Museo Nazionale del Bargello - Florence (via del Proconsolo 4)
Sabato 2 agosto ore 21.15 Carter/Holliger — un'amicizia musicale  
photogallery

 

Elliott Carter A 6 Letter Letter per corno inglese | 1996 H. Holliger

Robert Frost - Italo Dall'Orto

Elliott Carter 3 Poems of R. Frost per soprano e pianoforte | 1942 Peri | Nardi
Dust of Snow | The Rose Family | The Line-Gang

Rainer Maria Rilke - Italo Dall'Orto

Elliott Carter Trilogy per arpa e oboe | 1992 U. Holliger | H. Holliger
Bariolage | Inner Song | Immer Neu

James Joyce - Italo Dall'Orto

Elliott Carter Night Fantasies per pianoforte | 1980 Song

Elliott Carter HBHH per oboe | 2007 H. Holliger

Elliott Carter Mosaic per 8 strumenti | 2004 Manescalchi | Benedetti | Heinz & Ursula Holliger | Waley-Cohen | Rassekhi | Ricciardi | Evangelista | direttore Silvia Casarin Rizzolo


A 6 Letter Letter è una melancolica pastorale, omaggio a una vasta, analoga letteratura e, insieme, alla incomparabile finezza espressiva di Heinz Holliger; e, infine, a Paul Sacher – il cui nome fornisce le sei lettere su cui si basa il brano. Gregorio Nardi

3 Poems of Robert Frost è un brevissimo ciclo che si pone tra le migliori realizzazioni del giovane Carter: raffinati studi di timbro che si affrancano dalla Chanson francese studiata con Nadia Boulanger grazie agli esempi di Barber e di Copland. La delicata ed essenziale scrittura pianistica appare tanto più efficace quando la si confronti con la ricchezza dell’orchestrazione compiuta nel 1980. Gregorio Nardi

... in that case the music unwinds on two levels: the piano develops a line of its own, and the voice proceeds independently. It's a technique that has become very important in my music over time. Elliott Carter (1989)
Yeah, those are good, those are fine, for what they are. I mean, I can't say I dislike them but they're not the kind of thing I want to do now. Elliott Carter (2000).

My Trilogy for oboe and harp, composed for those great performers and dear friends, Ursula and Heinz Holliger, has as its motto the last two stanzas of Rainer Maria Rilke’s Sonette an Orpheus, II. 10. Each of the three sections of Trilogy was written for a special occasion. 

Bariolage (which has the motto: Ein Spielen von reinen Kräften) is a harp solo written for a festival of my music given in Geneva in March, 1992, for Ursula Holliger, to whom it is dedicated, to play.  I was interested in writing for the harp as I had been a friend and admirer of Carlos Salzedo who wrote for the harp in such an inventive way.
Inner Song (which has the motto: Worte gehen noch zart am Unsäglichen aus…) was written for a festival of Stefan Wolpe’s music in Witten, Germany, in April, 1992, for Heinz Holliger to perform, to whom it is dedicated.  The fascinating friendship with Wolpe is a very treasured memory.
Immer Neu (whose motto is: die Musik, immer neu) is dedicated to Ursula and Heinz Holliger and provides a duet for them.  Its outlook was suggested by Raffaele Pozzi who asked for the first performance at the Pontino Festival in June, 1992, a festival centered around a vision of the new that led so many beside Columbus to explore the world 500 years ago.  In this piece each instrument in turn leads the other to a new tempo. Elliott Carter

Night Fantasies is a piano piece of continuously changing moods, suggesting the fleeting thoughts and feelings that pass through the mind during a period of wakefulness at night. The quiet, nocturnal evocation with which it begins and to which it returns occasionally, is suddenly broken by a flighty series of short phrases that emerge and disappear. This episode is followed by many others of contrasting characters and lengths that sometimes break in abruptly and at other, develop smoothly out of what has gone before. The work culminates in a loud periodic repetition of an emphatic chord that, as it dies away, brings the work to its conclusion.
In this score, I wanted to capture the fanciful, changeable quality of our inner life at a time when it is not dominated by strong, directive intentions or desires – to capture the poetic moodiness that, in an earlier romantic context, we employ in the works of Robert Schumann like Kreisleriana, Carnaval, and Davidsbündlertänze. Elliott Carter

HBHH è una breve, intensa composizione che rientra nel novero dei numerosi omaggi riservati da Carter ai suoi amici ed interpreti. Tra questi, spiccano i molti dedicati a Holliger, tra i più affascinanti per suggestione poetica e per ricerca strumentale: ritratti avvincenti del grande amico e al tempo stesso del grande virtuoso. Gregorio Nardi

Carlos Salzedo, the extraordinary harpist, who was a member of the small group of modernists that surrounded Varese and Ives in the 1920's and 30's and  has remained a memory which I cherish. His unusual developments in harp technique always seemed to me too infrequently explored in recent times. So in writing Mosaic, commissioned by the Nash Ensemble, I decided to explore many of his exciting inventions to recall his friendship in the early 1930's. The score is formed by many short mosaic-like tessera that I hope make one coordinated impression. Elliott Carter