland, in 1989. She began with violin
lessons at the age of 8. In 2004 violin changed to viola and she started her
studies at the Conservatoire of Oulu with Johanna Leponiemi. From 2009 to
2013 Helinä Nissi studied at the Sibelius Academy, Helsinki, first with Helge
Valtonen and afterwards with Tommi Aalto. She completed her diploma of
Bachelor of Music in 2013. Currently Helinä Nissi is studying master studies at
the HEMU Lausanne, site de Sion, at Diemut Poppen's class. Helinä has taken
part in many Masterclasses with Anna Kreetta Gribajcevic, Rainer Moog and Teemu Kupiainen
among the others. As chamber musician she has been student of Paavo Pohjola, Jens Oppermann
(Auryn Quartet) and Marko Ylönen among the others. Helinä Nissi has played chamber music in
many ensembles, and has been member of several youth orchestras. In addition to Finland, she has
performed as soloist and chamber musician in Germany, Austria, Sweden and Switzerland.
Leonardo Spadaro started to study the pianoforte at the age of six with
Alessandro Tricomi. From the age of eight he participated in piano and chamber
music competitions, obtaining several prizes and commendations. In 2011 he
enrolled for the Bachelor level in piano at the Conservatorio Arrigo Boito in
Parma under the guidance of Giampaolo Nuti, graduating with first class
honours in 2014, with a dissertation on Schumann. He has often played as a
soloist as well as in chamber ensembles at various venues in Arezzo; at
“Auditorium del Carmine”, “Casa della Musica” and “Ridotto del Teatro Regio” in Parma; at the
“Auditorium della Camera di Commercio” in Cremona, at the Oratorio di San Rocco in Imola and
at the “Auditorium of the Museum of Musical Instruments” in Brussels. He also participated in the
first performance (August 2014) of Il Vento (The Wind) by Hannes Pohlit at the festival “Cantiere
Internazionale d’Arte” in Montepulciano. He has attended masterclasses with important pianists
including Benedetto Lupo, Lilya Zilberstein, Andrea Lucchesini, Roberto Cominati and Daniel
Rivera. Now he is enrolled in the Master level of piano at the Conservatorio Arrigo Boito in Parma.
Alessandro Vannucci, after an High School Leaving Qualification Degree
from the Art School A. Palma, Massa, currently attends the third pre-academic
year in singing at the Conservatorio Arrigo Boito, Parma. He participated as a
tenor soloist during the Christmas Concert performed by the Corale Verdi of
Parma, with music from La Traviata.
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Federica Giorgia Venturi, graduated in lyric singing, took part in the preview
of the opera Tutti in maschera by Carlo Pedrotti at the Ridotto of the Teatro
Municipale in Piacenza, in the staging of the Serenata a 3 RV 690 by Antonio
Vivaldi at the Teatro G. Rossini in Pesaro as a chorister and in the role of
Gioseffa in the operetta Al cavallino bianco with the choir “A. Bonci” of
Cesena.
Since 2010, she has taken part in masterclasses with Franca Mattiucci, Elizabeth
Norberg-Schulz, Paolo Zedda, Marco Baldieri, Marina Comparato, Monica Bacelli and Roberta
Invernizzi. Since 2013, she has collaborated with the Choir of Parma in several productions at
various Italian theatres, singing in the Requiem by Giuseppe Verdi at the 50th anniversary of Vajont
and in the opera Mefistofele at the Teatro Regio of Parma.
Federica Vercalli was born in 1977. After the high school, she gained her
violin diploma with top marks at the ISSM Achille Peri in Reggio Emilia, under
the guidance of Alessandro Ferrari. In 1991 she began her orchestral activity
with the Camerata Giovanile della Svizzera Italiana. In 1997 she won an
audition with the Camerata Strumentale Città di Prato, a project by R. Muti. She
has worked also with I Pomeriggi Musicali di Milano, Orchestra Sinfonica
dell’Emilia Romagna "A. Toscanini", Orchestra dell’Accademia di Santa
Cecilia, Orchestra del Teatro Regio di Parma, Orchestra Symphonica Toscanini, Orchestra Haydn
di Bolzano, I Virtuosi Italiani, Orchestra la Fenice di Venezia, Orchestra "L. Cherubini". For three
years she was a member of the Gustav Malher Jugend Orchester, performing under the baton of
conductors such as C. Abbado, S. Ozawa, P. Boulez, I. Fischer, M. Janssons. Since 2005 she has
been working full time with the Orchestra della Fondazione Toscanini in Parma. Currently she is
attending the master degree of baroque violin at Conservatorio Arrigo Boito in Parma.
Julien Vergère was born in 1993 in Switzerland. He takes his first lesson of
guitar at the age of seven. In 2011 he wins the young talent competition of
Lausanne International Guitar Festival. In 2012 he starts studying with George
Vassilev in the Conservatory of Lausanne and obtains his diploma of bachelor.
Julien takes up his work with classical repertoire as a soloist or in chamber
music formation. His highly eclectic musical tastes lead him to play jazz,
acoustic, electric and baroque guitars. Trying to have a multidisciplinary
approach of his instruments, he devotes time to piano, singing and dance. When the opportunity
arises he performs in various guitar festivals such as International Lausanne Guitar Festival,
International Guitar Festival in Nendaz (2011), Schubertiades in Sion (2012).
Nao Yokomae was born in Japan in 1989, graduated top of the her class from
Showa University of Music in 2012. After that she studies at the Conservatorio
Arrigo Boito in Parma in the class of Lelio Capilupi. In June 2013 she played
the role of Gilda (Rigoletto) at the Parma's Auditorium del Carmine. In
February 2014 she played the role of Fanny (La cambiale di matrimonio) in the
Opera Season at the Teatro Regio in Parma.
Yue Wu, outstanding graduated at the Xinghai Conservatory of Music
Guangzhou, was perfected with full-marks and honors in singing at the
Conservatorio Arrigo Boito in Parma. She has won many singing competitions
and debuted as Gilda in Rigoletto with the Orchester der Staastoper Rousse,
making a tour in various theaters in Germany, Bulgaria, Austria and as Sofia in
Il Signor Bruschino with the Orchestra Sinfonica dell’Emilia Romagna. Yue’s
voice flexible and with refined musicality, light and acrobatic, have established
her repertoire from Baroque to contemporary repertoire.
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THANKS
Finally we would like to thank the staff of the Conservatorio di Musica Arrigo Boito who has
collaborated with professionality and enthusiasm, Alessandro Guatti for the valuable support in
videorecording and Natàn Santiago for the flawless translation.
Impresa delle pause
(from the Isabella d’Este’s Studiolo, Mantova, Palazzo Ducale)
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Scarica

MUSIC AND SILENCE - Conservatorio di Musica Arrigo Boito