{"id":9855,"date":"2022-06-30T00:00:00","date_gmt":"2022-06-20T09:22:57","guid":{"rendered":"https:\/\/www.museonovecento.it\/eventi\/pianonovecento-2022\/"},"modified":"2022-07-11T10:25:20","modified_gmt":"2022-07-11T10:25:20","slug":"pianonovecento-2022","status":"publish","type":"eventi","link":"https:\/\/www.museonovecento.it\/en\/eventi\/pianonovecento-2022\/","title":{"rendered":"PianoNovecento 2022"},"content":{"rendered":"\n
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The fourth edition of PianoNovecento<\/em><\/strong> is underway, the musical review conceived and curated by the pianist Riccardo Sandiford<\/strong> and dedicated to piano music of the twentieth century, housed in the cloister of the Museo Novecento in Florence.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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The opening night of the festival, which will be held on Thursday 30 June at 9.15 pm<\/strong> in the cloister of the museum, will see the pianist Gesualdo Coggi<\/strong> as a special guest, who will propose a virtuoso program dedicated to Spanish and folkloric music.<\/p>\n\n\n\n

Following, Thursday 14 July, again at 9.15 pm<\/strong>, will be the turn of the pianist Riccardo Sandiford<\/strong>, who will propose a program of classical authors (Brahms, Chopin, Scriabin, Debussy). The evening’s program will be dedicated to four great musicians who, although closely linked with musical romanticism, through their works have laid the foundations for the evolution towards modernity and new compositional techniques that characterize twentieth-century production.<\/p>\n\n\n\n

The third appointment, scheduled for Thursday 21 July at 9.15 pm<\/strong>, will host the musicians of the Fiesole School of Music Foundation<\/strong>. Two harps and a flute will be the main instruments of the evening: Sofia Marilena Cannella, Matteo Ierardi and Chiara Su<\/strong> will perform a series of pieces ranging from the Baroque to the twentieth century.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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The review ends with two appointments, respectively Wednesday 7 and Thursday 8 September at 9:00 pm<\/strong>, which include a program rarely listened to live: Enoch Arden, melologue by R. Strauss on a text by Alfred Tennyson, with actor Maurizio Pellegrini and the pianist Piero Rotolo; and again the program for the left hand only performed by Giovanni Nesi<\/strong>, who has placed himself in the limelight of international pianism, in particular through the recording for the British Heritage label of important works by Domenico Zipoli (1688-1726).<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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\u201cFaced with such a tragic and relevant event as a war in the heart of Europe, with clearly bloody implications, and as a consequence of the controversies, sometimes grotesque, that have spread in our country in recent months, we may no longer have the desire to play, to ‘play’ – a term used for the same concept in many languages, including Russian and Ukrainian – blissfully, as if nothing had happened<\/em>\u201dsays Riccardo Sandiford<\/strong>. \u201cYet a lot of artistic production, even musical, draws its creative energy from pain, both private and universal, and we human beings, in certain crucial moments of existence, become more receptive and better understand the meaning of things. ‘Making music’ means making it come alive over time, at that precise moment; its meaning will therefore change with every change of human season and every time a musical work is revived, thanks to us ‘playing again’, it will be a new experience. So we don’t want to play, but we have to play right now, because we are in the worst of all possible worlds: that of hatred and maximum stupidity, that is, to destroy without there being anything to gain for anyone. ‘The beauty will save the world’? We don’t know, but we still play\u201d.<\/em><\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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PianoNovecento<\/strong> was born with the intention of “making music”, making it alive over time, allowing it to take on meanings at that precise moment that will change with every change of human season.
Every time the musical work comes back to life, thanks to us who play it and listen to it, it will be a new experience. The event, now in its fourth edition, underlines the opening of the Museo Novecento to cultural and artistic events in all their forms.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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PROGRAM<\/p>\n\n\n\n

