Museo Nazionale del Bargello - Florence (via del Proconsolo 4)
Giovedì 31 luglio ore 21.15 Elliott Carter — opere dal 2000 al 2007
Elliott Carter Retracing per fagotto | 2002 Piagnani
Rocco Abate Anemos per flauto contralto | 2008 Marasco
Elliott Carter Retrouvailles per pianoforte | 2000 Nardi
Gyorgy Kurtag ... féerie d'automne ... | per violino 2004 Waley-Cohen
Gyorgy Kurtag Calmo sognando per violino | 2001 Waley-Cohen
Elliott Carter Hiyoku per 2 clarinetti | 2001 Bandieri | Iosco
G. Ligeti Canon Studio n.18 | 2001 Song
Elliott Carter Figment II Remembering Mr Ives per violoncello | 2001 Ricciardi
Heinz Holliger pour Roland Cavin 2005 Manescalchi | Bisanti | Marasco
Charles Baudelaire - Italo Dall'Orto
Elliott Carter La Musique per soprano | 2007 Peri
Gwyn Pritchard Capriccio Inquieto | 2006 Gironi
Elliott Carter Caténaires per pianoforte | 2006 Song
Heinz Holliger Unbelaubte Gedanken zu Hölderlins Tinian| 2002 Evangelista
Elliott Carter Rhapsodic Musings per violino | 2001 Waley-Cohen
Gyorgy Kurtag ...emlékek, kiksi ólomkatonák per pianoforte | 2000 Nardi
Elliott Carter Steep Steps per clarinetto basso | 2001 Iosco
Italo Calvino - Italo Dall'Orto
Andrea Cavallari Lightness, Multiplicity per 2 e 3 flauti | 2000 Marasco | Manescalchi | Bisanti
Marcel Proust - Italo Dall'Orto
Elliott Carter Intermittences per pianoforte | 2005 Nardi
Gyorgy Kurtag ...eine Botschaft an Valérie... per contrabbasso | 2000 Evangelista
Elliott Carter Au Quai per fagotto e viola | 2002 Piagnani | Zamarra
Retracing è sostanzialmente l’assolo finale dell’Asko Concerto, sviluppato tramite una breve introduzione e una conclusione collerica e infine festosa. L’insita polifonia del brano acquista tono quasi umoristico, un dialogo di contrasti minimi intorno ad alcuni difficili tremoli. Gregorio Nardi
Retrouvailles for piano, commissioned by the Royal Festival Hall in London, was written to celebrate the birthday of my friend, Pierre Boulez, March 26, 2000. The score returns to the motto used in my Esprit Rude/Esprit Doux I (for his 60th birthday) and Esprit Rude/Esprit Doux II (for his 70th). Retrouvailles begins by recalling the end of Esprit Rude/Esprit Doux II and ends by recalling the opening of Esprit I. I hope this work gives some small suggestion of the great admiration I have for this extraordinary musician. Elliott Carter
La Musique, for solo voice, is a short commemoration of the 150th anniversary of the publication of Baudelaire’s Les Fleurs du Mal in 1857, and is taken from that book of poems. The piece is a small addition to the recital Lucy Shelton was to give of settings of Baudelaire for that occasion and is dedicated to her. Elliott Carter
Figment II was composed in the spring of 2001 as a present for the wonderful American cellist Fred Sherry, who with his outstanding instrumental and organizational abilities and his boundless enthusiasms has done so much for music. This short Figment for solo cello recalls fragmentarily bits of the Thoreau movement of the Concord Sonata and Hallowe’en by my late friend Charles Ives, whose music I have known since 1924 and have loved these works in particular. Elliott Carter
Caténaires: When Pierre – Laurent Aimard, who performs so eloquently, asked me to write a piece for him, I became obsessed with the idea of a fast one line piece with no chords. It became a continuous chain of notes using different spacings, accents, and colorings, to produce a wide variety of expression. Elliott Carter
Steep Steps was written for the greatly admired clarinetist and friend, Virgil Blackwell, during the summer of 2001. Its title comes from the fact that, unlike the other woodwind instruments, the clarinet overblows at the twelfth, a large interval that forms the basis of much of this composition. Elliott Carter
Rhapsodic Musings is a present to Robert Mann on his 80th birthday. It is a small tribute to his extraordinary, devoted advocacy of contemporary music. As is well-known, with the other members of the Juilliard Quartet he gave such pioneering and commanding performances of quartets by Bartók, Schoenberg, and many others, including my own, that many of these works became part of the performers’ repertory. His teaching and other activities brought these scores to the attention of students. Using his initials R. M. in the title of this short violin solo and in its main motive – re, mi (D, E) – this piece tries to suggest some of his remarkable human and artistic qualities. It was composed in June, 2000, in Southbury, Connecticut. Elliott Carter
The many meanings silences can express in musical discourse challenged me to use some of them in Intermittences. This title was suggested by 'Intermittences du Coeur', one of the chapters in Marcel Proust’s novel. It is a short work that also uses many different piano sounds to convey its expressive meanings. It was co - commissioned by the Carnegie Hall Corporation and The Gilmore International Keyboard Festival for Peter Serkin and composed in 2005. Elliott Carter
Hiyoku was written for the clarinetists Ayako and Charlie Neidich, whose performances were so outstanding that I chose to write this piece in the fall of 2001 for them. I asked Ayako to suggest a title and she explained it: "an old poetic word (for Haiku) meaning two wings, with the connotation of two birds flying together in the wind. It also has the connotation of two people traveling through life together." Elliott Carter
Au Quai: the title of this piece was suggested by Arnold Schoenberg’s short story "To the Wharfs" in which he describes the mounting anxiety of the members of a French fishing village as the boats and the sea-bound fisherman failed to appear after a storm and several days’ absence. When they were suddenly sighted all shouted "to the wharfs, aux quais, O.K." Elliott Carter