8 Sep 2017

Small concert of classical accordion

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Where and when







Museo Novecento

Entrance with tickets

In memory of Salvatore Di Gesualdo
Curated by Gruppo Aperto Musica Oggi

Since the second half of the twentieth century, the accordion has undergone a process of gradual development that has elevated it to the status of a concert art instrument, freeing it from its popular context of origin. Thanks to the first and serious contribution of an inspired and enlightened generation of accordion-concert players, this “tool” of humble origins has renewed itself to become, over the years, a musical instrument of post-modern culture, a contemporary medium of classical music and a new medium for new repertoires.

A process continued by subsequent generations who have strengthened and expanded the extraordinary experience of their predecessors and which led to the consecration of the classical concert accordion. One of the greatest Italian accordionists was Salvatore di Gesualdo who has been working on the development of this instrument, its technical-expressive characteristics and its cultured repertoire since the 1960s. Originally from Abruzzo, he was a complete and extraordinary artist: composer, figurative artist, painter and graphic designer. He lived many years in Florence, where he taught, by choice, only one generation of accordionists, and where he worked until 2012, the year of his death.

Inventor of a real school, he marked a new course in accordion concertism in Italy, hitherto little present in the most important Concert Halls, as well as having contributed to the establishment of the first Chair dedicated to this instrument in the Italian Conservatories precisely in Florence, in 1993. Five years after his death, GAMO wants to remember him by organizing a series of three concerts in his city of choice, in the spaces of the Museo Novecento, inviting some of those artists who will best be able to testify to his cultured idea of ​​accordion concert classical.

The new generations, a future full of memories

The Prussian Sonatas by Carl Philipp Emanuel Bach

The Hamburger Bach Keyboard Sonatas did not have a precise instrumental destination. The piano had recently been invented and until the mid-1700s the Sonatas could be played with a harpsichord, as with a fortepiano. I wondered, with all the doubts that art imposes, if the only historical factor could represent the walls that justified the exclusion of the accordion from the performance of Bach’s repertoire. I don’t think so: it is right that art nourishes a sense of a need for continuity that is always innovative so that it does not stagnate and remain a victim of itself; furthermore, the Sonatas of Carl Philipp Emanuel Bach, by the nature of their writing, contribute to making their instrumental destination universal and mutable at the same time. The music of C. Ph. E. Bach – as well as that of his father Johann Sebastian – could be defined as “liquid music”, that is, capable of adapting to the most varied sound sources without losing the essence of what it represents. The great dynamic / timbral extension of the accordion, the theatricality of this instrument contribute to increasing the compositional skill of the Sonatas, to unearth the intimacy, now tragic, now feminine, now popular, now serious, of the immense writing of the German composer. (L.D.P.)

Luca De Prisco, accordion
Carl Philipp Emanuel Bach
Sonata “Prussiana” n. 1 W. 48/1
Sonata “Prussiana” n. 2 W. 48/2
Transcripts curated by Luca De Prisco

the new sound of the accordion

The concert accordion, with the alchemical metamorphosis of the bellows, offers precious resources both to the experimental heritage of contemporaneity and to the reinterpretation of historically consolidated repertoires. Thus in this program E-Motion Trio presents The New Sound of the Accordion with the Differentiated Polyphony offered by Bach, the Research in the Processing of Cage and the Original Writing by Tiensuu with two key works from the repertoire for accordion trio.

E-Motion Trio
Fabrizio Causio, accordion
Stefano Di Loreto, accordion
Umberto Turchi, accordion
J. Cage
-2 +3 = version for three accordist (2016)
a cura di Patrizia Angeloni
J. Tiensuu
J.S. Bach
Ricercare a 6
da Musikalisches Opfer BWV1079
version for three accordist curated by Umberto Turchi
J. Tiensuu (1948)


duet dissonAnce
Roberto Caberlotto, accordion
Gilberto Meneghin, accordion

The dissonAnce duo presents some original compositions for this unusual ensemble, by some of the most interesting composers of the current scene.
The scores, inspired by the past, intersperse some counterpoints from Johann Sebastian Bach’s Art of the Fugue in an orchestration for two accordions, where the opera, which was not conceived by the Kantor of Leipzig for a specific ensemble, appears in a new interpretative guise , which respects the linearity, purity and counterpoint rigor imagined by Bach himself. At the conclusion of Bach’s compositions, the monumental Toccata and Fugue in D minor will follow, also revisited using all the peculiarities of the accordion.


Johann Sebastian Bach (1685 – 1750)
da L’Arte della Fuga BWV 1080
Contrapunctus I

Francesco Schweizer
Horror Vacui
Johann Sebastian Bach
da L’Arte della Fuga BWV 1080
Contrapunctus III

Andrea Talmelli
Canto di donne che cacciano ai conigli
Johann Sebastian Bach
da L’Arte della Fuga BWV 1080
Contrapunctus V

Rolando Lucchi
Johann Sebastian Bach
dall’Arte della Fuga BWV 1080
Contrapunctus VII

Roberto Caberlotto
Due preludi
Johann Sebastian Bach
Toccata e fuga BWV 565
Tiziano Bedetti
Preludio e fuga

Kunst & Fuga
Ivano Battiston, accordion

“A journey into the musical territories privileged by the insatiable Digesualdian curiosity: the Bach” reserved “of L’Arte della Fuga but also the celebrated one of the Toccata and Fugue for organ BWV 565 and the Chaconne for violin BWV 1004, some pieces of the Italian and American schools in the revision of the same by Gesualdo and his most important composition, Improvvisazione No. 1 of 1973, a piece clearly inspired by Ligeta which marked the beginning of a new course for the concert accordion».


Johann Sebastian Bach (1685 – 1750)
Toccata e Fuga in re minore BWV 565
Salvatore di Gesualdo (1940 – 2012)
Improvvisazione n° 1 (1973)
Charles Magnante (1906 – 1986)
Waltz Allegro
Johann Sebastian Bach
Da L’Arte della Fuga:
Contrappunto I
Contrappunto II

Franco Alfano (1876 – 1954)
Luciano Fancelli (1928 – 1953)
Da Tre Impressioni:
Acquerelli cubani

Johann Sebastian Bach
Dalla Partita No. 2 in D Minor, BWV 1004

In the program of the Estate Fiorentina 2017

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