30 June H9.15pm<\/strong>
GESUALDO COGGI<\/strong> piano<\/p>\n\n\n\n

Federico Mompou y Dencause (1893-1987)
Can\u00e7\u00f3 i dansa n. 1
Isaac Alb\u00e9niz (1860-1909)
Iberia, Libro II
Franz Liszt (1811-1886)
Rhapsodie espagnole. Folies d\u2019Espagne et Jota aragonesa, S 254
Mario Castelnuovo-Tedesco (1895-1968)
Piedigrotta 1924. Rapsodia napoletana, op. 32<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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14 July H9.15pm<\/strong>
RICCARDO SANDIFORD <\/strong>piano<\/p>\n\n\n\n

J. Brahms (1833-1897)
Tre intermezzi op. 117
F. Chopin (1810-1849)
Ballata n1 op. 23
A. Scriabin (1872-1915)
Sonata n2 op. 19
C. Debussy (1862-1918)
Estampes
Pagodes
La soir\u00e9e dans Grenade
Jardins sous la pluie<\/p>\n\n\n\n

21 July H21.15<\/strong>
Curated by FONDAZIONE SCUOLA DI MUSICA DI FIESOLE<\/strong><\/p>\n\n\n\n

Sofia Marilena Cannella harp
Matteo Ierardi harp
Chiara Su flute<\/p>\n\n\n\n

Alphonse Hasselmans (Li\u00e8ge 1845 – Paris 1912) Gitana op. 21
Luigi Maurizio Tedeschi (Turin 1867 – Cairate 1944) Spanish Patrol op. 32
Sofia Marilena Cinnamon, harp<\/p>\n\n\n\n

Alphonse Hasselmans La Source op. 44
Carl Philipp Emanuel Bach (Weimar 1714 – Hamburg 1788) from the Sonata for harp in G major Wq 139
Cheerful
Gabriel Faur\u00e9 (Pamiers 1845 – Paris 1924) Impromptu in D flat major op. 86 n. 6
Matteo Ierardi harp<\/p>\n\n\n\n

Gabriel Faur\u00e9 Fantaisie op. 79 duet for harp and flute,
Chiara Su flute
Matteo Ierardi harp<\/p>\n\n\n\n

Guillaume Connesson (Boulogne-Billancourt 1970) Toccata for harp
Carlos Salzedo (Arcachon 1885 – Waterville 1961) Variations on a theme in the ancient style op. 30
Matteo Ierardi harp<\/p>\n\n\n\n

Gioachino Rossini (Pesaro 1792 – Passy 1868) Andante with variations for flute and harp op. 79
Chiara Su flute
Matteo Ierardi harp<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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7 September H9.00<\/strong>pm
MAURIZIO PELLEGRINI<\/strong> narrator
PIERO ROTOLO<\/strong> piano<\/p>\n\n\n\n

\u201cEnoch Arden\u201d
melologue for narrator and piano
text by Alfred Tennyson
music by Richard Strauss<\/p>\n\n\n\n

8 September H9.00<\/strong>pm
GIOVANNI NESI <\/strong>piano<\/p>\n\n\n\n

Johann Sebastian Bach (1685 – 1750)
Suite per violoncello solo n. 1 in Sol Maggiore BWV 1007
Alexander Scriabin (1872-1915)
Preludio per la mano sinistra op. 9 n. 1
Adolfo Fumagalli (1828-1856)
Casta diva dall’opera \u201cNorma\u201d di Vincenzo Bellini per la mano sinistra, op. 61
Robert Schumann (1810-1856)
da \u201cAlbum per la giovent\u00f9 op. 68\u201d : Melodie; Kleine Studie; (3\u2019 circa) da \u201cBunte Blatter\u201d
op. 99, n. 7.
trascrizione per pianoforte mano sinistra di Paul Wittgenstein
Dmitri Shostakovich (1906-1975)
Romanza da \u201cSuite da Balletto No.1\u201d; Elegia da Suite da Balletto No. 3
Bambola Meccanica da \u201cChildren\u2019s Notebook\u201d op. 69; trascrizione per pianoforte mano
sinistra di Giovanni Nesi
Geza Zichy (1849-1924)
Valse d\u2019Adele, da Six Etudes pour la Main Gauche Seule
Johann Sebastian Bach (1685 – 1750)
Ciaccona dalla partita per violino solo n. 2 in re minore BWV 1004
Trascrizione di J. Brahms<\/p>\n<\/div><\/div>\n\n\n\n

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